“I believe that the Garden of Eden was in Jackson County, Missouri”
In terms of first world problems, being constantly distracted by fellow audience member Kate Winslet probably ranks fairly highly but it is symbolic of the utter randomness that can accompany a gala performance. I was lucky enough to attend the opening night of The Book of Mormon which meant that in the haze of A-list to Z-list celebrities, the battle to get into the theatre, the newspaper reviews that had already been published and a thousand and one opinion pieces of one of the cannier marketing campaigns of recent times, it was difficult to separate out just what I really thought of the show itself.
With the show not exactly being the cheapest – premium tickets have now apparently broken the £200 mark for Saturday nights – it hasn’t been easy to find the optimum opportunity to go back (or taken my chances on their lottery). Until now that is, when a rare deal popped into my Twitter feed courtesy of @BargainTheatre and a £40 ticket on the end of row B in the stalls saw me making the trip once again to the Prince of Wales theatre, unencumbered by expectation or excitement and much more able to take in Trey Parker, Robert Lopez and Matt Stone’s show on its own merits. Continue reading “Review: The Book of Mormon, Prince of Wales Theatre”
“Please reward our pluck and save this duck”
With the standard ticket price of the Menier Chocolate Factory’s new production of Pippin coming in at £33.50 – and the memories of last year’s turkey still fresh – I decided that I wouldn’t be taking another risk on a show I didn’t know. But when a £10 deal popped up online, I couldn’t resist and though it meant that it was a preview I saw and thus am writing about now, that is not the kind of saving I can ignore. The show has music and lyrics by Stephen Schwartz – he of Wicked and Godspell (but we won’t talk about The Baker’s Wife) and book by Roger O Hirson and was originally directed by Bob Fosse on Broadway. That run lasted for five years and consequently the show has become something of an am-dram staple in the US albeit in an emasculated version (so Wikipedia tells me).
Perhaps with this in mind, director Mitch Sebastian has been extremely bold with his concept here: employing Chet Walker to recreate Fosse’s original choreography looks back to the history of the show but Sebastian has incorporated those routines into his own choreographical work and Timothy Bird’s production design for Knifedge points to a much more futuristic mindset. The Young Vic’s inability to let audiences just enter normally into a production there has spread across Southwark and so the walk into the theatre here takes us through a gloomy bedsit, computer games and magazines strewn across the floor and sci-fi film posters covering the walls, and we walk pass a young man staring blankly into a computer screen and playing with a lighter. Once inside, the auditorium is set up rather traditionally and the set initially looks rather unassuming but the reasons for that soon become apparent. Continue reading “Review: Pippin, Menier Chocolate Factory”
“It was the music of something beginning…”
Earlier this year, it did seem that the Landor had a bit of a curse as a range of issues forced programme changes on more than one occasion, but they do seem to have hit their stride now. I didn’t catch Carousel but it seemed to go down well and that was followed an incomparable production of The Hired Man, probably one of the best shows of the year so far, so there was no pressure resting on the show following at all: Ragtime. Directed by Artistic Director Robert McWhir, Ragtime continues the Landor’s strong trend of delivering top-quality fringe musical theatre with unfeasibly large casts: over 20 people make up this ensemble! I caught a preview on a Sunday afternoon as a ticket for a tenner deal popped up on Twitter (if you’re on Twitter then think about following theatres you like as similar deals are frequently posted up there).
And I am pleased to report that Ragtime comes close to the heights of The Hired Man in creating a stunning piece of emotional drama, enlivened with some perky playfulness and all wrapped in a deliciously beautiful score (and funnily enough set in a similar time period). The opening number is a thing of pure joy, managing to cover the thematic scope of the play and fully introduce the three families around which the story turns. Terrence McNally’s book is based on a novel by E.L. Doctorow set at the turn of the twentieth century in a New York bustling with huge social change. Continue reading “Review: Ragtime, Landor”