Samantha Barks and Stephanie McKeon bring Elsa and Anna magically to life in the show-stopping Frozen, playing now at the Theatre Royal Drury Lane
“There’ll be actual real live people
It’ll be totally strange”
Let’s be honest, you already know whether you’re going to see Frozen or not, there’s nothing any review could say that will change your mind. Such was the enormity of Disney’s 2013 juggernaut of a success, anchored by the ubitiquity of its signature song ‘Let It Go’, the only surprise it that is has taken this long to arrive as a musical.
As it was, we can blame Covid for its delayed opening here (and perhaps also its premature closing on Broadway), but Michael Grandage’s fine production is bracingly fresh in the retooled Theatre Royal Drury Lane, accompanied by Christopher Oram’s breathtaking scenic design, a raft of ‘how-did-they…’ special effects from Jeremy Chernick and of course, some lung-busting songs. Continue reading “Review: Frozen, Theatre Royal Drury Lane”
With so much uncertainty still blighting the West End, Frozen the Musical has announced that it is taking tickets offsale and postponing its premiere until a new timetable can be confirmed. But to sweeten the pill, they’ve also revealed the final members of their company.
Chris Fung and Kerry Spark will join the already announced cast, led by Samantha Barks (Elsa) and Stephanie McKeon (Anna), as well as Obioma Ugoala (Kristoff), Craig Gallivan (Olaf), Oliver Ormson (Hans), Richard Frame (Weselton), and alternating the role of Sven, Mikayla Jade and Ashley Birchall. Continue reading “News: updates for Frozen in the West End.”
Jamie Lloyd and Martin Crimp’s iconoclastic take on Cyrano de Bergerac is a bracing breath of fresh air at the Playhouse Theatre
“Decided to come out, watch a play?”
Not having any real kind of relationship with Edmond Rostand’s original play, aside from a dimly-remembered all-female version back in 2016, I approached Cyrano de Bergerac at the Playhouse Theatre with something of a blank slate, my intrigue at Jamie Lloyd’s directorial vision tempered by my fear of most anything Martin Crimp has written.
It is certainly a challenging watch and predictably, Crimp and Lloyd make us work. The free adaptation switches rhyming verse for slam poetry, Soutra Gilmour’s design gives us a starkly contemporary milieu and the fourth wall might as well not exist as lines are often spoken out to the audience. The utilitarian modern aesthetic also extends to costumes, meaning there’s no nose… Continue reading “Review: Cyrano de Bergerac, Playhouse Theatre”
Jamie Lloyd’s reinvention of Evita at Regent’s Park Open Air Theatre proves a storming success
“I could find job satisfaction in Paraguay”
If this was the production of Evita that was forever touring the UK, then we could all be a hell of a lot more enthused about the future of UK theatre. Bill Kenwright might have the business side locked down with dull predictability but at the Open Air Theatre, Jamie Lloyd is unleashing a torrent of creative genius which proves inordinately exciting to witness.
He offers up a complete reimagining of the Andrew Lloyd Webber and Tim Rice musical and one which feels sparkingly fresh in every single aspect. The open bleachers of Soutra Gilmore’s design which turns our focus to the human relationships here, the striking physicality of Fabian Aloise’s choreography with its haunting screaming faces and way-cool domino effect points to societal trauma and most crucially, Lloyd allows the shadow of populist politics to loom large. Continue reading “Review: Evita, Open Air Theatre”