Across 6 productions, from Southwark Playhouse in 2013 through to last year’s tour of China, Titanic the Musical has starred 70 actors, all letting us know ‘We’ll Meet Tomorrow’
The establishment of the Public Acts programme at the National Theatre offered up something sensational in Pericles, an initiative designed to connect grassroot community organisations with major theatres, resulting in a production that swept over 200 non-professional performers onto the stage of the Olivier to create something that moved me more than 99% of professional productions. A truly joyous and momentous occasion.
Honourable mention: this year’s musical take on As You Like It proved just as heart-swellingly beautiful over at the Queen’s Theatre Hornchurch. Continue reading “10 of my top moments of the decade”
“There are worse things than a shattered chandelier”
I’ve been blogging here for a handful of years now, but I’ve never quite made it to The Phantom of the Opera in that time (I think I saw it last in 2002). Probably because it has that ‘old faithful’ air about it, especially to those of us who live in London, but also because its enduring popularity means that there’s rarely any ticket deals around for the show. Perhaps with an element of that in mind, the decision to celebrate the 30th anniversary of the show represented the perfect opportunity to finally revisit as tickets were most reasonably priced at £19.86 and £30.
And I’m glad I got to go again. There’s undoubtedly a hoary quality to certain aspects of the show (the synth sound will never become a classic one…) but by and large, it is looking and sounding in pretty good shape for a 30 year old. This feels mainly down to the electric charge that comes from Ben Forster and Celinde Schoenmaker’s lead performances as The Phantom and Christine Daaé. There’s a refreshing, almost raw, emotional energy to their connection, manifesting itself in powerfully interpreted vocals, especially in ‘The Music of the Night’ and ‘Wishing You Were Somehow Here Again’ respectively. Continue reading “Review: The Phantom of the Opera, Her Majesty’s (#Phantom30th)”
“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”
“I like a man with spunk
‘You like a man period’”
As is often the way, a canny bit of recasting ensured my need to revisit a show I’d already seen and resolved not to revisit. In this case, it was The Pajama Game, which I caught last year in Chichester when Joanna Riding and Hadley Fraser led Richard Eyre’s productions to great acclaim, which now arrives for a summer at the Shaftesbury Theatre with Michael Xavier taking over from Fraser. I am most fond indeed of Xavier’s work, and as I enjoyed the show in all its strangely charming old-fashioned oddity, going back wasn’t too much of a trial.
My original review is here and there really isn’t much more to add. The show fits in well into the Shaftesbury, even if a little of its expansiveness feels lost in the reconfiguration, but Xavier makes a predictably excellent fit into the company, he really is one of our leading exponents of musical theatre, delivering the goods time after time. Jo Riding emerges unscathed from Stephen Ward to return to a role in which she is wonderfully comfortable to watch but the real star ends up being Alexis Owen-Hobbs’ spunky Gladys. Book soon whilst you still can.
“Possibly she won’t go down
Possibly she’ll stay afloat
Possibly all this could come to an end
On a positive note…”
Between them, producer Danielle Tarento and director Thom Southerland have been responsible for some of London’s best small-scale musical revivals of recent years, so it was with interest that their production of the 1997 show Titanic was announced as the Southwark Playhouse’s first musical in its new premises. It won Tony Awards though little critical favour on Broadway, yet timed itself well to ride on the coat-tails of the extraordinary success of James Cameron’s film of the same story which opened some six months later. And as such an enduringly popular tale, Maury Yeston’s music and lyrics and Peter Stone’s book thus have much to battle against to make its own mark.
Based on real passengers and the accounts of survivors, Stone’s book focuses in on a number of couples travelling in different parts of the boat, which means that the emphasis lands heavily on the class divisions onboard. A decent decision one might think but in populating the worlds of first class, second class and third class, all within the first half, the show already feels doomed to sink. There’s just simply too many characters for us to process, never mind genuinely empathise with, and though a hard-working ensemble strive excellently to differentiate their various characters (with some surely sterling backstage help) it does take a while to be entirely sure who is who. Continue reading “Review: Titanic, Southwark Playhouse”
There’s no show really that best typifies my love for the theatre, and specifically my love for London theatregoing, than Avenue Q. From its arrival at the Noël Coward Theatre in 2006, this was a show I fell head over heels for from the opening song and one that has provided constant pleasure to me ever since. Looking back, I think this counts up as my seventh visit to the show, plus one special Valentine’s Day cabaret show, and like every relationship it has had its ups and downs, but ultimately that’s only made my love for the show stronger and I was really pleased to be able to squeeze in one last visit to the final Friday afternoon show to bid it ‘furwell’.
“Ethnic jokes might be uncouth, but you laugh because they’re based on truth”
Now in its third home in the West End in its fifth year altogether, Avenue Q is proving to be something of an enduring success which fills my heart with joy. It is a couple of years since I’ve seen it, but when it first came out I just fell completely in love with the show, and particularly with the opening cast, and ended up seeing it about 5 times in the space of two years. A couple of trips to later incarnations of the cast left me a little disappointed, Jon Robyns, Simon Lipkin and Julie Atherton were just the dream team for me, and plus I ran out of people to take to it, so I hadn’t thought I would go again. However, a visit from a dear musical loving Canadian friend and a slight booking snafu for Wicked with lastminute.com meant we ended up at the half price ticket booth at Leicester Square and we plumped for this familiar old friend.
Having seen it so many times and having the soundtrack on my iPod means I know the songs inside out now, but I do maintain that Avenue Q is one of the best new musicals to have been written in the last decade. So many of the songs are classics, instantly catchy and running the emotional gamut from laugh-out-loud funny (so many to choose from but my favourites are probably ‘If You Were Gay’, ‘The Internet Is For Porn’ and ‘Everyone’s A Little Bit Racist’) to tear-in-the-eye touching (the end of ‘Fantasies Come True’, the beginning of ‘It’s A Fine Fine Line’). And they are just so sharp lyrically, full of zippy one-liners and the ring of truth. Continue reading “Review: Avenue Q, Wyndhams”