“I’m Judy Garland, now pay me some respect”
The enduring legacy of Judy Garland may be considered the preserve of gay men of a certain age but but what Peter Quilter’s End of the Rainbow, a play with songs rather than an all-out musical, reminds us is that hers was a tragedy in which all of our increasingly celebrity-obsessed society is complicit. The play is set in the months leading up to her death in 1969, as desperate to pay off her debtors, her new young fiancé and manager Mickey Deans signed her up for a five week run of cabaret shows at The Talk of the Town though as became clear to see, Garland’s struggles made it a very difficult time.
With the press against her, willing her on to ever more scandalous deeds, friends deserting her as her drug dependencies also pushed away four husbands, and a career that was nosediving as a result of all this drama, Deans was banking on this being the comeback of all comebacks. But Quilter shows us through a number of scenes, that the extremities of her behaviour impossibly strained the relationships in her life, even with her devoted Brighton-based pianist Anthony, her body and mind warped by endless years of being a part of the fame game and unable to deal with being chewed up and spat out by the Hollywood machine. Continue reading “Review: End of the Rainbow, Churchill Bromley”
“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
“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”
“Beneath this mask I wear, there’s nothing of me”
I hadn’t originally intended to get a ticket to see Phantom: Love Never Dies, being appalled at the ticket prices when it was announced, but when the National Lottery gods smiled on me and I got four numbers and £64 (the price of a middle stalls tickets plus booking fee) I decided to take the plunge to see if indeed love never dies or whether I needed a defibrillator in my manbag.
It has been billed as a stand-alone story, ie not a sequel despite the strapline being ‘the story continues’… and most of the main characters being taken from Phantom of the Opera, the only new addition amongst the leads is Gustave, Christine’s 10 year old son. The action here takes place ten years after the events of Phantom, the masked man having fled to New York and set up a fairground/freakshow at Coney Island called Phantasmaland. Madame Giry and daughter Meg travelled with him, Meg being one of the performers in the show and looking to make it big in showbusiness through being showcased here.
However, Phantom anonymously invites Christine Daaé to come and sing at this prestigious new venue, an offer she is forced to accept as husband Raoul is now a heavy gambler, and a drunk. So they arrive in New York with son Gustave, and it soon becomes apparent that there’s more than just singing on the menu, as secrets and lies from the past rear their head, long-suppressed feelings rise to the fore and frustrated ambitions boil over with shocking results. Continue reading “Review: Phantom: Love Never Dies, Adelphi”