Sutton Foster soars in this superlative revival of Anything Goes which almost justifies the ticket prices at the Barbican
“If love affairs you like With young bears you like, Why nobody will oppose”
There are several things that can take your breath away in this simply fantastic production of Anything Goes, whether the jaw-dropping rendition of the title track that closes the first act or ticket prices that top out at £175 (the Barbican’s seats may be comfortable but that is pushing it…). Fortunately, the rest of the house isn’t quite as eye-wincingly steep (though full disclosure, I was treated by the kindest aunt 😉) and the joyous swells of Kathleen Marshall’s production mean you’ll find it hard to feel short-changed.
Like many a show of its time, the plot is an entire trifle – Timothy Crouse & John Weidman fashioning a new book from PG Wodehouse & Guy Bolton and Howard Lindsay & Russel Crouse’s original – suffice to say it covers any manner of madcap antics on an ocean liner. Those antics are mainly there as a framework on which to hang some of the best songs ever written as we delve deep into the Cole Porter songbook for some musical heaven. Throw in a Broadway production that has already won multiple Tonys and also snag its leading lady who won of those, and job’s a good’un.Continue reading “Review: Anything Goes, Barbican”
Auburn Jam Music are delighted to be releasing ‘You Will Be Found’ by #CheerUpCharlie & West End Friends, a fundraising charity single in aid of youth charity The Diana Award, on Sunday 15 November to tie in with the start of National Anti-Bullying Week (16-20 November).
So much to like in The King and I at the London Palladium, not least the exquisite costumes and a superb Kelli O’Hara
“Getting to hope you like me…”
Despite my love of a classic musical, it has taken me a wee while to work up the enthusiasm to go and see The King and I at the Palladium. A big Broadway success, Bartlett Sher’s production kept its leads of Kelli O’Hara and Ken Watanabe but with that pedigree comes an element of playing it safe, which is what I think has kept me at bay.
And in watching the show, you can’t ever really escape this feeling of sedateness, splendidly mounted as it is. Catherine Zuber’s costume work is beyond lush, Michael Yeargan’s set has an epic scale and the sweep of Christopher Gattelli’s take on Jerome Robbins’ original choreography is quite often breathtaking – they don’t make em like this any more etc etc. Continue reading “Review: The King and I, Palladium”