Gorgeous new folk musical The Wicker Husband is perfectly situated at the Watermill Theatre and simply must be given more opportunity to soar post-crisis
“Once upon a withy on the edge of a deep damp swamp, nestled in the arms of a winding river, stood a pretty little town…”
Snuck in under the radar for this one as I’ve been looking forward to The Wicker Husband for a long time. Four years in fact, since I first heard a snippet of the score but as ever in the world of writing a new musical, the show has been in development for more than twice that time. Further upping my anticipation was the success of composer/lyricist Darren Clark’s last major project The Curious Case of Benjamin Button which was only my very favourite show of last year.
Together with book-writer Rhys Jennings, their adaptation of a short story by Ursula Wills-Jones has a bewitching quality that is eerily compelling and in the tradition of all the best fairy tales, has no problem in going very dark. Along with my mortal fear of eerily humanoid puppets, it makes for a much more chilling night at the theatre (for me, at least) but one which is ultimately beautifully human too, as Charlotte Westenra’s production reminds us why fables have endured for so long. Continue reading “Review: The Wicker Husband, Watermill Theatre”
Best Actor in a New Production of a Musical
Alex Wadham, The Full Monty: The Musical, Old Joint Stock Theatre, Birmingham
Giles Terera, Hamilton, Victoria Palace Theatre
Jamal Kane Crawford, Fame, UK Tour
Jamie Muscato, Heathers The Musical, The Other Palace/Theatre Royal Haymarket
Louis Maskell, The Grinning Man, Trafalgar Studios
Marc Antolin, Little Shop of Horrors, Regent’s Park Open Air Theatre
Best Actor in a New Production of a Play
Aidan Turner, The Lieutenant of Inishmore, Noël Coward Theatre
Ben Batt, The York Realist, Donmar Warehouse/Crucible Theatre, Sheffield
Ian McKellen, King Lear, Chichester Festival Theatre
Matthew Tennyson, A Monster Calls, Old Vic
Reed Birney, The Humans, Hampstead Theatre
Tyrone Huntley, Homos, Or Everyone in America, Finborough Theatre Continue reading “2018 BroadwayWorld UK Awards Shortlist”
Opera North’s production does nothing to address the inherent problems of Kiss Me, Kate and thus feels like a relic of the past
“The overture is about to start,
You cross your fingers and hold your heart”
Revivals speak a lot to where an organisation sees itself. With its heady combination of Shakespearean drama and Cole Porter’s musical wit, Kiss Me, Kate has all the air of a sure bet about it and indeed, Jo Davies first mounted this production for Opera North in 2015, this revival of that revival being directed here by Ed Goggin as it opens here at the Coliseum.
But for all its familiarity, and that inherent bankability, it feels a problematic choice to stage. In a contemporary Britain, in a society switched onto #MeToo, even the sexual politics of something as notionally fatuous as Love Island are being newly parsed and much of what has long been considered acceptable, or tolerated due to ‘classic’ status, is rightly being reassessed. Continue reading “Review: Kiss Me, Kate, London Coliseum”
It’s that time of year again and getting in early with the announcement of their nominees is What’s on Stage. Voted for by the public, they’re often skewed a little towards the bigger ‘names’ but this year’s set of nominations are relatively controversy-free. There’s something a little odd about the way that regional theatre has its own separate category but its actors appear in the main ones – I feel like regional theatre productions should either be considered entirely in or out, rather than this halfway house.
Naturally, big shows rule the roost – 42nd Street and Bat out of Hell lead the lists with 8 nominations apiece – and they’ve even found a way to shoehorn in Hamilton by nominating it for the two new categories of Best Cast Recording (which somehow includes Les Mis??) and Best Show Poster, thus being able to get round it not actually being open yet and grabbing the requisite headlines once it does, inevitably, win.
BEST ACTOR IN A PLAY SPONSORED BY RADISSON BLU EDWARDIAN
Andrew Garfield, Angels in America
Andrew Scott, Hamlet
Bryan Cranston, Network
David Tennant, Don Juan in Soho
Martin Freeman, Labour of Love
BEST ACTRESS IN A PLAY
Eve Best, Love in Idleness
Imelda Staunton, Who’s Afraid of Virginia Woolf?
