News about Love Story’s 10th anniversary concert, Bonnie and Clyde in concert, Gatsby the Musical and the return of Sasha Regan’s HMS Pinafore
Erich Segal’s iconic novel Love Story became a much-loved film and, in 2010, a hit West End musical. Now stars reunite, along with the creative team behind the acclaimed Cadogan Hall concert of Howard Goodall’s The Hired Man. Alongside the original West End leads Emma Williams and Michael D Xavier is Michael Matus (Phantom of the Opera, La Cage Aux Folles) who plays the role of Phil. Joining them are Rebecca Caine (Les Misérables, The Sound of Music, Preludes), Simon Green (Titanic, Mrs Henderson Presents) and Jenna Boyd (Come From Away).
The company is completed by Simbi Akande (The Prince of Egypt), Jordan Cunningham (Priscilla Queen of the Desert), Alison Driver (What’s New Pussycat?), Charlie-Jade Jones (West Side Story), Maximillian Murphy (Parade), and Nikhil Singh Rai (Les Misérables, Mountview). Love Story is simple and poetic. Wealthy Harvard student Oliver falls for artistic Radcliffe student Jenny and they marry against his family’s wishes – a choice that leads to disinheritance. Goodall’s soaring melodies and the late Stephen Clark’s words are sure to tug on the heartstrings in a night not to be missed. Continue reading “Musicals update November 2021”
Sasha Regan’s All Male The Pirates of Penzance proves a feast for ears and the eyes in a glorious but short at the Palace Theatre
“Here, in this our rocky den,
Far away from mortal men”
There’s a beautiful sense of homecoming to the return of Gilbert & Sullivan to the West End, even if its only for a weekend. The Palace Theatre was founded by Richard D’Oyly Carte as The Royal English Opera House in 1891 and opened with Sir Arthur Sullivan’s Ivanhoe so the arrival there of Sasha Regan’s All Male The Pirates of Penzance could hardly be more apposite and turned out to be a real festive treat.
We don’t see much operetta around these days but Regan’s commitment to the cause has been admirable. It’s over a decade now since she first reinvigorated the form with this production (previously reviewed here and here), and working her way through the G&S catalogue (for my money, Iolanthe is the best), transfers, national tours and even international tours are a testament both to the enduring quality of the material and the frisson that comes from this method of interpretation. Continue reading “Review: Sasha Regan’s All Male The Pirates of Penzance, Palace Theatre”
Sasha Regan’s All Male The Pirates of Penzance cast announced, plus second date in the West End confirmed
Nimax Theatres have added a second night for Sasha Regan’s all-male take on W. S. Gilbert and Arthur Sullivan’s The Pirates of Penzance at the Palace Theatre, Shaftesbury Avenue. The show will now run on Saturday 12th December and Sunday 13th December 2020 at 7:00pm.
The production was meant to open at Wilton’s Music Hall and then tour but those plans have had to be cancelled and postponed respectively. For the uninitiated, Regan’s reinvigoration of this classic is a corker, I’ve seen it a couple of times now over the years and it never fails to delight. Continue reading “Sasha Regan’s All Male ‘The Pirates of Penzance’ cast announced, plus second date in the West End”
A much welcome revival for Sasha Regan’s all-male Iolanthe, bringing Gilbert and Sullivan to Richmond Theatre as part of a UK tour
“What’s the use of being half a fairy?”
Delving into deep into your wardrobe can get you into all sorts of bother. With CS Lewis, you could end up in the wintry woods of Narnia and with Sasha Regan, you might find yourself in the dress-up fantasy world of light operetta. Of all of her all-male Gilbert and Sullivan productions, Iolanthe is the one which I remember most fondly (its transfer to Wilton’s Music Hall perfectly done) so the news that it was the choice for this year’s revival for a UK tour left me tripping hither and thither in excitement.
And though I was a little apprehensive to revisit so beloved a production, this Iolanthe has stood up well. Mark Smith’s choreography with its suggestions of sign language for fairy speak, Stewart Charlesworth’s design making full use of the jumble box aesthetic, and Regan’s astute direction milking a show that’s more than a century old for all of its considerable comic potential and finding room for her own innovations as well. With MD Richard Baker controlling the music from his solo piano, this remains an arresting take on your G&S. Continue reading “Review: Iolanthe, Richmond Theatre”
|(c) Scott Rylander
“They are not young ladies…”
If it ain’t broke, why fix it? Sasha Regan alighted on a winning formula with her stripped-back all-male takes on Gilbert and Sullivan’s operettas and has toured the likes of The Pirates of Penzance and HMS Pinafore the length and breadth of the country and even to Australia. So it is little surprise to see her turn to The Mikado (or The Town of Titipu) to see if lightning can strike again with joyous shout and ringing cheer.
