Review: Sweet Charity, Donmar Warehouse

Nowhere near enough charm in this Sweet Charity for my liking. Josie Rourke’s farewell to the Donmar Warehouse is grey rather than silver

“I’m always looking for an emotional experience”

When the light lands just right on Robert Jones’ set for Sweet Charity at the Donmar Warehouse, it sparkles like silver; the rest of the time, it is rather grey. Sadly, that’s pretty much rather true as a whole for Josie Rourke’s production here, her farewell as Artistic Director here.

Those bright spots are dazzling. Debbie Kurup and Lizzie Connolly are superb as Charity’s pals and co-workers Helene and Nickie, dreaming their dreams with real circumspection. Martin Marquez’s velvety smoothness is charm personified as movie star Vittorio Vidal. Continue reading “Review: Sweet Charity, Donmar Warehouse”

Review: Hadestown, National Theatre

Way down in Hadestown at the National Theatre is one of the best musicals of the year

“Damned if you don’t. Damned if you do.
Whole damn nation’s watching you”

I loved Hadestown so much that I had booked to see it for a second time before I even got home from the first. Read more about that trip here, including me trying the National’s new smart caption glasses, and read on for a review that focuses properly on Anaïs Mitchell’s brilliant musical here. An adaptation of the tale of Orpheus and Eurydice, developed with director Rachel Chavkin, it riffs on the myth by relocating the action to a dive bar in the Deep South and redefines hell for our capitalist age. And they fill the Olivier with music, such music, that transforms Hadestown into the kind of experience that lingers long in the mind. 

Mitchell’s score succeeds so much because it establishes such an identity for itself that it dares you not to be seduced into the world of the gods, or at least New Orleans. At its best, its simply elemental – ‘Way Down Hadestown’ has the kind of tune that sounds like it has always existed and will not quit your brain anytime soon. And as you collect the influences – hints of Jason Robert Brown on ‘All I’ve Ever Known’, the Johnny Cash-esque call and response of ‘Why We Build The Wall’, the straight up musical theatre emotion of ‘Wait For Me”s chorus, to name but a few – you realise a new form of Americana has evolved here. Continue reading “Review: Hadestown, National Theatre”

Review: Hadestown, via smart caption glasses at the National Theatre

I try out the new smart caption glasses while watching Hadestown at the National Theatre and am blown away both by the show and the frankly amazing technology 

Eurydice knew how to survive
Orpheus…knew how to live”

The exceedingly kind folk of the National Theatre allowed me to go and see Hadestown a few days after the press night, as I was most keen to have a try of the Smart Caption Glasses which were brought into circulation on Friday. Acclaimed as “a revolutionary new way for people with hearing loss to enjoy performance”, for once the blurb more than lives up to its billing as I found them to be truly innovative and potentially life-changingly good. 

Without wishing to open a whole can of worms about access and diversity within the critical community, it has to be said that as a (deaf) reviewer, I never get to go to captioned performances. If and when they’re scheduled, the timetables just don’t allow for it, so – as in most of my daily life – I make do. I hear what I hear and guess the rest. So the idea of this facility becoming available was one I was most keen to investigate at the earliest opportunity.  Continue reading “Review: Hadestown, via smart caption glasses at the National Theatre”

Review: Sweet Charity, Nottingham Playhouse

A sparkling lead turn from Rebecca Trehearn, and brilliant choreography from Alistair David, enliven this Sweet Charity at Nottingham Playhouse

“Your game makes very good sense”

So pleased to have managed to squeak into Nottingham Playhouse’s Sweet Charity before it finished, this is what everyone uses their annual leave for, right…?! The second major production of the show in recent months following the Watermill’s strong actor-muso interpretation this summer, it is one which makes a bold move in introducing Alistair David’s choreography to give this 1966 musical a fresh lick of paint.

It’s the only real sense of updating that Bill Buckhurst’s production provides but it is an impactful one, David reimagining almost wholesale and invigorating the almost-too-familiar sounds of Cy Coleman’s classic score. In takis’ podium-based design, it looks a dream and more than justifies new AD Adam Lenson’s decision to reintroduce musicals to the programme here after an absence of more than a decade. Continue reading “Review: Sweet Charity, Nottingham Playhouse”

2017 BroadwayWorld UK Awards – Winners’ list

Best Actor in a New Production of a Musical
Andrew Polec, Bat Out of Hell, London Coliseum
WINNER – John McCrea, Everybody’s Talking About Jamie, Sheffield Crucible
John Partridge, La Cage Aux Folles, UK Tour
Jon Robyns, The Wedding Singer, UK Tour
Michael C. Hall, Lazarus, King’s Cross Theatre
Robert Fairchild, An American in Paris, Dominion Theatre

Best Actor in a New Production of a Play
WINNER – Andrew Scott, Hamlet, Almeida Theatre
Arinzé Kene, One Night in Miami…, Donmar Warehouse
Brendan Cowell, Life of Galileo, Young Vic
Conleth Hill, Who’s Afraid of Virginia Woolf?, Harold Pinter Theatre
Lucian Msamati, Amadeus, National Theatre
Nicholas Woodeson, Death of a Salesman, UK Tour Continue reading “2017 BroadwayWorld UK Awards – Winners’ list”

2017 BroadwayWorld UK Awards Shortlist

Best Actor in a New Production of a Musical
Andrew Polec, Bat Out of Hell, London Coliseum
John McCrea, Everybody’s Talking About Jamie, Sheffield Crucible
John Partridge, La Cage Aux Folles, UK Tour
Jon Robyns, The Wedding Singer, UK Tour
Michael C. Hall, Lazarus, King’s Cross Theatre
Robert Fairchild, An American in Paris, Dominion Theatre

Best Actor in a New Production of a Play
Andrew Scott, Hamlet, Almeida Theatre
Arinzé Kene, One Night in Miami…, Donmar Warehouse
Brendan Cowell, Life of Galileo, Young Vic
Conleth Hill, Who’s Afraid of Virginia Woolf?, Harold Pinter Theatre
Lucian Msamati, Amadeus, National Theatre
Nicholas Woodeson, Death of a Salesman, UK Tour Continue reading “2017 BroadwayWorld UK Awards Shortlist”

Finalists of 2017 Stephen Sondheim Society Student Performer of the Year

Georgia Frost
Tom Blackmore (London College of Music)
Emma Rendell (LAMDA)
Rob Peacock (London School of Musical Theatre)
Georgia Richardson (Italia Conti Academy of Theatre Arts)
Shaq Taylor (Arts Educational School)
Katie Buchholz (RADA)
Jack Whittle (Guildford School of Acting)
Verity Blyth (Bristol Old Vic Theatre School)
Oscar Conlon-Morrey (Mountview Academy of Theatre Arts)
Izuka Hoyle (ArtsEd)
Joe Wiltshire Smith (Royal Welsh College of Music & Drama)

Host: Clive Rowe
Judges: Edward Seckerson (Chair), Janie Dee, Simon Lee, Rachel Kavanaugh and Alex Young