Mike Bartlett’s Press has a fantastic company and big ambitions but is probably best enjoyed as feisty entertainment than an accurate portrayal of the world of journalism
“We do it through the most outrageous storytelling in the world, not statistics”
A lot of the chat around Mike Bartlett’s new series Press, as written by journalists at least, was around how the show fails to represent life at a contemporary newspaper in an accurate manner. So I hasten to remind us all, as if it were really necessary, that Press is a drama and not a documentary, and that dramatic license and a real, and frankly essential, thing.
Soapbox done, this six parter is an interesting if simplistic look at duelling newsroom as it follows the teams at Sun-a-like The Post and Guardian-a-like The Herald as they follow stories, set the news agenda and battle for the very soul of journalism. It’s all highly watchable in a popcorn-munching kind of way but – perhaps ironically given my first paragraph – the shadow of the real world occasionally looms a little too large. Continue reading “TV Review: Press (BBC1)”
Sophie Treadwell’s 1928 expressionist play Machinal receives an extraordinary production from Natalie Abrahami at the Almeida Theate
“Your skin oughtn’t to curl – ought it – when he just comes near you- ought it? That’s wrong, ain’t it? You don’t get over that, do you – ever, do you or do you?”
Sophie Treadwell’s 1928 play Machinal may be the story of one woman battling societal pressure but Natalie Abrahami’s production for the Almeida Theatre teases out a more elemental struggle, one which stretches over the majority of the twentieth century and by extension, even further.
The story is rooted in its ordinariness. Emily Berrington’s Young Woman gets by at a job she doesn’t like, marries the first guy who shows an interest, gives birth to a child she scarcely wants – expectations check check checked. But as she learns that she wants more, can want more, the weight of societal pressure comes to bear. Continue reading “Review: Machinal, Almeida Theatre”
“Remember when you used to play Mozart?”
I’ve been lucky enough to see Cassidy Janson in a number of productions over the years and I’ve been a fan from the start, from stepping into Julie Atherton’s not-inconsiderable shoes in Avenue Q onwards, so I was mightily pleased when she was announced as the replacement for Katie Brayben in the lead role in Beautiful – The Carole King Musical. I really enjoyed the show when it opened last year and thought Janson would be a good fit but in finally getting to see her, I couldn’t have imagined how perfect a marriage of performer and material this would be.
As Carole King, one of the most successful songwriters of the last century, she thoroughly imbues the character with an engaging sense of life and vivid musicality that just bursts from the stage. Through a decade of huge change as this ebullient Manhattan teenager becomes a wife and mother as well as writing some of the biggest pop hits around, Janson keeps us thoroughly engaged with Douglas McGrath’s sometimes-a-bit-too-functional book whether acting, singing or acting through song – if she weren’t already a star, I’d say it’s a star-making performance. Continue reading “Re-review: Beautiful – The Carole King Musical, Aldwych”
“Everything seems to be
Some kind of wonderful”
Where Broadway leads, the West End will surely follow and so it is little surprise that Tony-winning Beautiful – The Carole King Musical found its way over here to the Aldwych Theatre. And I’m pleased to report that the transatlantic passage has gone most smoothly indeed to deliver an absolute treat of a show. When three of its four leading personnel are still very much alive and kicking, it is perhaps no surprise that Douglas McGrath’s book treads a rather respectable path through the first ten years of King’s career. But then she would be the first to say, with typical self-deprecating charm, that her life is hardly the most exciting, her dreams never the loftiest – it just so happens that beneath this veneer of ordinariness lay an absolute treasure trove of extraordinary music.
