“You have to live in this world”
The lure of falling down the rabbit hole is one which has kept adaptations of Lewis Carroll’s Alice in Wonderland appearing on a regular basis on screens and stages and the Manchester International Festival is no exception, commissioning this musical treatment with the National Theatre and Paris’ Théâtre du Châtelet. Composer Damon Albarn (no stranger to the MIF after Monkey and Dr Dee) and writer Moira Buffini’s thoroughly modern version – stylised wonder dot land – certainly has a unique take on the story but has the feeling of something of a work-in-progress perhaps, no bad thing as longer runs in London and Paris will follow this brief engagement at the Palace Theatre.
Here, wonder.land is an online world, a virtual reality where people can escape the drudgery of their own lives or pretend to be someone completely different, for a little while at least. 12-year-old Aly is one such person, trying to hide from the bullies at school and the unhappiness at home by becoming Alice, her all-conquering avatar or online identity who accepts a mysterious quest as part of joining wonder.land. And in her journeying, she comes across variations on many of the characters we’ve come to know but viewed through a different prism, many of them being the avatars of other players, balefully reflecting their own insecurities. Continue reading “Review: wonder.land, Palace Theatre”
“I know in my heart you’d find a girl who’s scared sometimes”
My first thought when I heard that they were making a musical version of 1992 film The Bodyguard supplemented by songs from Whitney Houston’s back catalogue was how on earth are they going to work my favourite of her songs, ‘I Wanna Dance With Somebody’, into that story. As it turns out, I needn’t have worried, but more of that later. Taking on the lead role in which Whitney made her acting debut is American import Heather Headley, although at this performance in the month of previews before it opens officially, we saw the alternate Gloria Onitiri (a familiar face from Avenue Q days) who made a sterling case for the vital importance of supporting Great British talent.
For those not familiar with the film, Rachel Marron is a superstar pop singer-turned-actress who, unbeknownst to her, is receiving threats from a stalker and when her entourage employ ex-Secret Service agent Frank Farmer as a new bodyguard for her, sparks fly as the undeniable attraction between them threatens his professional distance and effectiveness. Several years in the making, Alexander Dinelaris’ book adapts Lawrence Kisdan’s original screenplay with a few changes: Rachel’s sister Nicki has a greater role; the identity of the stalker is handled differently and there’s a little modernisation to reflect a more tech-savvy and social-media friendly world. Continue reading “Review: The Bodyguard, Adelphi Theatre”
In lieu of Mr Cowan’s (twice winner of this category) highly unfortunate ineligibility (due to the fact I haven’t seen him onstage this year), I was toying with the idea of renaming this award along the lines of The Elliot Cowan Award for Hotness, (cue bonus pic)
but thought better of it. In any case, I present to you the winner, and then the 9 runners-up in no particular order of the men (so many of whom called Dominic) who made going to the theatre so much, somewhat less of a trial. This has also regularly been one of the most popular posts I do each year, shame on us all!
Continue reading “Leading Man of the Year 2011”
“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”