Olivia Colman, Mosquitoes
Natalie Dormer, Venus in Fur
Tamsin Greig, Labour of Love Continue reading “2018 What’s On Stage Award nominations”
“Tale as old as time”
It’s taken me a little time to get round to writing this review, which is rarely a good sign, as I was struggling for anything entirely constructive to say about this film. The 1991 animated Beauty and the Beast was Disney close to its best but these days, nothing is left alone if it has even the merest hint of cash cow about it. So it has previously hit the stage as a musical and following the success of Kenneth Branagh’s Cinderella, it now has a cinematic live-action remake.
Which is all fine and good but just because you can do something doesn’t mean you should. And at no point does Bill Condon’s film ever convince us that the world needed this version of Beauty and the Beast, there’s rarely any sense of it bringing something new and insightful to the story. Plus the contortions it (and star Emma Watson) has had to make to try and convince of its feminist credentials scarcely seem worth it in the final analysis. Continue reading “Film Review: Beauty and the Beast (2017)”
“Who could ask for anything more”
True to its name, An American in Paris premiered in 2014 at the Théâtre du Châtelet in the French capital to ecstatic reviews before transferring to the Palace Theatre on Broadway for another well-received (and Tony-winning) run there. It now rocks up at the newly refurbished Dominion Theatre, just ahead of another huge dance-heavy Broadway musical in 42nd Street, producers clearly banking on audiences wanting distraction from the realities of the outside world.
And that it certainly provides – director and choreographer Christopher Wheeldon’s reinvention of the 1951 film (new book by Craig Lucas) is an absolute feast for the eyes and ears. George and Ira Gershwin’s score is beyond classic (‘I Got Rhythm’, ”S Wonderful’, ‘They Can’t Take That Away from Me’ et al) and sounds luscious in Rob Fisher’s new arrangements musically directed by John Rigby, and Bob Crowley’s set and costumes look divine in all their old-school charm. Continue reading “Review: An American in Paris, Dominion”
“More inconstant than the wind…”
KenBran’s residency at the Garrick continues with an all-star Romeo and Juliet, reuniting Richard Madden and Lily James from his Cinderella, and there’s finally a bit of interesting casting with Derek Jacobi as Mercutio. That said, it’s somewhat typical that this season’s one headline concession to diversity has been to put an old white man in a young white man’s part. Here’s my 3 star review for Cheap Theatre Tickets.
Running time: 2 hours 45 minutes (with interval)
Booking until 13th August
“Which text are you using?”
Part of Kenneth Branagh’s opening salvo as his year-long residency at the Garrick begins is the Terence Rattigan double header of Harlequinade and All On Her Own. When originally performed, Harlequinade was paired up with another of Rattigan’s short plays The Browning Version to beef up the bill and the same thinking has been applied here. Taking advantage of Zoë Wanamaker’s presence in the company, Branagh has introduced one-woman 30-minute play All On Her Own (also known as Duologue) to the programme, playing directly before Harlequinade with nary an interval between them.
One can see the theoretical case for the decision, ensuring West End prices can still be charged but providing a much more slimline companion piece to the three hours of The Winter’s Tale but in reality, it’s an odd pairing that demonstrates little complementarity (apart from for Rattigan completists). All On Her Own is a grand showcase for Wanamaker, as her widow returns from a party somewhat tipsy and begins to reminisce about her dead husband, even talking to him. It’s a little bit funny, it’s a little bit sad, but it’s a little bit perplexing too, especially as it has no connection to the ensuing Harlequinade. Continue reading “Review: Harlequinade / All On Her Own, Garrick”
“I do feel it gone, But know not how it went”
Perhaps one of the biggest lures of the newly established Kenneth Branagh Theatre Company and its year-long residency at the Garrick Theatre is the return of Dame Judi Dench to the stage, playing Paulina in their opening production of The Winter’s Tale. One of the pre-eminent Shakespeareans of this or any age, the run largely sold out in advance proving the astute business sense but with Branagh and Rob Ashford co-directing this oft-described problem play, does it make artistic sense?
And I’m not 100% sure that it does, this doesn’t feel like a production that one will remember as a classic of our time. It is undoubtedly a difficult play to mount, the chilly stateliness of the first act’s Sicilia contrasting strongly with the permissive post-interval (and 16 years hence) Bohemia and with a rambling plot full of statuesque tragicomedy, it’s a hard one to love. Branagh and Ashford keep things more or less traditional, and of course excellently spoken, but rarely soul-stirringly good. Continue reading “Review: The Winter’s Tale, Garrick”
The Kenneth Branagh Theatre Company officially open their year-long residency next week so here’s a cheeky little preview to whet the appetite in advance of the reviews. Mild production spoilers abound… Continue reading “Preview: The Kenneth Branagh Company”