“This island is too small if you have big dreams”
Andrea Levy’s 2004 novel Small Island was inescapable at the time, it seemed like everyone I knew had read and loved it but though it went on to win prizes, I wasn’t as big a fan of most of it. That said, I did love much of this television adaptation in 2009 which came just after Ruth Wilson’s superlative turn in the Donmar’s A Streetcar Named Desire as I began to realise how special an actress she really was. The story focuses on the experiences of two women – Queenie Bligh and Hortense Roberts – as the economic and social impact of World War Two ripples out through London and Jamaica.
Naomie Harris’ Hortense is a young Jamaican woman with heady dreams of becoming a teacher in what she sees as the idyllic land of England yet is devastated to find the gloominess of reality, alleviated only once she meets a man called Gilbert; and Ruth Wilson’s Queenie is a working class Yorkshirewoman who moves to London to escape the family farm but with little real prospects. When her job falls through, she accepts the marriage proposal of the attentive Bernard Bligh – Benedict Cumberbatch in full-on English mode – to avoid having to move back but when he leaves for WWII, huge changes are set in motion for all concerned. Continue reading “DVD Review: Small Island”
“Ain’t nobody born that infallible”
Reader, I ovated. It is a rare occasion indeed that I actually give a standing ovation, more often than not I think about it and don’t do it but just occasionally, one bears witness to something in a theatre that is just irresistibly, incandescently amazing that the only response is to get on one’s feet. For me, it was Marianne Jean-Baptiste’s simply extraordinary performance as Sister Margaret Alexander that beats powerfully at the heart of The Amen Corner, a revival of a 1965 American play by James Baldwin, that fills the Olivier Theatre with the glorious sound of the London Community Gospel Choir.
Jean-Baptiste’s Sister Margaret is the fiercely passionate leader of her local church in Harlem and living underneath with her sister Odessa and 18 year old son David, she leads her congregation with an iron fist of religious fervour. But trouble is brewing with discontent rumbling in the group of church elders who are looking for an opportunity to oust their leader and when her long estranged husband Luke turns up unexpectedly, they seize the moment as it turns out that their glorious leader may not be as blemish-free as she would have them believe. Continue reading “Review: The Amen Corner, National Theatre”
“An Ogre always hides, an Ogre’s fate is known, an Ogre always stays in the dark and all alone”
I hadn’t originally intended to go to Shrek The Musical, certainly not this early in the run, never having seen the films and having a somewhat mixed reaction to the lead casting. The Nigels, Lindsay and Harman, intrigued me but Amanda Holden (I’ve never seen Britain’s Got Talent either) and Richard Blackwood did not appeal. But when an offer appeared on the show’s Facebook page, for £40 tickets at the front of the Upper Circle at a ridiculously cheap price of £15, I snapped up a pair as a birthday treat.
A big-budget production of the show had a relatively short run of just over a year on Broadway but a much-revised version went out on tour across North America last year and it is a copy of this scaled-down production that is now previewing in the Theatre Royal Drury Lane, directed by Rob Ashford and Jason Moore. It has a book and lyrics by David Lindsay-Abaire (also writer of the harrowing Rabbit Hole – talk about diversity!) and music by Jeanine Tesori, and according to my lovely companion for the evening, it cleaves very closely indeed to the first film in the franchise, right down to the same jokes being repeated. This is a review of an early preview, indeed there’s about a month of preview performances, so do bear that in mind as I have. Continue reading “Review: Shrek The Musical, Theatre Royal Drury Lane”
My intention is, honestly, to see less theatre this year and try and regain some semblance of a normal life again on the odd evening. But the curse of advance booking and grabbing cheap(er) tickets whilst you can has meant that there’s already an awful lot of theatre booked for 2011. Some have been booked without a huge deal of enthusiasm, but others have a dangerous amount of anticipation attached to them…and so I present to you, the shows I am most excited about seeing this year (so far).
