“Upon this blasted heath you stop our way”
Following handsome bearded men down shadowy paths has long been a vocation on Clapham Common but for the next couple of weeks, the entertainment being provided is of a more theatrical bent as the Omnibus presents a promenade production of the Scottish play which leads its audience on a journey both outside and in. It’s a canny, modernised take on Macbeth which makes inventive use of its locale to thrust us right in the midst of the action.
Whether huddled around a bonfire in the empty paddling pool, jammed into a crowded alleyway, guests at the banqueting table or spectators in the midst of hand-to-hand combat, Gemma Kerr’s production is more site-responsive than truly immersive and is the better for it, with less distraction from the bleakness of this world that has been created, where society is crumbling and the privations of long-running war are felt keenly by everyone. Continue reading “Review: Macbeth, Omnibus and Clapham Common”
“And my head I’d be scratchin’ while my thoughts were busy hatchin’
I could have quite happily given The Wizard of Oz a miss, it wasn’t ever really on my list of shows to see but the combined news of a visit from a family member who wanted to see it and Hannah Waddingham’s imminent departure from the ensemble meant that I found myself there on a Saturday evening… There’s something a little odd about its choice as Andrew Lloyd-Webber’s third reality casting show, Over the Rainbow, as the show is not really a fully-fledged musical, no matter how famous some of the songs but he persevered nonetheless. What is even odder is his assembly of a strong musical theatre cast around the eventual winner, Danielle Hope, given the paucity of many of the roles around Dorothy.
Lloyd-Webber’s way around this has been to write new songs, with long-standing lyricist Tim Rice, to beef up the roles of characters like the Wizard and the Wicked Witch of the West and justify the casting of Michael Crawford and Hannah Waddingham respectively. But despite looking a picture with some tricksy staging and wirework, the end result is curiously banal, exceedingly bland and one which rarely excited me. The focus is so much on the stagecraft that the heart of the story is rarely engaged: Hope’s Dorothy is sweet but rarely interesting, there’s little of the ‘star quality’ evident this evening but then the role is not one that really encourages it; Michael Crawford made very little impact either as the Wizard or the cameos as Ozians and so it went, emotion taking second-place to spectacle. Continue reading “Review: The Wizard of Oz, Palladium”