Staged in celebration of the story’s 50th anniversary of publication, David Greig and Charlie Fink’s Olivier Award-nominated adaptation of The Lorax will be inventively transformed for OLD VIC: IN CAMERA into a semi-staged pint-size version to keep young (and older) minds entertained, enchanted and empowered with its central message of protecting the planet.
The cast includes Audrey Brisson, Richard Katz, Melanie La Barrie, David Ricardo-Pearce, Ben Thompson, Jamael Westman and Silas Wyatt-Barke. Should you be so inclined, you can read both of my rhyming reviews for the previous productions of the show here and here.
Dr. Seuss’s The Lorax will be streamed live from The Old Vic stage this Easter from 14th–17th April. All performances will offer audio description and captioning.
Artistic Director of the Jermyn Street Theatre, Tom Littler tackles the 10 questions challenge with some real gusto
Tom Littler became AD and EP of the Jermyn Street Theatre in 2017 but his relationship with the theatre goes back way further. And when I asked him to about his memories of Anyone Can Whistle which I noted as my favourite of his productions, this was his response:
“I’m slightly perturbed that you think I peaked in 2010…! That was a memorable time. I remember the three leads, Issy van Randwyck, David Ricardo-Pearce and Rosalie Craig, very clearly. David had a song called ‘Everybody Says Don’t’ – a hymn to anarchy and breaking the rules, but most of all to trying: ‘Tilt at the windmill, and if you fail, you fail.’ That often feels pretty relevant in art and life.”
Where were you 10 years ago?
I was opening a play at the Arcola called Origin of the Species by Bryony Lavery, with Clare-Hope Ashitey and Marjorie Yates. It’s about a prehistoric woman who comes to life. We buried Clare-Hope in sand and the audience had no idea she was there until Marjorie excavated her.
Continue reading “10 questions for 10 years – Tom Littler”
Best Actor in a New Production of a Musical
Andy Nyman, Fiddler on the Roof, Menier Chocolate Factory
David Hunter, Waitress, Adelphi Theatre
David Ricardo-Pearce, Kiss Me, Kate, The Watermill Theatre
Kayi Ushe, Kinky Boots, UK Tour
Tom Bennett, Only Fools and Horses: The Musical, Theatre Royal Haymarket
Tyrone Huntley, The View UpStairs, Soho Theatre
Best Actress in a New Production of a Musical
Amara Okereke, Oklahoma!, Chichester Festival Theatre
Audrey Brisson, Amélie The Musical, UK Tour
Caroline Sheen, 9 to 5 The Musical, Savoy Theatre
Rebecca Trehearn, Kiss Me, Kate, The Watermill Theatre
Samantha Pauly, Evita, Regent’s Park Open Air Theatre
Sheridan Smith, Joseph and the Amazing Technicolor Dreamcoat, London Palladium Continue reading “2019 BroadwayWorld UK Awards Shortlist”
So many of the recommendations for shows to see next year focus on the West End. And for sure, I’m excited to catch big ticket numbers like All About Eve, Come From Away, and Waitress but I wanted to cast my eye a little further afield, so here’s my top tips for shows on the London fringe (plus one from the Barbican) and across the UK.
1 Medea, Internationaal Theater Amsterdam at the Barbican
Simon Stone’s sleekly contemporary recasting of Euripides is straight up amazing. Anchored by a storming performance from Marieke Heebink, it is as beautiful and brutal as they come. It’s also one of the few plays that has legit made me go ‘oh no’ out loud once a particular penny dropped. My review from 2014 is here but do yourself a favour and don’t read it until you’ve seen it.
2 Macbeth, Watermill Theatre
2018 saw some disappointing Macbeths and I was thus ready to swear off the play for 2019. But the Watermill Ensemble’s decision to tackle the play will certainly break that resolve, Paul Hart’s innovative direction of this spectacular actor-musician team will surely break the hoodoo…
3 Noughts and Crosses, Derby Theatre, and touring
Pilot Theatre follow on from their strong Brighton Rock with this Malory Blackman adaptation by Sabrina Mahfouz, a Young Adult story but one which promises to speak to us all. Continue reading “20 shows to look forward to in 2019”
Two winters ago if you went to the Old Vic,
Your life would have been filled with something fantastic.
A musical treat fit for all of the fam’ly,
The Lorax is as good as such a show could be.
Returning for half-term with some new cast members,
The musical’s just as good as I remember.
It’s heartfelt and funny and really quite moving,
A powerful message but not too reproving. Continue reading “Re-review: The Lorax, Old Vic”
With Son Of A Preacher Man about to start its epic UK tour at the Churchill Bromley in 10 days or so, here’s a sneak preview of what we can expect from star Diana Vickers.
Continue reading “Round-up of news and treats and other interesting things”
“Can’t complain about the time we’re given”
Despite Lauren Bacall telling me to just put your lips together and blow, I have never been able to whistle. Even if I could, my deaf old ears wouldn’t hear it anyway, but having seen Anyone Can Whistle at the Jermyn Street Theatre in Piccadilly, I now realise that it is symptomatic of a life of emotional constipation and sexual frigidity: eek!
For a blog named for a Stephen Sondheim lyric, I have had precious little experience in seeing his work. Tim Burton’s cinematic Sweeney Todd aside, I’ve only actually seen the recent Menier A Little Night Music so I was pleased to see a number of Sondheim works lined up for this year, which just happens to mark his 80th birthday. Later in the year we’ll have Into the Woods at the Open Air Theatre in Regents Park and Passion at the Donmar. In a couple of weeks there’s a concert on his actual birthday at the King’s Head, but first up in London is Primavera’s production of Anyone Can Whistle. Continue reading “Review: Anyone Can Whistle, Jermyn Street Theatre”
“Jumping Jehosaphat, well if it ain’t the damndest thing I ever did see.”
Running right through to January, the Young Vic has set a lot into Annie Get Your Gun, their longest running production to date. Starring Jane Horrocks as the sharp-shooting Annie Oakley, this musical contains some incredibly well-known songs, and so would seem like a fairly safe bet.
First off, the look of the whole show really is quite arresting, and not in a good way. It instantly evokes ‘school show’ as it really does look cheap and shabby, and the lack of depth in the stage is highlighted every time there’s more than 4 people on stage as they are having to carefully negotiate their way around each other and the props without tumbling off. And on top of that, the design is really quite unsuited to the venue. Such a wide, shallow stage means that people sat towards either edge of the auditorium have severe difficulties in seeing the action when it moves to the other side. And the use of a cutaway above the stage means the front few rows miss the final scene (and the one shirtless moment!). Given that it is unreserved seating, it does seem quite unreasonable to expect people to fork out £30 and then have their view restricted. Continue reading “Review: Annie Get Your Gun, Young Vic”
With Saint Joan, George Bernard Shaw took the well-known story of Joan of Arc, a young peasant girl eventually sainted, who led the French army to victory against the English during the Hundred Years War and was repaid for her trouble by being declared a witch and burnt at the stake since she believed that she was being guided by the voice of God in her head, and created an all-too-human story filling in the gaps in the history with tales of conflicting institutions, personality clashes and a keen sense of humour of what her life must have been like.
The play is remarkably even-handed in that it presents all sides of the argument and never really comes down on the side of either Joan or her oppressors. There are no goodies and baddies here, just a girl who believes God is speaking to her and the machinery of Church and State who will do anything to ensure their power remains stable: Shaw’s message is that uncontrolled individualism threatens the established order and is rarely tolerated. Continue reading “Review: Saint Joan, National Theatre”