Autumn de Wilder offers an Emma. with a contemporary sensibility but not much sense
“Mother, you MUST sample the tart!”
You don’t see Jane Austen much at the theatre. Her situation notwithstanding, over the years I think I’ve only seen a single Pride and Prejudice and a vibrant Persuasion (plus countless Austentatious inventions), adaptations of her work just don’t seem to pop up in theatres with much regularity at all. I wonder why that is for there’s certainly no lack of them on our screens.
I wasn’t much of a fan of the Gwyneth Paltrow-starring film but loved both the TV versions I’ve seen with Kate Beckinsdale and particularly with Romola Garai. This latest iteration of Emma., directed by Autumn de Wilde and adapted by Eleanor Catton, only hit cinemas recently but due to coronavirus restrictions, found its way pleasingly quickly onto on-demand services. Continue reading “Lockdown film review: Emma. (2020)”
“The crowd of doubtin’ Thomases
Was predictin’ that the summer’d never come”
The English National Opera have had great success with their move into semi-staged revivals of classic pieces of musical theatre. Bryn Terfel and Emma Thompson lit up the Coliseum with Sweeney Todd in 2005, Glenn Close received an Olivier Award nomination for last year’s Sunset Boulevard, and so this year, we’re being treated to Richard Rodgers and Oscar Hammerstein II’s 1945 classic Carousel. I say treated…but with singers Alfie Boe and Katherine Jenkins cast as the show’s ill-fated lovers, this production is a bit of a challenge for musical theatre lovers. Read my three star review for Cheap Theatre Tickets here.
Running time: 2 hours 45 minutes (with interval)
Booking until 13th May
“I’m feeling so bad
Won’t you make the music easy and sad”
Traditional theatre shows seem to be struggling in the London Palladium at the moment so it was little surprise to hear that it would be once again filled by something more akin to entertainment than solid West End fare. Sinatra – The Man and His Music is that show and my two star review for Official Theatre can be read here – safe to say I was not a big fan.
Running time: 2 hours 20 minutes
Booking until 10th October
“Let my creatures rise again”
Adding to the diversity of festive offerings on the stage, The Wind in the Willows was the Royal Opera House’s first venture into the West End last December and now returns for a second year of adventuring through the riverbank, the Wild Wood and beyond. It might not be the instinctive choice for a Christmas show – a dance version of Kenneth Grahame’s classic children’s novel – but it has a gently persuasive charm that ought to appeal to all ages.
A wonderfully charismatic performance from Cris Penfold brings Toad to manic attention-seeking life – likewise Sonya Cullingford’s meek myopic Mole, Martin Harvey’s rakish rowing Ratty and Ira Mandela Siobhan’s bonny bright Badger – and through Will Tuckett’s expressive choreography and direction, their stories come to life. Solely through the medium of dance, all four offer a wonderful sense of character and camaraderie through their series of jocular japes and journeys. Continue reading “Review: Wind in the Willows, Vaudeville Theatre”
“Start by admitting from cradle to tomb, it isn’t that long a stay”
Perhaps with a nod to the fact that it isn’t that long since it was in the West End, the touring production of Kander and Ebb’s Cabaret directed by Rufus Norris is just playing a few days at the New Wimbledon Theatre before touring the country. It was a production that I enjoyed when I saw it back at the Savoy and crucially, it has made the one casting change it needed to really improve. Despite her best efforts, Michelle Ryan never felt really at home as Sally Bowles and the introduction of Siobhan Dillon is a clever one as she embodies the simultaneous fragility and strength of this most iconic of characters.
Otherwise, there isn’t too much more to say about it that wasn’t already said in that previous review. Will Young is a genuine revelation as a chilling Emcee, Matt Rawle’s bisexual writer Cliff exudes chemistry all around and the older lovers torn apart by the encroaching regime hits a real chiming note – Lyn Paul taking over from Siân Phillips against Linal Haft. And Valerie Cutko is an inspired casting choice for Fräulein Kost, a character I always end up wanting to see more of. Continue reading “Review: Cabaret, New Wimbledon Theatre”
“Step, kick, kick, leap, kick, touch…again!”
When I was learning to play the piano as a young’un, we had a book of tunes from the movies which included ‘One’ and ‘What I Did For Love’, both from A Chorus Line. I’d never seen the film (and still have not) but I loved both of those songs and so practiced hard to be able to play them well. But even when a new production of the show was announced earlier this year, the temptation to go and see it was never too strong. Part of that came from the venue – the Palladium is a most unforgiving of theatres if you don’t have a front centre stalls seat – but there was also a sense that its conglomeration of backstage stories might be a little dated in a world where the audition process has repeatedly been laid bare on our television screens.
I perhaps wasn’t alone in feeling this way as the production was forced into publishing early closing notices, meaning it shutters at the end of this week. But in forcing my hand and making me book via a bargainous deal that got us into the middle of Row C of the stalls, I belatedly came to realise that the show is much better than I thought it would be and perhaps deserves a longer life than it has had. Its set-up is simplicity itself – seventeen Broadway dancers audition for eight spots on the chorus line for a musical and as the director takes them through their paces, we get to hear the tales of these hopefuls, their dreams and aspirations, their fears and frailties, in some cases their most intimate stories about what dance and being a dancer means to them. Continue reading “Review: A Chorus Line, London Palladium”