“On such a night as this”
The Finborough Theatre has long been well regarded as a powerhouse of intimate (not small!) theatre, developing a strong reputation on two fronts with its rediscoveries of old plays and in the promotion of new writing. But though the space above the rather lovely wine bar is petite, their productions never are and this revival of Ivor Novello’s Gay’s the Word, on for just six performances (now extended by two), features a cast of 19. Last year’s Perchance to Dream, another of Novello’s neglected works, was a genuine pleasure to watch – introducing me to the song ‘We’ll Gather Lilacs’ which has never since left my head – and so anticipation was indeed high for this.
This is incredibly the first professional revival of Gay’s the Word despite it being quite the success in the early 1950s. The plot is frothy nonsense, but a bit of candy floss is delightful now and then. Gay Daventry is a leading lady whose light is fading a little and when facing bankruptcy after an out-of-town flop, seizes on the chance bequest of a keen younger actress and opens up a drama school. But it isn’t plain sailing by any means as the money starts to run out, the doddery teachers grow frustrated with the lack of talent in the student body and some dastardly smugglers also arrive to cause further mayhem. Will Gay be able to save the day with some of her trademark vitality? What do you think 😉 Continue reading “Review: Gay’s the Word, Finborough”
Though the temptation is strong, and the actuality may well prove so, I don’t think I will be catching quite so much theatre in 2012 as I did last year. I could do with a slightly better balance in my life and also, I want to focus a little more on the things I know I have a stronger chance of enjoying.
So, I haven’t booked a huge amount thus far, especially outside of London where I think I will rely more on recommendations, but here’s what I’m currently looking forward to the most: Continue reading “Shows I am looking forward to in 2012”
“He wanted a fairytale romance – it ended up Grimm”
Last year was the first time that I re-engaged with the world of pantomime since being a kid and despite having heard many good things about the Hackney Empire panto over the past few years, in particular Clive Rowe’s various dames, I didn’t get there. And sod’s law dictates that as I booked for Cinderella – this year’s effort – Mr Rowe engaged himself in a production of The Ladykillers which is now previewing at the Gielgud. But you don’t miss what you never had and in any case, my history with pantomimes at the Hackney Empire actually stretches back to 19?? and one of my first genuine memories of being in a theatre with Peter Duncan playing Aladdin and clambering all over me and my cousins as he climbed through the audience as part of the show. So it was actually a fascinating opportunity to revisit a little piece of personal history as well as marking the beginning of my festive theatregoing season.
Writer/director Susie McKenna has refreshed the familiar tale of Cinderella to contemporise it for modern audiences, yet still maintaining much of the traditional feel of a pantomime that really is suitable for all ages. So we have all the familiar characters: a pair of hilarious pantomime dames as the Ugly Sisters – Tony Whittle and Kat B as Queeniqua and Victiqua respectively, a fairy-godmother who speaks in rhyme – Sophie Louise Dann in charming form and the children’s TV presenter affability of Matt Dempsey’s Buttons with his horse Clapton (complete with special song). The writing has lots of nice little local references that make it a nicely Hackney-located show and up-to-date references but not obtrusively so, there’s also the sweet-throwing out, audience shout-outs and a little onstage participation for one ‘lucky’ fellow that we’ve come to expect. Continue reading “Review: Cinderella, Hackney Empire”
“Anna 1, Anna 2, Anna 3”
For the second time in three days, I deliberately went to a show knowing nothing about it in advance, and I would evidently seem to have used up much of my theatrical karma as for the second time, I was subjected to farce! But ever the contrarian, musical comedy Lend Me A Tenor hit the spot for me with a highly entertaining production where Rumours at the Hen + Chickens did not (although they are completely different beasts in the end). A relatively new musical, written by Peter Sham and Brad Carroll and based on the 1986 play of the same name by Ken Ludwig, the show had a short run in Plymouth last autumn and transfers now to the Gielgud in the West End where it is now previewing following the untimely departure of The Umbrellas of Cherbourg. Several of the cast members have made the move with the show but in a neat twist of continuity, Joanna Riding has joined the ensemble here meaning she will continue to perform in the same theatre.
Set in 1934, the Cleveland, Ohio Grand Opera Company is struggling to survive and manager Henry Saunders is banking everything on their new production of Otello featuring leading Italian opera star and notorious womaniser Tito Minelli. But when a set of circumstances conspire to leave Tito unable to perform, shy assistant Max – who harbours his own dreams of performing – has to find a last minute replacement to play the title role. Things are not quite so simple though, this is a farce after all, as there’s a jealous Italian wife, conniving co-stars, a trio of ex-wives, a randy daughter, three version of the same costume, oh, and the President is coming to watch. Continue reading “Review: Lend Me A Tenor, Gielgud”
“Fate beckoned her…into a rather queer, unfamiliar atmosphere”
Entering the atmospheric entrance space of Wilton’s Music Hall for the gala launch of their Live at Wilton’s cabaret shows, my heart sank upon seeing the sign that said “due to unforeseen circumstance Hannah Waddingham is unable to perform tonight”. I’d booked mainly to see her again and having seen her at the Open Air Theatre on Tuesday watching The Comedy of Errors, I was rather disappointed but when the rest of the line-up includes Gwyneth Herbert, David McAlmont and Siân Phillips and you can call on Marc Almond for back up, you know you’re in for a good night anyway.
Live at Wilton’s is an attempt to secure the future of cabaret in London, somewhat timely with Pizza on the Park closing and Wilton’s Music Hall is laying claim to actually being the birthplace of cabaret in 1858, some 23 years before Le Chat Noir. It was an eclectic bill for sure, mixing the traditional with the ultra-modern, musical theatre with jazz, proper old-school music hall singalongs with the downright quirky. But it’s a programme that fits with Wilton’s Music Hall’s vision for its future, bringing together a vast array of talent to perform within its history-filled walls and covering all sorts of musical bases with a strong vein of storytelling running through them. And this evening displayed how it can suit so many styles of music perfectly; McAlmont’s vocal improvisations and Herbert’s ukulele-driven final number both making the most of the venue’s acoustics without microphones and being all-the-more effective for it. Continue reading “Review: Live at Wilton’s Gala Launch, Wilton’s Music Hall”