One of my favourite musicals – Howard Goodall’s The Hired Man receives a well-realised new revival courtesy of Queen’s Theatre Hornchurch and Hull Truck Theatre
“I can peel my own orange”
From the Landor to the Mercury to the Union, via the NYMT and all-star Cadogan Hall concerts, there’s no doubting that Howard Goodall’s British folk musical The Hired Man is one of my all-time faves. Musically, it is so beautiful that you can’t really argue against the marketing material claims that it is “the best British musical in 40 years” (though I might demur and say Top 5…).
It is now the turn of Queen’s Theatre Hornchurch and Hull Truck Theatre to revive the show, some 35 years old now, in association with Oldham Coliseum Theatre. And Douglas Rintoul’s fully actor-musician production is brimming with good ideas which serve the material well, teasing out a universality to its message which can sometimes feel hemmed into its Cumbria setting. Continue reading “Review: The Hired Man, Queen’s Theatre Hornchurch”
Fun, laughs and yes, a good time. You’ll sure get a tingle in your feet for this Sweet Charity at the Watermill Theatre, Newbury
“I don’t pop my cork for every guy I see”
You can never have too much charity it would seem, and as Rebecca Trehearn prepares to take on the role of Charity Hope Valentine in Nottingham next month, Gemma Sutton tackles it here at the beautiful Watermill Theatre in Newbury. Sweet Charity, the 1966 musical by Cy Coleman, Dorothy Fields and Neil Simon is a curious choice for the constant revival it receives. Its sexual politics are askew, its dialogue cheesily dated, and these are issues that Paul Hart’s modernised take has to occasionally battle to address.
Setting it in contemporary New York has its pros and cons. Notions of metropolitan isolation and the trials of working in a gig economy are more resonant than ever. But without lyrical updating, ideas of female aspiration remain rooted in the last century – you win some, you lose some. The casting of Sutton (so very good recently in The Rink) is a definite win though, a bright splash of colour in a mostly monochrome world and it is nigh on impossible not to be enchanted by her determination to find love in a cruel world. Continue reading “Review: Sweet Charity, Watermill”
A wonderfully warm-hearted production makes the regional premiere of Priscilla, Queen of the Desert a show to see at the Queen’s Theatre Hornchurch
“We dress up in women’s clothes and parade around mouthing the words to other people’s songs”
It’s easy to dismiss the jukebox musical as a lazy iteration of the form. And whilst there are shows that worthy of such a slight, there are others which deserve far better. Stephan Elliott and Allan Scott’s adaptation of Priscilla Queen of the Desert is one of those, a musical which has worked hard to integrate its music into its storytelling in interesting and different ways, allied with a book that is moving and funny and just a little fabulous. Directed by Douglas Rintoul for Queen’s Theatre Hornchurch, this production marks the show’s regional professional premiere.
One of Rintoul’s innovations is to make this an actor-musician production, a decision that pays off handsomely here. There’s a wonderful sense of democracy about this ensemble, who subsume the singing parts of the Divas here, as everyone gets a moment (or three) to shine under the Australian sun. To name but a few, a burst of stunning vocals from Molly-Grace Cutler aka Keyboard 2/Jules, the raucous slide of Natasha Lewis’ trombone, the sure-fingered delicacy of Josh Tye’s acoustic guitar (at its best as the interval comes to a close). Continue reading “Review: Priscilla Queen of the Desert, Queen’s Theatre Hornchurch”
“I’m gay and I’m breathless and I’m jubilant and I’m dancing”
As fizzy as a sherbet dip, as baffling as the rules of cricket, as delightful as the finest afternoon tea, Julian Slade and Dorothy Reynolds’ Salad Days is quite possibly the best classic British musical you haven’t heard of. I only came across it for the first time myself with Tête à Tête’s superlative production at the old Riverside Studios in 2010 but instantly tumbled for its many charms and when the show came back in 2012, so I giddily went back. Now it is the turn of the Union Theatre to revive the musical and hopefully win over some new converts.
And it well could do so, given how successful Bryan Hodgson’s production is here. Much of its beauty comes from the thoroughness of his vision, the detail and thought that has gone into its every aspect. Creatively, Catherine Morgan’s design wisely maximises space, the better to let Joanne McShane’s gorgeous choreography with its cherry-picking of early twentieth century dance influences let rip. And placing the band at the rear addresses a good deal of the sound issues that affected The Hired Man, as well as providing a nifty solution to getting into outer space. Continue reading “Review: Salad Days, Union”