We get tricked”
With a singing style that is as strong as Theresa May’s record on supporting the police and an accent that is as stable as the content of her manifesto, it’s a bold move to make Miranda Hart the above the title star of this production of Annie, the first in London this millennium. To be fair though, unlike May she’s willing to work well with others, gamely throwing herself into harmonies and hoofing around in vaudevillean-style routines, but her performance is too close to the warmth of her TV persona to ever really convince of the darkness at the heart of Miss Hannigan.
Equally, it’s hard to feel that the West End is in real need of Annie and all its old-fashioned ways. Nikolai Foster’s production, seen on tour in the UK over the last year, has its certain charm but it is hard to get excited by any of it. Colin Richmond’s jigsaw puzzle of a set design misguidedly evokes thoughts of Matilda when in reality there’s nothing that fresh about it; Nick Winston’s choreography similarly promises much but ends up reaching for traditional touchpoints which end up underwhelming with the relatively small company at hand here, as evidenced in the small scale of ‘N.Y.C.’. Continue reading “Review: Annie, Piccadilly Theatre”
“This revolt of thine is like another fall of man”
It would be great to live in a world where gender-blind casting isn’t newsworthy in and of itself but we don’t and so it should be shouted out and celebrated wherever it happens, until the day that it just feels rightly commonplace. What should always be celebrated though is the opportunities being given to some our greatest actors to take on powerful leading roles – the intrigue of Glenda Jackson’s return to the stage, the trifecta of Harriet Walter’s Donmar leads soon to be capped off with Prospero and here at the Open Air Theatre, the glorious Michelle Terry rising to the challenge of Henry V.
Insofar as Robert Hastie’s modern-dress production has a conceit, it’s of a group of actors coming together to put on a play, waiting for Charlotte Cornwell’s Chorus to anoint one of them with the leading role – and it’s hard not to feel a frisson of delight as she bypasses the cocky guy pushing to the front to place the crown on Terry’s head. And from then, it’s a relatively straight-forward production, playing out on the wide expanse of Anna Fleischle’s square of riveted iron, props kept to a minimum, John Ross’ movement coming to the fore in impressionistic battle scenes lit beautifully by Joshua Carr. Continue reading “Review: Henry V, Open Air Theatre”