“Do you want puppets?”
No matter the weather, as you walk into the Lyttelton’s auditorium for Pinocchio, you’ll find that it is snowing. A simple trick but one that inspires just the right childlike wonder for an adaptation of such a popular fairytale, but it is also a sense of magic that John Tiffany’s production of Dennis Kelly’s adaptation sometimes struggles to hold onto, as darkly disturbing as it is exuberantly heartfelt.
That darkness comes from several directions. The narrative cleaves closely to the moral instruction of a fable so Pinocchio’s struggle with the dark side is presented as a straight-up choice between good and evil – make the wrong choice in dealing with the Fox or the Coachman and things could end up pretty grim, as we witness in a particularly brutal bit of puppet mutilation (it shocked even me!). Continue reading “Review: Pinocchio, National”
Truth be told, I don’t review much dance because I don’t feel qualified to comment on it. And because I don’t feel qualified to comment on it, I don’t see much dance…and so the vicious cycle continues. I was able to get a ticket to the last night of Drew McOnie’s re-imagining of Jekyll and Hyde though, it having been recommended to me by several people, but knowing that I wouldn’t be writing about it, I might have had a couple of sherbets pre-show. So aside from saying that I really enjoyed it, I won’t be commenting any more to say that Manuel Harlan took these lovely pics.
Continue reading “Pictures of Jekyll and Hyde, Old Vic”
If Dr Seuss stories are what makes you tick,
Then this Christmastime you should hit the Old Vic.
The Lorax adapted by scribe David Greig
is so damn delightful for tickets you’ll beg.
Director Max Webster has served up a treat
with such charm no panto could ever compete.
A show for all ages, it’s also a musical,
I had my doubts but it’s something quite beautiful. Continue reading “Review: The Lorax, Old Vic”
“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
“We had such hopes…”
To celebrate its 25th anniversary, The Phantom of the Opera decamped to the Royal Albert Hall for 3 performances, the highlights of which were spliced together to give a full CD/DVD release package which contains as full a rendering of the entire score as it currently available. Maybe it was a rush job though as the sound quality on this CD really isn’t good enough for it to be genuinely recommendable, even for a live recording.
I also had mixed feelings about the production itself. I just can’t get on with Sierra Boggess’ voice, her soprano voice always erring to the too shrill for my liking and the vibrato she employs has all the subtlety of a jackhammer. Christine isn’t the strongest-written of roles at the best of times and Boggess just feels too emotionally vapid to be the inspiration of such all-conquering adoration as she is served with in this story. Continue reading “Album Review: The Phantom of the Opera at the Royal Albert Hall”
“If I were a watch I’d start popping my springs!”
From the opening moments of an overture that demands the attention, it is clear that Chichester’s revival of the Broadway classic Guys and Dolls is going to be a scorcher. Director Gordon Greenberg utilises not only Carlos Acosta as choreographer but also Andrew Wright as a co-choreographer and the combination of the two is simply explosive – these are no two-bit routines that people are shuffling around, this is proper dance and it is thrilling to behold.
It helps of course to be connected to Jo Swerling and Abe Burrows’ amiable book, based on Damon Runyon’s characters, about the travails of a bunch of New York gamblers, and Frank Loesser’s evergreen music and lyrics which churns out classic after classic after classic. Greenberg wisely doesn’t interfere much at all with the material, just cultivating warmth from all of his performers and particularly his two leading couples, making them utterly adorable. Continue reading “Review: Guys and Dolls, Chichester Festival Theatre”
“Nothing stays in fifty years or so, it’s gonna change you know”
The thrills of Kander & Ebb’s iconic work Chicago became somewhat lost as the show grew into a stalwart long runner in London’s West End, turning to an unending procession of stunt casting moves to keep the crowds coming. But though I’m a great fan of the show, the temptation to go and see it again was never there, not even as it closed, the innate razzle-dazzle had gone missing. So the prospect of a brand new production at Leicester’s Curve Theatre, directed by Paul Kerryson and choreographed by bright young thing Drew McOnie, raised hopes that it might be back.
And boy is it ever. The Curve has been home to some excellent musicals during Kerryson’s tenure and Chicago is right up there with the best, as a vibrant recasting of the familiar elements of the show infused with a fresh vitality that literally sparks off the stage. Away from the faux glamour of the latest evictee from the jungle or fading Hollywood star, the focus on genuine musical theatre talent restores an integrity to the show which allows it Kerryson to really play up the viciously biting satire of sensation-hungry audiences which is as relevant today as it ever was. Continue reading “Review: Chicago, Curve”
“Looking back I could have played things some other way”
And so the charity shop bonanza continues: this weekend I was given Chess in Concert which cost 50p from the British Heart Foundation in Reading as it had no box! I’ve never actually seen Chess and so was mildly intrigued by the prospect of it especially as it featured Idina Menzel in the cast but the presence of Josh Groban and Marti Pellow had turned me off from previously engaging and I’m no great fan of Kerry Ellis either to be honest. But I gave the show, a concert version from the Royal Albert Hall in 2008, a try and found myself quite enjoying it despite everything.
For the uninitiated, the music for Chess was written by Björn Ulvaeus and Benny Andersson of ABBA with lyrics by Tim Rice and is based around a love triangle between two players in the Chess World Championship and Florence, a woman who manages one of them but falls in love with the other: the Cold War dramatised through chess and set to music, how else could this story have been told?! On first time viewing though, I have to admit to being quite surprised at how effective it was at telling a rather intimate story whilst simultaneously capturing much of the paranoia and ill-feeling that characterised this ideological conflict. Continue reading “DVD Review: Chess in Concert”