“Do you feel the kind of grace inside the breeze?”
One of the joys of having this blog is the aide memoire aspect of it, the theatrical diary that it has become, allowing me to trace how my tastes have shifted. I say this in particular reference to Floyd Collins, a show I didn’t much enjoy the first time I saw it at its 2012 production at the Southwark Playhouse and yet which on this revisit, four years later, I adored.
A substantial part of it comes with the musical complexity of Adam Guettel’s score, one I (still) think few people would fall in love with instantly, but also one which has repaid repeated listens and the breadth of performers yearning to sing his music (Audra McDonald, Kelli O’Hara…), incrementally convincing me of its worth and culminating in the gloriously revelatory sound of Tom Brady’s band tucked away in the balcony of Wilton’s Music Hall. Continue reading “Review: Floyd Collins, Wilton’s Music Hall”
“I only told you the truth…”
After directing its European amateur premiere back in 2006, Adam Lenson now presents the London debut of Michael John LaChiusa’s See What I Wanna See at the Jermyn Street Theatre. Formally challenging and musically experimental, this modern musical is based on three short stories by Japanese writer Ryūnosuke Akutagawa, all circling around the elusive nature of truth and how faith and deception can shift and skew its perspective.
Set in Medieval Japan, the opening tale of Kesa and Morito is split in two, acting as a prologue to both acts as a pair of lovers come to the end of a tumultuous relationship. R Shomon fast-forwards to a film noir version of 1951 New York where a murder has been committed but multiple versions of what happened are muddying the picture. And in Gloryday, a disillusioned priest in 2002 New York sees a hoax snowball way out of his control. Continue reading “Review: See What I Wanna See, Jermyn Street”
“Everybody goes down well with beer”
Issues of local provision aside, does London really need any more new theatres, elbowing their way onto an already cluttered fringe? The Twickenham Theatre certainly makes a case for it with this inventive take on Sondheim’s classic Sweeney Todd: The Demon Barber of Fleet Street and with a cracking cast to boot, but the test will be later on when shows that don’t have Olivier winners and musical theatre titans open here and the real job of attracting a regular audience begins.
For the meantime, they can bask in the sold-out signs rightly travelling for the delights of an unmiked production –Benjamin Holder’s band a constant pleasure in its musical skill – and a hugely resourceful interpretation – helmed brilliantly by Derek Anderson – that makes a virtue of the intimacy of this space above a pub and find ever more inventive ways to use it through the cleverness of Rachel Stone’s set and Simon Gethin Thomas’ smoky lighting design. Continue reading “Review: Sweeney Todd, Twickenham Theatre”
“There’s a long road ahead of us”
Stephen Sondheim’s Road Show arrives at the Menier Chocolate Factory after a number of rewrites since 1999 that have seen the show take on four different titles. The story is based on a real-life one, of early Twentieth Century brothers Addison and Wilson Mizner, who are exhorted by their father on his deathbed to seize every opportunity and that they do, both good and bad. Striking it lucky whilst searching for gold, the profligate pair part ways as Addison objects to the gambling that Wilson has become addicted to – despite it multiplying their fortune – and as Wilson turns his hand to all sorts of schemes like boxing promotion and Hollywood, Addison travels the world to eventually settle in Florida and become an architect. Fate draws them together again though as Wilson can’t help but try to capitalise on his brother’s success once again.
Covering so much history of two different people, which in turn is clearly meant to be representative of how the American Dream could go wrong as well as right, means that there is a very episodic feel to Road Show which precludes any real dramatic tension being built up or genuine emotional investigation into any of the characters. There are some fantastic moments in here: ‘The Best Thing That Ever Has Happened’ is as tenderly lovely a gay love song as you could hope for; ‘Isn’t He Something!’ details a mother’s love beautifully and the traverse staging, though a little tight and initially disconcerting, makes intriguing use of the space – though a few less dollar bills in the air might not have gone amiss. Continue reading “Review: Road Show, Menier Chocolate Factory”
“Just a steel town girl on a Saturday night”
I was originally meant to see Flashdance -The Musical at the Shaftesbury Theatre a couple of weeks ago but that first preview was cancelled due to technical difficulties, so when I finally made it to one of the last previews, my heart sank as we waited for the curtain to rise and the announcement came that the start of the afternoon’s show was being delayed due to, you’ve guessed it, technical difficulties! Having been outraged at the merchandising in the foyer (£60 for a special Barbie! £15 for a pair of legwarmers!) I was thus prepared with sharpened knives for what was coming my way. Perhaps my lowered expectations had something to do with then, but I ended up having quite a good time!
Based on the Paramount Pictures film, Flashdance – The Musical has a book by Tom Hedley & Robert Cary, music by Robbie Roth and lyrics by Robbie Roth and Robert Cary, but also features choreography from Arlene Phillips (who really does belong back on our screens at the weekend). Set in Pittsburgh in the 1980s, we meet Alex, apprentice steel welder by day, club dancer by night (who isn’t!) who dreams of love and life in dance school. Watching this reminded me of just how many times I have seen variations of this story played out in countless films, of someone fighting against the odds to, delete as appropriate, date a black guy/rise above working class roots/honour a dead relative/not be a stripper and get to the audition in time to wipe the smile off that smug auditioner’s face in order to secure a place at an amazing dance school for which they are eminently unsuitable. But I love each and every one of them, there’s nothing like a cheesy teen dance film to raise the spirits! And as Flashdance got in there at the beginning, it can consider itself mistress of the genre. Continue reading “Review: Flashdance – The Musical, Shaftesbury”
“I don’t want to believe that we come from monkeys and apes, but I guess that’s kinda besides the point”
Inherit The Wind is a courtroom drama, based on the true life story of a Tennessee schoolteacher who was threatened with imprisonment for teaching Charles Darwin’s ideas on evolution, in direct contravention of school policy. A highly strung court case then follows, pitching creationists against evolutionists, and bringing two legal titans to a small town in Tennessee to argue the case, the ramifications of which clearly extend beyond that classroom in the Deep South. Its timing seems uncanny: even on the 150th anniversary of the publication of On The Origin of Species, a highly recommended (by me at least) film Creation, about Darwin’s struggles with his own faith as he wrote it, has not been able to find a distributor in the US because it is considered too ‘controversial’ in a country where allegedly barely a third of the population actually believe in evolution.
The scale of this production really is admirably epic: the staging is superb, with the Old Vic’s stage being opened up to a great depth (you could probably fit the stage for Annie Get Your Gun on there 15 times over!), the already healthy cast is ably bolstered by a phalanx of supernumaries, bringing the total company to 50 bodies who bring an authentic air of claustrophobic small-town living to several scenes, most notably the prayer meeting just before the trial. The use of hymns sung by the company during scene changes further reinforces this strong sense of a community joined by the power of their faith. Continue reading “Review: Inherit The Wind, Old Vic”