A third trip to Gypsy?
My reaction on finding out it was being recorded for the BBC and also DVD
My emotional state on leaving the show and being reminded once again how sensational it is from top to bottom,
You’ve got until 28th November, no excuses.
“I had a dream, a wonderful dream”
From the moment Imelda Staunton shook the very foundations of the Chichester Festival Theatre as Mama Rose in Gypsy, it was pretty much a given that a West End transfer of this Jule Styne/Stephen Sondheim show would be on the cards and that this incredible performance would be immortalised in an official cast recording. And it shouldn’t be taken for granted that Staunton is wowing audiences nightly at the Savoy and that we have been blessed with an album, for this is the kind of musical theatre perfection that surely only comes along once in a lifetime.
Much of the attention rightly falls on Staunton’s astonishingly nuanced portrayal of the ultimate stage mom but it would be a mistake to label this a one-woman show, Jonathan Kent’s production is far too good for that. She is supported by an extremely skilful performance from Lara Pulver as Gypsy Rose Lee, tracing this overlooked sister’s journey to unexpected stardom and listening to the growing confidence ‘Let Me Entertain You (Gypsy Strip)’, her shyness is cast off vocally as well as physically, like a chrysalis revealing the shimmering showgirl beneath. Continue reading “Album Review: Gypsy (2015 London Cast Recording)”
“Ready or not, here comes Mama…”
These days, it’s more of a surprise when the big musicals from Chichester Festival Theatre don’t transfer into London (cf Barnum). And though it took them a wee while to confirm that Jule Styne’s Gypsy would be making a similar leap, after receiving the kind of extraordinary reviews (including from yours truly) that would most likely canonise Imelda Staunton right here and now, there was never really any doubt that this Rose would get her turn again, 40 years after the show was last seen in the West End.
With such a build-up and expectations sky high, Jonathan Kent’s production has a lot to live up to – and you can sense perversely-minded naysayers dying to have their turn – but dare I say it, I think the show has gotten even better. A key aspect to this is that Anthony Ward’s multi-faceted and multi-piece set design fits much better into the Savoy’s proscenium arch, its machinations felt just a little too exposed on Chichester’s thrust though the pay-off is that Nicholas Skilbeck’s supple-sounding orchestra now has to be tucked away. Continue reading “Review: Gypsy, Savoy Theatre”
“Not on your nellie”
The fear with shows that are receiving their UK premieres some 45 years after an abbreviated Broadway run is that there is a good reason that they have continued to languish in obscurity. But London’s fringe theatres have a good record in sorting through the duds to unearth some genuine neglected treasures and chief on the musical side, is the Union Theatre. And it is there where director Paul Foster has returned, to put on Jule Styne’s Darling of the Day – which managed just the 31 performances on Broadway, wilting in the winds of change ushered in by its contemporary Hair – and whilst it may not emerge as a hugely revelatory success, it makes for an evening of gentle pleasures.
Set in Edwardian times, the plot circles around Priam Farll, an artist of note who seizes the chance to escape the pressures of fame when his valet Henry Leek dies suddenly and a mistake by a doctor allows him to swap identities. Farll then rejoices in the freedom of living a less complicated life, which includes meeting up with working class Putney widow Alice Challice through the matrimonial agency both were using, and unexpectedly ends up in love and married. But times are tight and when a plot is hatched to bring in some extra money, it arouses the avaricious attentions of art collector Lady Vale and dealer Clive Oxford who threaten to expose the whole affair. Continue reading “Review: Darling of the Day, Union Theatre”