Some cracking guest stars elevate Series 7 of Silent Witness which settles rather well into its mould of slightly fractious teamworking
“This is not Toy Town. I am not Mr Plod. You are not Tessie Bear”
The establishment of a team around Sam Ryan at the Lyell Centre was certainly one of the best decisions Silent Witness made, certainly while Amanda Burton’s frosty lead was still at the helm. And I think Series 7 ranks as one of her best as the writers finally tackle her self-declared infallibility and throw her inability to work nicely with others right under the microscope.
Through stories of suspected terrorism, steroid abuse and sexual assault, there’s an ongoing theme of reputational integrity, examining how far people will go to protect their name. Professionally, she has her own judgement called into question, both by outsiders and in a clever twist by William Gaminara’s Harry as the colleagues are pitted against each other in a high-profile case. Continue reading “TV Review: Silent Witness Series 7”
“You can never go back to before”
Mother may spend a song telling us that we can never go ‘Back To Before’ but fortunately you can go back to Ragtime with no fear. And in a post-election climate, it can’t help but feel even more charged as the USA finds itself at a(nother) momentous point in its history. You can read my original review here and if anything, Thom Southerland’s production has gotten even better as the actor-musicians feel even more confident and comfortable.
Leading performances from Jennifer Saayeng and Ako Mitchell, Earl Carpenter and Anita Louise Combe, and Gary Tushaw remain powerful as ever. But on second viewing I enjoyed watching ensemble members and just how damn hard they’re working – Kate Robson-Stuart, Christopher Dickins and James Mack particularly standing out for me… If you’ve not seen the show yet, there’s a trailer below for your delectation but move quickly, there’s less than a month less of the run. Continue reading “Re-review: Ragtime, Charing Cross Theatre”
“And say to those who blame us for the way we chose to fight
That sometimes there are battles that are more than black or white.”
It’s impossible to watch Ragtime right now without marvelling at its relevance to the current US presidential election campaign and the lessons that were right there for Donald Trump and his team to learn. For in many ways, the show – written by Ahrens and Flaherty with book by Terrence McNally from EL Doctorow’s novel – is about the development of the modern American nation and identifies three key groups instrumental in that societal change in women, African-Americans and immigrant communities, the very people Trump has done his damnedest to alienate.
Politics aside, what’s more significant is the magical touch that director Thom Southerland seems to have when it comes to reconceiving musicals, as his actor-musician production here at the Charing Cross Theatre is an extraordinary success. Keeping most of his 24-strong company onstage throughout amplifies the overarching humanity of its storytelling, reminding us that these are all of our stories regardless of whichever group we ‘belong’. Combined with the expert musicality onstage and an ingenious design from Tom Rogers and Toots Butcher, it’s an irresistible adaptation that shouldn’t be missed. Continue reading “Review: Ragtime, Charing Cross Theatre”
A third trip to Gypsy?
My reaction on finding out it was being recorded for the BBC and also DVD
My emotional state on leaving the show and being reminded once again how sensational it is from top to bottom,
You’ve got until 28th November, no excuses.
“I had a dream, a wonderful dream”
From the moment Imelda Staunton shook the very foundations of the Chichester Festival Theatre as Mama Rose in Gypsy, it was pretty much a given that a West End transfer of this Jule Styne/Stephen Sondheim show would be on the cards and that this incredible performance would be immortalised in an official cast recording. And it shouldn’t be taken for granted that Staunton is wowing audiences nightly at the Savoy and that we have been blessed with an album, for this is the kind of musical theatre perfection that surely only comes along once in a lifetime.
Much of the attention rightly falls on Staunton’s astonishingly nuanced portrayal of the ultimate stage mom but it would be a mistake to label this a one-woman show, Jonathan Kent’s production is far too good for that. She is supported by an extremely skilful performance from Lara Pulver as Gypsy Rose Lee, tracing this overlooked sister’s journey to unexpected stardom and listening to the growing confidence ‘Let Me Entertain You (Gypsy Strip)’, her shyness is cast off vocally as well as physically, like a chrysalis revealing the shimmering showgirl beneath. Continue reading “Album Review: Gypsy (2015 London Cast Recording)”
“Ready or not, here comes Mama…”
These days, it’s more of a surprise when the big musicals from Chichester Festival Theatre don’t transfer into London (cf Barnum). And though it took them a wee while to confirm that Jule Styne’s Gypsy would be making a similar leap, after receiving the kind of extraordinary reviews (including from yours truly) that would most likely canonise Imelda Staunton right here and now, there was never really any doubt that this Rose would get her turn again, 40 years after the show was last seen in the West End.
With such a build-up and expectations sky high, Jonathan Kent’s production has a lot to live up to – and you can sense perversely-minded naysayers dying to have their turn – but dare I say it, I think the show has gotten even better. A key aspect to this is that Anthony Ward’s multi-faceted and multi-piece set design fits much better into the Savoy’s proscenium arch, its machinations felt just a little too exposed on Chichester’s thrust though the pay-off is that Nicholas Skilbeck’s supple-sounding orchestra now has to be tucked away. Continue reading “Review: Gypsy, Savoy Theatre”
“It’s enough to drive you crazy if you let it”
With a score that incorporates both songs from her back catalogue and newly penned numbers by Dolly Parton and a book from Patricia Resnick, one of the co-writers of the film on which it based which also featured Parton’s screen debut, there was little danger of 9 to 5 The Musical ever veering too far from the template which saw it become a cinematic success. But though its crowd-pleasing adherence to the film brings a definite feel-good factor, which is best characterised by the effervescent opening rendition of the title song, it also imposes limits on just how successful a piece of musical theatre it can be.
It’s 1979 and the office of Consolidated Companies, typical of most workplaces at the time, is a bearpit for the female of the species. But the tide is changing and as three women in this particular environment come together in the face of sexist adversity and an inadvertent deployment of some rat poison, an alternative way of running the company springs to mind and suggests that the future might not be so grim after all. Continue reading “Review: 9 to 5 The Musical, New Wimbledon Theatre”