Despite some careful thinking and some glorious singing, the Open Air Theatre’s reimagined Carousel can’t stop this problematic musical from being, well, problematic
“Walk on through the wind
Walk on through the rain”
There’s a glorious moment early in the second half of the Open Air Theatre’s production of Rodgers and Hammerstein’s Carousel when all its constituent concepts and parts coalesce together in perfect harmony. Joanna Riding delivering the haunting strains of ‘You’ll Never Walk Alone’ as the sparseness of Tom Scutt’s design reveals its haunting potential, cleverly contextualising Drew McOnie’s lyrical choreography with the bold brass of Tom Deering’s new orchestrations recasting this classic score with real vibrancy.
Around it though, the rest of this notoriously tricky musical doesn’t quite stick the landing in the same way, despite the work that director Timothy Sheader and his company have put in to try and address its intrinsic issues. A soft relocation to somewhere in’t’north allows the cast to use a range of British accents but it is a certain truth that no British person has ever said the word clambake, particularly as often as it is said in this show. It may seem like a small point but it is an incongruency that rings out every single time someone says it. Continue reading “Review: Carousel, Open Air Theatre”
The thought of outdoors theatre was fine earlier this week, not so much right now! For the brave, Regent’s Park Open Air Theatre have confirmed full casting for Rodgers and Hammerstein’s Carousel, which plays 31 July – 25 September. Joining the already announced Carly Bawden (Julie Jordan), Declan Bennett (Billy Bigelow), John Pfumojena (Enoch Snow), Joanna Riding (Nettie Fowler) and Natasha May Thomas (Louise Bigelow) are Brendan Charleson (Mr Bascombe), Jo Eaton-Kent (Mrs Mullin), Sam Mackay (Jigger Craigin), Ediz Mahmut (Young Enoch) and Christina Modestou (Carrie Pipperidge).
The ensemble includes: Chanelle Anthony, Craig Armstrong, William Atkinson, Shay Barclay, Sarah Benbelaid, Madeline Charlemagne, Freya Field, Sebastian Goffin, Amie Hibbert, Tim Hodges, Lukas Hunt, Tessa Kadler, Lindsay McAllister, Matthew McKenna, Jack Mitchell, Charlotte Riby, Lisa Ritchie and Daisy West. Continue reading “News: West End musical castings confirmed”
As light as a madeleine and as frivolous as a macaron, Sandy Wilson’s The Boy Friend proves a festive treat at the Menier Chocolate Factory
“Clap-a your hands and slap on your thighs
Grin like a goon and roll up your eyes”
As light as a madeleine and as frivolous as a macaron, Sandy Wilson’s The Boy Friend belongs in the same delightfully daft bracket of musical theatre as the likes of Salad Days and as such, is the perfect kind of frothy fun that offers a little respite from the darkness of winter nights and politicians’ empty promises. Written in the 1950s as an homage to the 1920s and with a plot that can be summed up in one character’s aside “poor little rich girl”, Matthew White’s production for the Menier Chocolate Factory sees him renew a richly fruitful relationship which has included such successes as She Loves Me and Sweet Charity.
Keeping the original three act structure, complete with two intervals, pushes the evening a little towards the episodic, but any sense of slightness is banished by the thrilling choreographic content from Bill Deamer (also associate director). From the gobsmacking elasticity and unflagging energy of Jack Butterworth and Gabrielle Lewis-Dodson’s first act charleston, to the explosive passion of Bethany Huckle and Matthew Ives’ fiery carnival tango, the quality of the dancing really is second to none. And as the full company join in time and again, it’s hard not to be swept up in the joyous atmosphere and just join in with their beaming grins. Continue reading “Review: The Boy Friend, Menier Chocolate Factory”
“That’s what you get for all your trouble”
On the face of it, you could see why reviving Promises Promises would be an appealing prospect – written by Neil Simon from a Billy Wilder film and featuring a score by Burt Bacharach and Hal David. But digging even just a little deeper – a running time of nearly 3 hours and an antiquated set of gender politics made it a tough one to watch, and an even tougher one to excuse in today’s society.
If you were so inclined, you could argue that Billy Wilder and I.A.L Diamond’s original screenplay for the 1960 film The Apartment is “a triumph of 1960s sexual work-place politics” but quite what that has to say to audiences today is very unclear, (apart from gentlemen d’un certain âge craving the good old days natch). I have liked much of director Bronagh Lagan’s previous work but I can’t help pondering the choice here. Continue reading “Review: Promises Promises, Southwark Playhouse”
“What does it feel like when you’re dancing?”
I got to revisit Billy Elliot the Musical as part of its 10th birthday celebrations this year and huge amounts of fun it was too – more than I was expecting actually since having seen the show before. But despite having run for a decade now, the production feels as fresh and exciting as ever, undoubtedly still “one of the best shows in town”. The full review can be read on Official Theatre here.
Running time: 3 hours (with interval)
Booking until 17th December 2016, for now
“When the stars look down and know our history”
And what history there is to behold – a run in the West End which has stretched for nearly a decade now, a company that ranges from ages 6 to 84 (surely a record!), a live broadcast to cinemas worldwide which was the first event cinema release to top the UK box office and which contained a finale that brought together 25 young men who have all played the role of Billy. That recording of Billy Elliot the Musical has now been released on DVD so that the theatrical experience can now be recreated in the comfort of your own home and allows to see the detail that you may have missed from your seat in the Victoria Palace Theatre.
That’s the crucial bit really. For all those that worry that filmed recordings are going to replace live theatre, there does seem to be a missing of this salient point that not everyone sees the show from prime seats in the centre stalls. The magic of the theatrical experience can and is tempered by uncomfortable seats and unfortunate viewing lines – so a DVD offering close-ups and other unique shots offers a much-welcomed addition to that experience – and as reasonable a deal as £105 is for a family ticket (the starting price I should add), £15 or so enables a necessary widening of access to a show, which captivate a new audience so much they decide to book tickets – this isn’t a zero-sum game. Continue reading “DVD Review: Billy Elliot Live”