“There will be no moralising tonight”
Whatever you think a national theatre should be for, I bloody love that Rufus Norris seems to determined to keep diversity near the top of the billing. Whilst it is curious that he’s only committed to ensuring gender equality in terms of the directors and living writers the National Theatre uses by 2021 (I’m sure there’s a reason it takes 5 years), there’s also change happening now in this new production of Bertolt Brecht and Kurt Weill’s The Threepenny Opera.
The first actors we see and hear are George Ikediashi and Jamie Beddard. So what you might say? But they are respectively a cabaret artist better known as Le Gateau Chocolat and a wheelchair-using director, writer, actor, consultant, trainer and workshop leader who has worked across the arts, educational and social sectors (his website). And you begin to see one of the ways how Norris is opening up this venue in an important and hopefully lasting manner. Continue reading “Review: The Threepenny Opera, National”
“What does it feel like when you’re dancing?”
I got to revisit Billy Elliot the Musical as part of its 10th birthday celebrations this year and huge amounts of fun it was too – more than I was expecting actually since having seen the show before. But despite having run for a decade now, the production feels as fresh and exciting as ever, undoubtedly still “one of the best shows in town”. The full review can be read on Official Theatre here.
Running time: 3 hours (with interval)
Booking until 17th December 2016, for now
“When the stars look down and know our history”
And what history there is to behold – a run in the West End which has stretched for nearly a decade now, a company that ranges from ages 6 to 84 (surely a record!), a live broadcast to cinemas worldwide which was the first event cinema release to top the UK box office and which contained a finale that brought together 25 young men who have all played the role of Billy. That recording of Billy Elliot the Musical has now been released on DVD so that the theatrical experience can now be recreated in the comfort of your own home and allows to see the detail that you may have missed from your seat in the Victoria Palace Theatre.
That’s the crucial bit really. For all those that worry that filmed recordings are going to replace live theatre, there does seem to be a missing of this salient point that not everyone sees the show from prime seats in the centre stalls. The magic of the theatrical experience can and is tempered by uncomfortable seats and unfortunate viewing lines – so a DVD offering close-ups and other unique shots offers a much-welcomed addition to that experience – and as reasonable a deal as £105 is for a family ticket (the starting price I should add), £15 or so enables a necessary widening of access to a show, which captivate a new audience so much they decide to book tickets – this isn’t a zero-sum game. Continue reading “DVD Review: Billy Elliot Live”
“There’s no place like London”
Last year was undoubtedly a great one for Chichester Festival Theatre’s musicals – Singin’ in the Rain and Sweeney Todd both figured very highly in end of year lists and both were granted West End transfers after their sell-out runs. But there’s always a danger in revisiting shows one has loved, there’s no guarantee that the magic will be recaptured again especially in larger theatres. So I’ve currently avoided going back to Singin’ in the Rain in its new home in the Palace (though never say never) and hadn’t thought I’d go back to Sweeney Todd which has just started previews at the Adelphi. But when kindly offered a ticket, I couldn’t resist the opportunity to return to the Demon Barber of Fleet Street.
My original review can be read here and in many ways, much of what I said still stands. It’s a highly atmospheric, effective production of Sondheim’s classic revenge tale which lives on its luxury lead casting in a transformed Michael Ball as the titular Todd and an incandescent Imelda Staunton as Mrs Lovett. Staunton truly is epic here, thoroughly attuned to the comedy especially in the one-upmanship of ‘A Little Priest’ but also movingly desperate as her inclinations remain unfulfilled and she is possibly better here than in Chichester. Michael Ball didn’t quite live up to the memory of his performance, missing some of the necessary malevolence, though he still sings the part well. Continue reading “Re-review: Sweeney Todd, Adelphi”
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”
“No denying times is hard sir, even harder than the worst pies in London”
This may surprise some people but Sondheim’s Sweeney Todd is actually the same age as me given that I have been 29 for the last 3 years! As one of the few not to receive a major production in London in his 80th birthday year, the 1979 show Sweeney Todd – The Demon Barber of Fleet Street now receives attention from Chichester Festival Theatre with an excellent revival that will surely end up in the West End in due course. Jonathan Kent’s production relocates Hugh Wheeler’s book to the 1930s, playing on the overtones of economic crisis and undertones of emotional fascism, whilst Sondheim’s classic music and lyrics create worlds of emotional intensity. The story centres on Benjamin Barker, a skilled barber falsely charged and sentenced to transportation to Australia by a corrupt judge. Fifteen years later he returns to discover he has lost his wife and child, and so reinvents himself as Sweeney Todd, searching out for ways to be avenged. A chance meeting with former landlady Mrs Lovett sees him set up shop again as a barber in the room above her pie shop and the unlikely pair find a mutually convenient business arrangement as Todd finds it impossible to control his murderous urges and Lovett is in desperate need of cheap fillings for her pies…
Imelda Staunton is ideal casting for Mrs Lovett: younger readers will certainly recognise her as Dolores Umbridge but may not be aware of her outstanding musical theatre credentials which formed a major part of her earlier career, including an Olivier award winning turn as the Baker’s Wife in Into the Woods, also by Sondheim. The comic business of the first half with her discovery of the first body and the later ‘A Little Priest’ is as good as you would dare hope it could be, but where she really excels is in the second half as she delves into the darker side of this woman. The desperation exposed by Todd’s lack of enthusiasm for her seaside dream cuts deep but then as her young charge edges ever closer to the truth of what is going on, the ugly truth rears its head with a frankly terrifying rendition of ‘Not While I’m Around’ – don’t make eye contact with her at the end of the song, it will scar you for life! And Michael Ball as the titular Demon Barber is also terrifically good, he’s undergone quite the makeover and is virtually unrecognisable, looking more like a brownshirt than anything. He captures the laconic cruelty and the glowering menace of a man shorn of his moral framework and his rich voice swoops around Sondheim’s score with consummate ease. Continue reading “Review: Sweeney Todd, Chichester Festival Theatre”
“Don’t want to be dependent on a wink, a smile, or kiss.”
At the beginning of the year I unexpectedly caught a fun cabaret Scrapbook Live, showcasing the work of musical theatre writers Robert Archibald and Verity Quade, which I enjoyed considerably even though I hadn’t heard the CD from which much of the material was taken: Scrapbook – The Songs of Robert Archibald and Verity Quade.
Having now downloaded it, I gave it a listen over the last week and in some ways, it is a bit of a double-edged sword having seen the live gig. It gave me that nice sense of recognition with some of the more memorable songs which made it a fascinating listen, but it also reminded me of the energy that accompanied the renditions of the songs and the live accompaniment. I have to say I wasn’t a fan of much of the orchestrations on the CD, it sounds a little bit too processed, too artificial, keyboards instead of pianos but then that’s just what I prefer. Continue reading “Album Review: Scrapbook – The Songs of Robert Archibald and Verity Quade”