No doubt about it, Nikolai Foster’s production of West Side Story for Curve Leicester is damn close to musical theatre perfection
“Could it be, yes it could
something’s comin’, something good”
The Royal Exchange may have gotten there first this year but Nikolai Foster’s production of West Side Story for Leicester’s Curve proves an absolute triumph. Going down a similar route of featuring brand-new choreography, here by Ellen Kane, the familiar becomes something refreshing and new and hugely emotionally satisfying. From its opening moments which set the anti-immigrant tone like never before, through Musical Supervisor Sarah Travis’ incredible treatment of this iconic Bernstein score, to Kane’s sensational set-pieces which fill every inch of the Curve’s stage, this is damn close to musical theatre perfection.
It works so well because for all of the epic sweep of its Romeo and Juliet-inspired story, this is a very intimate reading of it. Jamie Muscato and Adriana Ivelisse really are exceptional as the ill-fated lovers Tony and Maria, delivering an unforced chemistry that is sweetness personified. Theirs is a heady, instant passion that feels so natural as to be entirely captivating. Their flirting is delicately but determinedly done – there’s no mistaking what ‘Tonight’ holds here – and something ignites in them when together. And as understated as their acting is, magic happens when they start to sing. Muscato’s ‘Maria’ is as good as I’ve ever heard in my life, as natural as breathing and then taken up to the heavens with a touch of wonder with his deeply expressive tenor. And Ivelisse’s thrilling soprano imbues ‘I Feel Pretty’ with just the right amount of character to refresh its familiar rhymes. Continue reading “Review: West Side Story, Curve”
Emma Williams reconfirms her star status in this 80s musical adaptation of An Officer and a Gentleman at Leicester’s Curve Theatre ahead of a UK tour
“Way to go, Paula! Way to go!”
From its opening number (which provides an unsettling reminder that Status Quo actually had a decent tune or two), this major new musical of An Officer and a Gentleman shimmers with a sense of real quality. Some might demur at the notion of a movie remake peppered with a random assortment of pop songs from the 1980s but the resulting piece of theatre is highly enjoyable.
This is down to the integrity and craft of Nikolai Foster who rightly takes this source material (book by Douglas Day Stewart and Sharleen Cooper Cohen from his original screenplay) seriously. We may be in 1982 but there’s no jokey visual gags about that decade here, just an over-riding sense of life on the edge for the working class community of Pensacola, Florida, looking on at the US Naval Aviation Training Facility that dominates their city. Continue reading “Review: An Officer and a Gentleman, Curve”
“It’s still familiar to me
Sends a thrill right through me”
It’s a funny thing, returning to a show you know so well even if you haven’t seen it for maybe 2 decades. My abiding memory of seeing Grease as a child was Shane Richie corpsing after accidentally knocking the bosom of a co-star and then being singularly unimpressed that this happened every single night. And since then, I’ve never felt the need to see it on stage, whether on tour or in its intermittent West End appearances where, if memory serves, it became one of the guiltier culprits of stunt casting.
But Nikolai Foster’s musical theatre experience and tenure at Leicester’s Curve as its AD piqued my interest and quenched my doubts sufficiently to make the trip to Rydell High and chang chang changitty chang sha-bop, darn me if it isn’t a rather good time. It does require you putting a measure of scepticism to one side in the show’s questionable message about changing who you are but it does also make you think about who we change for – it’s easy to forget that Danny has already fallen for Sandy by the time she decides to transform, is she changing for him, for herself, or to fit into the Pink Ladies? Continue reading “Review: Grease, Curve”
“I may be in love but im not stupid”
To Leicester’s Curve, and just go.