And as musical gem follows musical gem – both from the collaborations of King and sometime partner Gerry Goffin, and also from their friends and writing rivals Cynthia Weil and Barry Mann – this feels utterly the point. Life isn’t always chock-a-block with drama, motivations don’t always have to spring from some momentous event, the cult of the tortured artistic soul is far from the be all and end all (Billington seems to suggest being “a shy, well-adjusted woman struggling to reconcile a career with a failing marriage” is something of a crime!) and I’d say that Beautiful is no weaker a biopic for not having such narrative peaks and troughs, reinventing personal history in the name of drama. Continue reading “Review: Beautiful – The Carole King Musical, Aldwych Theatre”
“An everlasting vision of the ever-changing view”
I can’t really pinpoint the moment when I first discovered Carole King’s music, and specifically the long-player Tapestry, but it has long been a personal favourite, ever since I was a kid really. I’m sure my parents would have had a copy of the original by the record player but perhaps appropriately for someone who initially came to fame as a songwriter rather than a singer, it is covers of her work that stand out as the earliest memories – Martika taking on ‘I Feel The Earth Move’, Dina Carroll lending her chocolate-smooth vocal to ‘It’s Too Late’…, the slightly odd tribute album featuring the Bee Gees, Aretha Franklin, Céline Dion and Eternal amongst others.
In this day and age it is but a natural progression that someone should fashion a musical from King’s back catalogue and in Beautiful – The Carole King Musical, due to arrive at the Aldwych Theatre in February 2015 fresh from its Tony-winning success on Broadway, we have the very thing. Starring 2-time fosterIAN award nominee Katie Brayben as Carole King (a casting decision that I think is pretty much perfect, a great chance for Brayben to get deservedly more notice) and with a supporting cast that includes Glynis Barber, Alan Morrissey, Lorna Want, Gary Trainor and Ian McIntosh, it looks set to take the West End by storm.
“It’s a no, it’s a yes, it’s a no from me”
One of the most profitable television franchises in the UK, a much-loved comedian writing the book, a £6 million budget…there’s clearly considerable heft behind the latest musical to establish itself in the London Palladium. But the marriage of Harry Hill’s bizarre comic sensibility, Steve Brown’s bright if hollow score and the ITV juggernaut that is the X-Factor makes for uneasy bedfellows, Sean Foley’s garish production eschewing any kind of subtlety for the broadest kind of populist swoop.
I Can’t Sing is a show that constantly wants to have its cake and eat it. Faux-Dermot presenter Liam O’Deary gets a laugh by exasperating at one point “I don’t know why you might be charged” when the phone lines have closed, presumably the response “because they continue to make money for the production company” was mixed in previews. The TV show’s heavy reliance on tear-jerking backstories is a running gag yet nothing dispels the myth that that is the way to get noticed on a talent show. Likewise the qualifications of the panel to be judges of a popular music contest are skewered yet they remain feted as a special brand of celebrity. Continue reading “Review: I Can’t Sing, Palladium Theatre”
Last week’s post proved surprisingly popular so here’s another one for you. You can find below Gary Wood revisiting A Chorus Line with ‘What I Did For Love’, a preview from The Pajama Game with Michael Xavier & Joanna Riding singing ‘Hey There’, Shayne Ward & Louise Dearman giving their take on ‘Falling Slowly’ from Once, Angela Lansbury showing why her reputation is as it is with a lovely rendition of ‘Beauty & The Beast’ (though it still doesn’t excuse the applause on entry and standing o’s), and a clip of ‘I Can’t Sing’ which is mainly fascinating to those who have seen the show as it shows the amount of tinkering there has been. Continue reading “Saturday afternoon music treats”
“Do you have a problem with authority?
‘I have a problem with authoritarians…’”
The title of Boiling Frogs refers to an alleged phenomenon which should be familiar to fans of Christopher Brookmyre’s books and is an apt metaphor for this, The Factory’s first ever full-length original play. Usually known for reinterpreting classic plays and hugely interactive scenarios (the audience bringing along random props to be used and getting to pick who will play each part), Steven Bloomer has written a play set in a police cell in a world not too dissimilar from our own but where global warming has hit hard, the fallout from a riot called the Battle of Birmingham is on everyone’s lips and capital punishment is being introduced for terrorists.
The first people we see in the cell are Mark, a keenly intelligent professional protester arrested for impersonating a police officer and the policeman who is trying to interview him and avoid getting himself tied up in Mark’s word games and constant assertions of his civil rights. As the play progresses, George is then thrown into the cell, another protester who was at the same picnic in Parliament Square and then Tom, a policeman being held for overstepping the line. A sergeant also appears periodically to ratchet up the tension as the walls both metaphorically and literally begin to close in and the three prisoners are forced to face up to what they have done and what they believe is right. Continue reading “Review: Boiling Frogs, Southwark Playhouse”