I revisit long-runners The Mousetrap, Les Misérables and Wicked, and come to a decision (of sorts) about the future of this blog
“Here’s to you and here’s to me”
Well 2019 has been an interesting year so far and one full of significance – I’ve turned 40, this blog has turned 10 and it’s all got me in a reflective mood. Personally, professionally, is this what I want to be doing? Do quote a Netflix show I haven’t even seen, does all this bring me joy…? Over the last couple of weeks, I’ve revisited a few long-running shows in the West End to consider what cost longevity.
The longest running show in the West End is The Mousetrap – 66 years old with over 27,000 performances and their answer to keeping going is to not change a single bit – has the show even ever cast a person of colour? My limited research suggests not… On the one hand, it’s a policy that does seem to have worked and that record is a mighty USP, although does the number of empty seats at the St Martin’s that afternoon suggest a waning of interest finally? Continue reading “Blogged: long-running shows and long-running blogs – what does the future hold”
‘And you’re on holiday?’”
The ways in which the titles of shows are worked into the script are a source of endless amusement and new musical Death Takes A Holiday is no exception, pointing up as it does the ridiculousness of the show’s conceit. Based on the 1924 Italian play La Morte in Vacanza, which has been adapted for the silver screen a few times, most recently in the Brad Pitt stinker Meet Joe Black, Peter Stone and Thomas Meehan’s book tells the story of what happens when Death falls head over heels for an Italian duke’s daughter and so decides to take a couple of days annual leave to follow through,
Posing as a Russian prince, he joins the aristocratic family at their Lake Garda country pile, ostensibly to learn about human emotions but truth is, there’s only one he’s that keen on. And given that the main object of his study, Grazia, is a fan of the moody gothic look – despite being engaged to someone else – there’s little doubt as to whether will be alone when he returns to the day job at the end of the weekend. It’s a curious lack of dramatic imperative for a show running over two hours, especially since there’s the potential to have a proper love triangle, instead Maury Yeston’s expansive score is left to fill the gaps. Continue reading “Review: Death Takes A Holiday, Charing Cross”
“Don’t treat us girls like a poor relation
Made in Dagenham, in Dagenham – it seems like a no-brainer but it’s quite the statement of intent from incoming Artistic Director at the Queen’s Theatre Hornchurch, Douglas Rintoul. It’s also a bit of a departure for a director who has previously won awards for writing hard-hitting monologues about gay Iraqi refugees (the exceptionally good Elegy) but taking a West End musical that didn’t quite become the hit it deserves and taking it home, refining it into an actor-musician production along the way, turns out to be quite the treat.
I can’t deny that I loved the show when it played at the Adelphi – heck, I saw it four times (review #1, review #2, review #3, review #4 of the final night) and I believe it deserved better treatment from the critics. But the past is the past and coming to the show with fresh eyes, and ears, too Richard Bean’s book and David Arnold’s score, it responds powerfully to the new treatment here (co-produced by the Queen’s and the New Wolsey Ipswich where it heads next), smaller in scale obviously but more intimate too, rawer in its emotions to an ultimately devastating effect. Continue reading “Review: Made In Dagenham, Queen’s Theatre Hornchurch”