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”
42nd Street is signing off at the Theatre Royal Drury Lane in quite some style as a perfectly-cast Bonnie Langford joins the company
“Musical comedy – the most glorious words in the English language”
I liked 42nd Street when I saw it last year but I can’t say that I truly loved it, it felt a 24 carat production of a gold-plate show. But upon revisiting, to celebrate Bonnie Langford’s arrival in the company for its final furlong before closing in the New Year, some kind of magic seems to have happened at the Theatre Royal Drury Lane (or maybe I was just less grumpy tonight!) as it has now matured into something spectacular.
The only major difference is Langford’s presence as Dorothy Brock, but there’s just something about her that shimmers with star quality and it is contagious. So even as she’s trying to dampen it down a bit as this particular fading star, her comic timing makes her scenes crackle with electricity, her singing is on point and she’s just a dream to watch. It’s a perfect role for her – who needs stunt casting when you have the right casting? And as for her surprise appearance in the finale? SWOON!
I also felt Clare Halse has really settled into the role of Peggy Sawyer. It’s a curious role in that she grows to become the leading lady of this musical as the understudy-come-good, but is given precious little time in which to do so and most of that is taken up with dance. Such amazing dance though, she really is effortless in her every graceful move, and she’s acting more through every movement too as her self-belief slowly blooms into the incandescent life of the finale. Continue reading “Re-review: 42nd Street, Theatre Royal Drury Lane”
A trio of West End cast recordings (well, one’s off-West-End…) show that it is sometimes hard to recapture the stage magic
Starting off with the best of this bunch, the Southwark Playhouse’s production of Working might not have seemed like the obvious choice for a cast recording but maybe the lure of a couple of new Lin-Manuel Miranda tracks was a real sweetener.
Truth is, it is the quality of the cast’s performances that make this a fantastic addition to the list of albums you need to hear. From Siubhan Harrison’s impassioned ‘Millwork’ to Dean Chisnall’s gleeful ‘Brother Trucker’, and the highly charismatic Liam Tamne nails both of Miranda’s contributions – the wilful ‘Delivery’ and a corking duet (with Harrison) on ‘A Very Good Day’.
Experience pays though, as Gillian Bevan and Peter Polycarpou take the honours with some scintillating work. The latter’s ‘Joe’ is beautifully judged, as is the former’s ‘Nobody Tells Me How’, both demonstrating the uncertainty that can come at the end of a long career, when retirement doesn’t necessarily hold the joyful promise it once did. Highly recommended. Continue reading “Album reviews: Working / Bat out of Hell / 42nd Street”
“You’re going out a youngster, but you’ve got to come back a star”
In the rush to dole out the five star reviews that seem de rigueur for any big musical these days (22 for An American in Paris so their new poster shouts proudly), there appears to be a willingness to overlook storytelling for spectacle. As at the Dominion, the newly opened 42nd Street is a massive dance show which is undoubtedly hugely, well, spectacular. And it also suffers from not being particularly dramatically interesting, Michael Stewart and Mark Bramble’s book contains hardly any dramatic tension at all – will the show-within-the-show be alright on the night? What do you think?!
I start with this line of thought because as much as I was impressed by 42nd Street, it rarely moved me in the way that Golden Age musical theatre (my favourite genre of all, surprising no-one) at its best does. Based on a novel from the 1930s, the book here – as directed by Bramble – sacrifices any hint of suspense or meaningful character development for the headlong rush from production number to production number. And it just about gets away with it due to the sheer scale of what is being mounted here. 40+ bodies tap-dancing in unison in bucket-loads of sequins – bawdy and gaudy indeed.
“Where the underworld can meet the elite… Naughty Bawdy Gaudy Sporty Forty-Second Street!”
I was lucky enough to be invited to the first preview of 42nd Street at the Theatre Royal Drury Lane and whilst any official opinions about the show are under embargo until press night, I thought I’d give you all some hints and teasers and a little sneak preview (assisted by these beautiful photographs courtesy of Brinkhoff & Moegenburg) through these 42 reasons to see 42nd Street.
Rachel Kavanaugh’s glorious take on The Sound of Music two years ago for the Open Air Theatre in Regent’s Park was a wonderful thing indeed so it is little surprise to see her welcomed back to this venue to tackle another Golden Age classic, this time Seven Brides for Seven Brothers. It’s a canny decision as her familiarity with the space shows, utterly unafraid to use its full width and depth for unexpected arrivals, slow reveals and thrilling chase sequences and of course, the coup de théâtre that is the pinnacle of Peter McKintosh’s design which is a real piece of old-fashioned theatre magic.
Kavanaugh also makes small but pointed attempts to address the dubious gender politics of the show, without ever sacrificing the spirit of fun that should always characterise such classic musical theatre. So from the first moment Adam and Milly clap eyes on each other, there’s no doubting that the erotic charge between them is mutual, her lustful glances perhaps even more overt than his. And the strength of Laura Pitt-Pulford’s performance is that she never lets us forget she’s a woman making her own choices, even if its just making the best of a bad lot. It’s not a perfect reconciliation of the issues but it feels enough for her, for now. Continue reading “Review: Seven Brides for Seven Brothers, Open Air Theatre”
Taking your seat in the Palladium to see the musical theatre behemoth that is Cats– now 33 years old and receiving a 12 week revival here in one of Andrew Lloyd Webber’s own theatres – is an act of strangely calculated nostalgia. Famed for being one of the longest-running shows both on Broadway and the West End, its feline frolics remain entirely evocative of the 80s and as it reunites the original creative team – director Trevor Nunn, choreographer Gillian Lynne, designer John Napier – that should come as little surprise.
For those unfamiliar with the show, it was actually a feat of some daring. A through-sung, through-danced piece with no real narrative, save that taken from T.S.Eliot’s book of whimsical poetry, Old Possum’s Book of Practical Cats. In essence, we meet the key characters of a tribe of cats who have gathered in a junkyard for a special night where one of them will be selected to be reborn into a new life in cat Heaven (or more accurately, be part of a rather dodgy bit of stagecraft, almost as naff as those cats’ eyes at the beginning).