Antonioni Project – Toneelgroep Amsterdam at the Barbican
The Roman Tragedies was hands down one of the most exhilarating and refreshing theatrical experiences of 2009 and possibly my life, I’m even headed to Amsterdam in May to see a surtitled production of their Angels in America. So when I heard that the same Dutch theatre company were returning to the Barbican in February, tickets were booked instantly and I am feverishly over-excited for this now! Continue reading “Shows I am looking forward to in 2011”
““Everything in life is only for now”
There’s no show really that best typifies my love for the theatre, and specifically my love for London theatregoing, than Avenue Q. From its arrival at the Noël Coward Theatre in 2006, this was a show I fell head over heels for from the opening song and one that has provided constant pleasure to me ever since. Looking back, I think this counts up as my seventh visit to the show, plus one special Valentine’s Day cabaret show, and like every relationship it has had its ups and downs, but ultimately that’s only made my love for the show stronger and I was really pleased to be able to squeeze in one last visit to the final Friday afternoon show to bid it ‘furwell’.
As if I couldn’t have loved this show more, the grace and humour with which the closing notices were announced just melted my heart. I’ve borrowed images of the set of posters from the Avenue Q
Facebook page and posted them here to show you what I mean, I particularly love the ‘Available for Panto from 30 October’ line, it is so typical of the humour of the show and whoever has been in charge of the publicity should be commended for keeping a sense of humour throughout. The YouTube clip at the bottom is also well worth a watch.
Continue reading “Review (or more of a love letter): the fourth-to-last Avenue Q, Wyndham’s Theatre”
“Ethnic jokes might be uncouth, but you laugh because they’re based on truth”
Now in its third home in the West End in its fifth year altogether, Avenue Q is proving to be something of an enduring success which fills my heart with joy. It is a couple of years since I’ve seen it, but when it first came out I just fell completely in love with the show, and particularly with the opening cast, and ended up seeing it about 5 times in the space of two years. A couple of trips to later incarnations of the cast left me a little disappointed, Jon Robyns, Simon Lipkin and Julie Atherton were just the dream team for me, and plus I ran out of people to take to it, so I hadn’t thought I would go again. However, a visit from a dear musical loving Canadian friend and a slight booking snafu for Wicked with lastminute.com meant we ended up at the half price ticket booth at Leicester Square and we plumped for this familiar old friend.
Having seen it so many times and having the soundtrack on my iPod means I know the songs inside out now, but I do maintain that Avenue Q is one of the best new musicals to have been written in the last decade. So many of the songs are classics, instantly catchy and running the emotional gamut from laugh-out-loud funny (so many to choose from but my favourites are probably ‘If You Were Gay’, ‘The Internet Is For Porn’ and ‘Everyone’s A Little Bit Racist’) to tear-in-the-eye touching (the end of ‘Fantasies Come True’, the beginning of ‘It’s A Fine Fine Line’). And they are just so sharp lyrically, full of zippy one-liners and the ring of truth. Continue reading “Review: Avenue Q, Wyndham’s Theatre”
I suppose I’m getting close to groupie status now, but what can I say, I really love this show! Again, not a huge amount to report in how Avenue Q remains a completely guilt-free feel-good pleasure and still as funny as ever, look in the archive for more in-depth writing. It was, however, pleasing to see that whilst Clare Foster was covering for Julie Atherton, I really didn’t mind too much and ended up being quite impressed by her performance. The debutants in the cast didn’t fare quite as well for me.
Making her professional stage debut in the role of Christmas Eve, Jennifer Tanarez is having something of a baptism of fire and she does look a little overwhelmed. Her nerves were far too apparent, resulting in her missing too many comedic notes but as her accent is completely garbled and unfocused, she fails to capture the lyrical dexterity and emotion needed to really deliver ‘The More You Ruv Someone’ effectively and that song is the key to Christmas Eve. Continue reading “Review: Avenue Q, Noël Coward”