Some decisions that reflect my own nominations for the year, many others for plays I haven’t seen and as ever, some curious choices too.
Gabriella Slade for Six at the Arts Theatre
Jonathan Lipman for Harold & Maude at the Charing Cross Theatre
Pam Tait for Rothschild & Sons at the Park Theatre
Bethany Wells for Distance at the Park Theatre
Francis O’Connor for Harold & Maude at the Charing Cross Theatre
Simon Daw for Humble Boy at the Orange Tree Theatre Continue reading “The finalists of The Offies 2019”
Get your roller-skates on and over to the Southwark Playhouse for a croking revival of Kander & Ebb’s The Rink with a stonkingly good Caroline O’Connor
“Noisy boys, long and lean.
Giggles of girls in the mezzanine”
All sorts of thoughts pass through your mind as you watch The Rink, at least they do if you’re me. Wouldn’t Gemma Sutton be perfect casting in the lead of the inevitable Lindsay Lohan: The Musical; does Jason Winter have the longest legs in musical theatre; does Caroline O’Connor have any trace of a Lancashire accent at all; didn’t Kander and Ebb write fricking fantastic songs for women; and does an ability to roller-skate in a musical make you a quadruple threat?
That’s not to say I was distracted whilst sweltering in the Southwark Playhouse during this preview on Saturday, but rather that my mind was entirely stimulated (not least when Winter does some kind of windmill move on the floor…😃). The Rink is one of those musicals that history hasn’t treated too kindly, despite a premiere that starred Chita Rivera and Liza Minnelli but with Adam Lenson’s expert hand at the tiller, this is a revival to treasure. Continue reading “Review: The Rink, Southwark Playhouse”
“We are worth your shillings”
Marking the first major concert presentation of the show in over 20 years, The Hired Man in concert saw Howard Goodall and Melvyn Bragg’s 1984 musical take over the elegant surroundings of Cadogan Hall, for a glorious evening celebrating one of the all-time greats of British musical theatre writing. With a boutique orchestra conducted by Andrew Linnie, an ensemble of over 20 singers and a lead cast of bona fide West End and Broadway stars, it was a powerfully effective treatment of the material.
The Hired Man is based on Bragg’s 1969 novel, part of his Cumbrian Trilogy, following the lives of labourer and miner John Tallentire and his wife Emily as they battle first the hardship of agricultural life in a fast-industrialising world and then the impact of the First World War on their whole community. And supporting it, Goodall’s music and lyrics draws on English folk tradition, as well as his own melodious style, to create a soulful, stirring score that lingers long in the mind with its hummability and heartbreak. Continue reading “Review: The Hired Man in concert, Cadogan Hall”
I do aim for a relatively professional standard on this blog but there comes a point in the year when you have to surrender to the pretty and once a year, we get a list of the leading men who have caught my attention one way or another.
And far be it from me to deny my readers as these posts habitually end up being among the most read – or looked at – of the year! Naughty 😉
Continue reading “Leading Man of the Year 2015”
“I tell what ought to be the truth“
I’ve only been to the Studio at Leicester’s Curve Theatre a couple of times but I’ve never seen it done up this much like a proper theatre with a balcony and all but such it is for Nikolai Foster’s production of A Streetcar Named Desire, his first at the venue where he is now Artistic Director. Tennessee Williams’ classic receives a rather traditional, if youthfully inclined, interpretation here which thus can’t help but pale a little in comparison to Benedict Andrews’ extraordinary reimagining for the Young Vic last year.
The challenges of the space are clear though in the sometimes challenging acoustics of the studio which, combined with an unstinting commitment to heavy accents, poses audibility issues throughout the production. Which is a shame as it really does look good – Michael Taylor’s set design perfectly evokes the faded grandeur and stifling intimacy of the French Quarter and Guy Hoare’s lighting suggests all of its carnivalesque atmosphere with its twinkling fairy lights and sultry red hues. Continue reading “Review: A Streetcar Named Desire, Curve Studio”
“Angry men don’t write the rules and guns don’t right the wrongs”
The season to be jolly is fast approaching but if the idea of Christmas cheer in the theatre leaves you, well, less than cheerful, then the Menier Chocolate Factory’s festive offering this year may well be up your street. The highly prolific director Jamie Lloyd is taking on Stephen Sondheim’s Assassins, which sees Sondheim’s music and lyrics coiled around John Weidman’s book exploring the men and women who tried (whether successfully or not) to assassinate a President of the United States.
It’s hardly the most Christmassy of shows and I think that is pretty much the point. And Sondheim’s enduring popularity (especially at this venue) makes it a safe bet even before the luxurious quality of the cast and company comes into the equation. I saw the first preview on Friday, my booking radar having gone a little awry as I was away when the tickets were released, so instead of reviewing the production, I’m offering you 10 things to look forward to and look out for and if I get to see the show later in the run, I’ll review it ‘properly’ then. Here be mild production spoilers (all hidden behind links).
Continue reading “Preview: Assassins, Menier Chocolate Factory”
“War is hell
You can’t change things on your own”
There’s something simply exquisite about The Return of the Soldier, an intimate chamber musical tucked away into the Jermyn Street Theatre that might just be one of the best things I’ve seen this year. Granted, it may contain a checklist of some of my favourite things – the experience of women in wartime, a score for piano and cello, Laura Pitt-Pulford – but they combine into something above and beyond, a powerful meditation on the psychological effects of war on those not at the front, a valuable reminder in a year that commemorates the start of the First World War that the impact of war ripples through all levels of society.
Tim Sanders’ book adapts Rebecca West’s novel from 1918, a piece of literature that emerged directly from the author’s experience during wartime, to give us characters – but particularly women – with rich emotional lives. Captain Christopher Baldry has returned from the frontline with shellshock and instead of falling into the arms of his upper-class wife Kitty, his memory has obliterated her and so it is the earthier charms of early love Margaret that he craves. She’s stuck in an unfulfilling marriage herself so is faced with conflict when asked to help cure his amnesia, knowing full well that to do so will end her nostalgic fling.
Continue reading “Review: The Return of the Soldier, Jermyn Street Theatre”
“Sometimes you need to hear it Sam”
Given the fortunes of its replacement at the Piccadilly Theatre, the 15 month West End run of Ghost the musical doesn’t seem too bad at all in the end. Based on the famous 1990 film with book by Bruce Joel Rubin and music from Dave Stewart and Glen Ballard, the story of psychics, possession and pottery certainly looked impressive in Matthew Warchus’ cinematically flash production but this wasn’t always enough to overcome the shortcomings of its adaptation. But it was a show that intrigued and one that I came to like quite a lot (I saw it twice – reviews can be read here and here but the first review of the show on here, from its original Manchester run, comes courtesy of my father!) and so I was certainly intrigued to catch it at the New Wimbledon Theatre as it sets out on a major UK tour.
The main difference comes with the blessed removal of the heinous song and dance routine ‘Ball of Wax’. I’m not sure that tap dancing ghosts have any place in the world but they really stood out like a sore thumb in the original show with their misguided appearance coming at an appallingly bad time, right after Sam’s death and shattering any poignancy that might have been built up. Now, we get a much mellower song called ‘You Gotta Let Go’ (first introduced on Broadway) which serves the same purpose of getting him acquainted with his new status in the afterlife. Other changes are subtler and by and large, the show feels rather akin to its West End predecessor. Continue reading “Review: Ghost the musical, New Wimbledon”