Nikolai Foster’s directing it,
He’s changed some things that you may approve
Others are not so successful
But what do I know? Continue reading “Review: Legally Blonde, Curve”
“It’s quite different after you’ve grown up”
The hills are alive, with the sound of questions. Like, why. The UK’s first fully live musical theatre television broadcast saw ITV produce Rodgers and Hammerstein’s The Sound of Music though the result was a curious experiment that fell uneasily between two stools. Lacking the crucial energy that propels the best live theatre (which comes from an audience too), the production values (though often impressive) naturally fell short of the opportunities of filmed work
Which ultimately begs the question, what’s the point. Is the UK hankering for a new production of the show? It’s hardly as if we’re lacking for productions popping up regularly in theatres across the land. Is it showcasing the best of British musical theatre talent? In that case why cast someone like Strictly winner and former Eastender Kara Tointon as Maria and shunt the likes of Julie Atherton (one of the most outstanding performers we have, bar none) into the nun ensemble. Continue reading “TV Review: The Sound of Music Live”
“It was a ball, it was a blast
It was a shame it couldn’t last”
A half-term jaunt down to London for Aunty Jean saw us take in a couple of shows I was happy to revisit. I remain as affectionately inclined towards Dirty Rotten Scoundrels as I ever have done, its traditional bonhomie remains as watchable as ever and there’s just something comfortable about the whole affair which remains hard to resist. Even whilst not being Robert Lindsay’s biggest fan (seriously, is he being paid by the pelvic thrust?!) the shimmering star quality of Kat Kingsley and the affable appeal of Alex Gaumond more than compensate. And the bumbling charms of Ben Fox, the third Chief of Police since the show started – job security in Beaumont-Sur-Mer is clearly not strong 😉 – prove the ideal foil for Bonnie Langford’s knowingly charismatic Muriel.
And we also made a more-timely-than-we-realised trip to Amelia Bullmore’s Di and Viv and Rose which posted closing notices pretty much as we left the matinée. It feels a real shame as it is such a sprightly production of a sparkling play which certainly deserved better audiences but for whatever reason, it just didn’t connect. I’ve written more about the show on my three previous visits (link here) but I’d definitely recommend trying to catch it before it closes, not least for some of the most joyous dancing onstage (which forms the perfect counterbalance to My Night With Reg) and Jenna Russell’s glorious performance as the hugely-generous-of-spirit Rose.
Dirty Rotten Scoundrels
Running time: 2 hours 30 minutes (with interval)
Booking until 7th March
Di and Viv and Rose
Running time: 2 hours 35 minutes (with interval)
Booking until 14th March
“It’s important to be artful”
Celebrating recent cast changes, both intentional (Bonnie Langford and Gary Wilmot in for Samantha Bond and John Marquez) and unexpected (Alex Gaumond hastily replacing Rufus Hound), Dirty Rotten Scoundrels is approaching its one year anniversary in the West End with a renewed energy. And with the changing strengths of its leading players, it also feels like quite a different show, one which is well worth (re)visiting.
My original review can be read here and much of it still holds true. This isn’t the show to reinvent the musical form but nor is it trying to, rather it is a treat of the old-school variety as David Yazbek’s bouncy music and lyrics carries along Jeffrey Lane’s conman-based book on a ray of retro Riviera-infused sunshine. A wink to the audience here, meta-theatrical jokes there, a whole deal of hamminess from Robert Lindsay everywhere, this is a show that knows exactly what it is and revels in it. Continue reading “Re-review: Dirty Rotten Scoundrels, Savoy Theatre”
“He sang my name and it rang out just like some major chord.
If music be the food of love, he ate my Smorgasbord.”
Things didn’t start off well. Applauding an actor’s arrival onstage is something I can’t ever imagine finding ok and when that actor is Robert Lindsay, well, it felt even more inexplicable. But then I never watched My Family so my main points of reference for him have been Onassis and The Lion in Winter, a dubious pair of plays indeed. Nor have I seen the film of Dirty Rotten Scoundrels, the musical adaptation of which sees him return to the stage, here at the Savoy after well-received out of town tryouts, so there was more than a little apprehension mixed in with my anticipation.
But any doubts were soon allayed by the effervescent energy of an old-school but fresh-feeling production by Jerry Mitchell. First seen on Broadway in 2004, Jeffrey Lane’s book and David Yazbek’s music and lyrics sits happily in the sun-kissed French Riviera where con men are two a penny. And in Beaumont-sur-Mer, the two are Lawrence Jamieson, the reigning king of the con, and Freddy Benson, the brash upstart who would take his crown. First they compete for tricks, scamming whoever they can for whatever they can, and then they unite to form a double act with, hopefully, double the profits as they identify the lucrative mark of US heiress Christine Colgate. Continue reading “Review: Dirty Rotten Scoundrels, Savoy Theatre”