Great design work from Morgan Large and a strong lead performance from Kaisa Hammarlund make Violet an intriguing proposition at the Charing Cross Theatre
“Who’s gonna heed your hullabaloos”
There’s much to like about this production of Jeanine Tesori and Brian Crawley’s musical Violet, not least a winning performance from Kaisa Hammarlund and a striking set design from Morgan Large which makes the most of a cleverly reconfigured Charing Cross Theatre.
The stage has been moved to the centre of the long auditorium which dramatically ups the intimacy of the space. And Hammarlund – recently in another of Tesori’s musicals Fun Home – is a warmly magnetic presence as the central character Violet, a young woman who journeys from North Carolina to Oklahoma in the hope of a cure for the facial disfigurement that shapes her life. Continue reading “Review: Violet, Charing Cross Theatre”
“How can I hope to make you understand”
Though my life has long been filled with musicals, Fiddler on the Roof has never been the one. I’ve only ever seen it the once (2013’s touring version) and though I quite enjoyed it then, I can’t say I was hankering after seeing another production. And though Daniel Evans’ hands are sure indeed when it comes to classic musicals, I found something rather uninspired both about the choice of programming it for his new Chichester home (although it is an absolute banker) and in his production.
It is perfectly decent, and the quality is solidly good throughout. Omid Djalili is an effective presence as Tevye, Tracy-Ann Oberman is very good as Golde, and it is always nice to see Louis Maskell onstage. But Evans is a director (and artistic director) who has made my heart sing with glorious revivals such as My Fair Lady and Show Boat (and Company and Me and My Girl) and I missed that kind of magic emanating from the unforgiving vastness of the Chichester Festival Theatre’s main stage. Continue reading “Review: Fiddler on the Roof, Chichester Festival Theatre”
“It really doesn’t matter what comes after or before”
Where to begin… I was a big Girls Aloud fan back in the day and so I was definitely intrigued to see Sarah Harding onstage in this new touring version of Ghost the Musical. And being a Girls Aloud fan I’m allowed to be affectionately mocking of her as per this clip, which is far far removed from the opprobrium she has been facing since opening last week at the New Wimbledon. It’s quite a shocking level of scathing criticism that has been levelled her way and one which speaks deeply of nothing less than societal misogyny.
For there is no denying that this is an embarrassingly bad production at the moment but the fact that she is shouldering the blame for it is hugely unfair. Director Bob Tomson and producer Bill Kenwright simply have to take the responsibility for putting something that just isn’t ready on the stage and asking people to pay money to see it. I’ve seen dress rehearsals that were better than this and one can just cannot imagine the irresponsibility of the decision-making that led them to go ahead instead of delaying by a week or so. Money clearly rules. Continue reading “Review: Ghost, New Wimbledon”