“That’s just the fallout people”
Atomic bombs derive their destructive power from nuclear fission, when atoms split after being bombarded with other particles, and there’s a certain sense of random elements being thrown together in Miss Atomic Bomb, in the hope of reaching some kind of critical mass. Comedy gangsters, tap-dancing routines, comedy bank managers, dead sheep, comedy zucchini, pigs in clothes, comedy transvestites, hoedowns, comedy rabbi costumes, a Strallen and a character with a ridiculous surname because you can get a song out of it. Put them altogether and what do you get? A show that’s either a bomb or a blast.
Full disclosure, I saw a preview and I’m given to believe that a lot of work has happened to the show in the last couple of days, which is only natural for a new musical. For me though, the show feels fundamentally flawed in really not knowing what it wants to be. Writers Adam Long, Gabriel Vick and Alex Jackson-Long throw together satire and slapstick uneasily as a desperate Las Vegas hotel manager arranges the Miss Atomic Bomb beauty pageant to drum up tourist trade as the US military test their atomic arsenal in the Nevada desert. Continue reading “Review: Miss Atomic Bomb, St James”
Rebecca Lock, Gina Beck, Summer Strallen + Sasi Strallen – Little Women
Continue reading “Saturday afternoon music treats”
“It’s enough to drive you crazy if you let it”
With a score that incorporates both songs from her back catalogue and newly penned numbers by Dolly Parton and a book from Patricia Resnick, one of the co-writers of the film on which it based which also featured Parton’s screen debut, there was little danger of 9 to 5 The Musical ever veering too far from the template which saw it become a cinematic success. But though its crowd-pleasing adherence to the film brings a definite feel-good factor, which is best characterised by the effervescent opening rendition of the title song, it also imposes limits on just how successful a piece of musical theatre it can be.
It’s 1979 and the office of Consolidated Companies, typical of most workplaces at the time, is a bearpit for the female of the species. But the tide is changing and as three women in this particular environment come together in the face of sexist adversity and an inadvertent deployment of some rat poison, an alternative way of running the company springs to mind and suggests that the future might not be so grim after all. Continue reading “Review: 9 to 5 The Musical, New Wimbledon Theatre”
“Now my good friends, it behooves me to be solemn and declare,
I’m for goodness and for profit and for living clean and saying daily prayer”
I’m not the kind of gentleman who normally ends an evening with a lady in his lap but that was what (nearly) happened last night at the Union Theatre’s revival of US musical The Best Little Whorehouse in Texas. Inspired by a true story of a similarly-titled brothel , the Chicken Ranch is a well-established institution that has been passed down to Miss Mona from the original owner, who runs it with a veneer of classy respectability wherein she looks after her girls well and gets on with the local law enforcement to keep things running smoothly. But the decision of crusading news reporter Melvin P Thorpe to try and get the establishment closed down threatens everything.
Sarah Lark plays Miss Mona, the role made famous by Dolly Parton in the movie of the same name, all big brassy blonde hair piled up on her head and possessed of a wardrobe stuffed with fringes and sequins and quietly understated as a warmly maternal figure. Her singing voice is lovely though lacked a little volume in places and there was a little gravitas missing from her portrayal, though that could square with her being pushed into the position of Madam through unexpectedly inheriting the place. And around her are her scantily-dressed girls who service the townsmen’s needs – mainly portrayed here through shadow-play – and most of whom are running away from something, assumedly also using the somersaulting skills that got one lady closer to me than I was expecting! Together they make a strong group – the harmonies of ‘Girl You’re A Woman’ most lovely, the mix of personalities entertaining and as a starting point for a show, it feels like a fascinating premise. Continue reading “Review: The Best Little Whorehouse in Texas, Union”
“So sweet and soft and gentle,
My favourite Oriental”
The Union Theatre have definitely identified their niche in London’s cluttered theatre landscape: small-scale revivals of musicals that might otherwise have languished in obscurity with productions that are big on ambition. The latest show to get the Union St treatment is Dames at Sea, a 1966 parody of 1930s musicals with book and lyrics by George Haimshon and Robin Miller and music by Jim Wise which much like The Drowsy Chaperone, grew from its beginnings as a short sketch into a full show.
Though it was entertaining enough, I couldn’t help but feel that this was the Union treading water rather than blowing our socks off with something great. The piece itself is a show about putting on a show – it feels like they all are at the moment! – the cast of a musical have to find a new venue as their theatre is being pulled down but the arrival of a ship full of sailors with connections to the chorus offers a solution. Stuffed full of clichés from the small-town girl arriving on Broadway with nothing but her dreams, the big diva who then feels threatened, the sailor who just happens to be an amazing songwriter, chance meetings with former partners a-plenty, the list goes on… Continue reading “Review: Dames at Sea, Union”