The production is set in the grounds of a 1950s-ish school camping trip, a canny move which neatly sidesteps some of the Orientalism issues and refocuses G+S’s satire on the English political establishment. And with the score for solo piano confidently played by musical director Richard Baker, the harmonious meld of the 16-strong company sounds like a dream, and don’t look half bad either delivering Holly Hughes’ effervescent choreography. Continue reading “Review: Sasha Regan’s All Male Mikado, Richmond”
“The gentleman is quite right. If you please”
If you have seen one of Sasha Regan’s all-male productions of Gilbert and Sullivan, then you know exactly what you’re getting with HMS Pinafore; if you haven’t, then there’s many a pleasant surprise in store. This production of the evergreen show has been seen before, at the Union in 2013 and on tour in 2014 but is being reprised here for another UK tour stretching from Yorkshire to Cornwall and it remains as refreshing as a Fisherman’s Friend.
Regan’s approach sees Sullivan’s score stripped back to solo piano, musical director Richard Bates doing sterling work from the keys, and Gilbert’s book performed by a set of 16 strapping sailors, the conceit here being performance as a way of passing the time, to lift spirits flagging a little after receiving letters from their loved ones. It’s a canny framing device and one which works effectively with hardly any tinkering with the plot at all. Continue reading “Review: Sasha Regan’s All Male HMS Pinafore, Hackney Empire”
“We can’t make piracy pay”
Gilbert and Sullivan’s titular buccaneers may struggle with a lack of a ruthless edge but Sasha Regan’s sharp eye means that piracy definitely pays as her all-male interpretation of The Pirates of Penzance enters a fifth year of swashbuckling success. From its initial run at the Union Theatre in 2009 and subsequent transfer to Wilton’s Music Hall, it has toured Australia, played the Hackney Empire and now returns for a UK tour which runs through to the end of June.
And getting to gaily tread the measure one more time was indeed an especial pleasure once again. In the august surroundings of Richmond’s Victorian theatre, the set design may look a little spare but once the stage is filled with heaving bodies – whether preening with piratical glee, gambolling in corsets or patrolling a policeman’s lot, or indeed all three at the same time, the musical spectacle of these eighteen lads, plus pianist, is quite something to behold. Continue reading “Review: The Pirates of Penzance, Richmond Theatre”
“The Japanese equivalent for hear, hear, hear”
Though I am most familiar with the score, I’ve never actually seen a production of The Mikado before. The Pirates of Penzance was my Gilbert & Sullivan show of choice, due to a childhood obsession with the film version, and there have been precious few opportunities to see much G&S (the all-male versions aside) in London in recent years. Director Thom Southerland has had great success with chamber musicals like Parade and Titanic (even if I wasn’t that much of a fan of the latter) so news of a radically reconceived version, set in a 1920s fan factory, provoked more interest than concern.
It’ll be interesting to see how those who know the show better react but for me, it is highly entertainingly done. Lyrical updates include a predictable attack on reality TV wannabes but also a truly witty, and bang-up-to-the-minute, sift through political mis-steps in Lord High Executioner Ko-Ko’s list, delivered with a twinkly mischievousness by Hugh Osborne. And though I was one of just a few to apparently catch it at this performance, there’s a great Strallen reference in amongst many others during Mark Heenehan’s ‘A More Humane Mikado’ and what a fetching Mikado he doth make too. Continue reading “Review: The Mikado, Charing Cross Theatre”
“There is more innocent fun within me than the casual spectator might allow”
The all-male Gilbert and Sullivan adaptations at the Union Theatre have become something of an annual institution now and though we’ve been kept waiting a few more months than usual, the next instalment has arrived with Patience or Bunthorne’s Bride. Last year’s Iolanthe was exceptionally good and I rather enjoyed The Pirates of Penzance the year before so it was safe to say that expectations were rather high for this, but this was a show I knew nothing of beforehand – my love for G+S being mainly limited to the film of Pirates… which I watched over and over again as a child.
Patience is a satirical look at the aesthetic movement (yeah, me neither) which was a fashionable movement of the 1880s that preached devotion to the arts and lofty ideals of love as a duty rather than a pleasure. We follow Reginald and Archibald as they both pursue a milkmaid named Patience, whilst a group of ladies swoon over the aesthetically minded pair of gents and ignore the returning bumptious soldiers to whom they were engaged the previous year. Gentle fun is poked at everyone as attentions shift from man to man and the hapless soldiers are left trying to become aesthetes themselves in order to win back their feckless ladies. Continue reading “Review: Sasha Regan’s All Male Patience, Union Theatre”
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”