“Saying so much more than
Just words could ever say”
No-one could accuse Craig Revel-Horwood of resting on his laurels. He’s about to reprise his Miss Hannigan, stepping into Miranda Hart’s sensible shoes, in the West End revival of Annie; the new series of Strictly Come Dancing is looming just around the corner; and inbetween all that, he’s found the time to direct and choreograph a new Dusty Springfield jukebox musical that is scheduled to tour the country through to July 2018.
There’s a slight sense though that he might have overstretched himself with Son of a Preacher Man as I found its opening engagement at the Churchill Bromley really rather underwhelming. From Warner Brown’s insubstantial and weirdly paced book with its eye-openingly poor dialogue, to the incomprehensible decision to expose one of the weaker dancers front and centre at the very start, much of the decision-making feels questionable at best. Continue reading “Review: Son of a Preacher Man, Churchill Bromley”
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”
“When we must cross over
Who knows what we’ll find”
A 90s musical of an 80s film – nostalgia has a lot to answer for but it was to Maltby Jr and Shires’ 1996 adaptation of the Tom Hanks-starring film that producers turned for their big Christmas musical at Bord Gais Energy Theatre in Dublin. Morgan Young’s production also had a short run at the Theatre Royal Plymouth and with the creation of this UK cast recording, you wonder whether further plans were in the pipeline for the show.
I’m not holding my breath though, as it doesn’t really sound like that much of a winner. Shire’s score is painfully dated, Maltby’s lyrics provide little spark and as a whole, Big the Musical just sounds a bit twee, a bit inconsequential. There’s little sense at all of the songs driving the narrative, they’re more an inoffensive, intermittent distraction, taking way too long to inch over to even just to ‘pleasant’ on the scale. Continue reading “Album Review: Big the Musical (2016 Original UK Cast Recording)”
“Who threw all the pickles down the stairs?”
They say write about what you know but when your childhood memories of 1950s Derby recall nothing so much as 1970s sitcom humour, I’m not sure that Michael Kirk’s Hatched ‘n’ Dispatched isn’t the exception to the rule. Co-written with Gemma Page and directed by Kirk himself, the show is a self-described “mucky romp through the morals, memories and music of the 1950s” but whilst it has an undeniable comic edge that fitfully breaks through to genuine humour, too often it is laboured and criminally inconsistent.
Bouncing from sex farce to serious drama, domestic violence rubbing shoulders with domestic comedy, the play never settles into a groove and crucially, it lacks credibility once matters start to darken and we’re meant to take things more earnestly. Which kind of flies in the face of much of the acting – Wendi Peters is delightfully battle-axed as matriarch Dorothy-Mavis, who won’t let anything her feckless family does get in the way of her social climbing but there’s little sense of depth to the character, an emotional underpinning that would justify this later shift. Continue reading “Review: Hatched ‘n’ Dispatched, Park Theatre”
“Remember when we used to trust politicians”
Although outrageous and audacious in its scope, the expenses scandal that rocked the Houses of Parliament in 2009 was also rich in comic detail as the minutiae of what our elected officials deemed acceptable to claim was revealed in the pages of the Daily Telegraph. And it is this that writers Dan Patterson and Colin Swash (with Mock the Week and Have I Got News For You among their credits) have picked up on in their new comedy The Duck House.
Set in May of that year with the Labour Party in disarray, backbencher Robert Houston decides to defect to the Tories in order to maintain the lifestyle he and his family have become used to. But with just one more interview with Tory grandee Sir Norman Cavendish to get through, the expenses scandal breaks and the Houstons set about trying to minimise the damage to their prospects. The depth of their financial fiddling means that this is no easy task though and results in farcical shenanigans that affect them all. Continue reading “Review: The Duck House, Yvonne Arnaud Theatre”
BEST ACTRESS IN A PLAY
Rachel Weisz – A Streetcar Named Desire at the Donmar Warehouse (24.8%)
Alison Steadman – Enjoy at the Gielgud (12.8%)
Fiona Shaw – Mother Courage & Her Children at the NT Olivier (9.4%)
Helen Mirren – Phedre at the NT Lyttelton (21.60%)
Juliet Stevenson – Duet for One at the Almeida & Vaudeville (7.60%)
Lesley Sharp – The Rise & Fall of Little Voice at the Vaudeville (23.80%
THE CAPITAL BREAKS BEST ACTOR IN A PLAY
Jude Law – Hamlet, Donmar West End at Wyndham’s (40.80%)
David Harewood – The Mountaintop at Theatre 503 & Trafalgar Studios 1 (6.00%)
Dominic West – Life Is a Dream at the Donmar Warehouse (13.60%)
Ken Stott – A View from the Bridge at the Duke of York’s (14.90%)
Mark Rylance – Jerusalem at the Royal Court Downstairs (13.90%)
Samuel West – Enron at the Royal Court Downstairs (10.80%)
Continue reading “Winners of the 2010 What’s On Stage Awards”
“You have to speak up, Little Voice”
The last time I saw Diana Vickers was in the less than salubrious surroundings of the delightful Nightingales nightclub in Birmingham and I was less than sober. Having just been evicted from The X-Factor semifinals, one might have expected the predictable slide into obscurity but she surprised many when announced as the titular character in this revival of The Rise and Fall of Little Voice.
The story is of the painfully shy LV who lives a hermit-like existence at home with her horrendous mother, Mari, and her only release is singing along to the vinyl records of female singers left to her by her deceased father. She has a prodigious talent for this which is only recognised by one of her mother’s latest pickups who then sees this as an opportunity to be exploited for his own personal gain. Despite the name of the play, this is Mari’s show. Sharp opens with a 20 minute blast of self-absorbed narcissism which exposes the full heartlessness of her character and she only becomes more vindictive as we and LV progress. It is stunning to watch, but sadly becomes a little repetitive, a fault of the play rather than Sharp though. Continue reading “Review: The Rise and Fall of Little Voice, Vaudeville Theatre”
BEST ACTRESS IN A PLAY
Rachel Weisz – A Streetcar Named Desire at the Donmar Warehouse
Alison Steadman – Enjoy at the Gielgud
Fiona Shaw – Mother Courage & Her Children at the NT Olivier
Helen Mirren – Phedre at the NT Lyttelton
Juliet Stevenson – Duet for One at the Almeida & Vaudeville
Lesley Sharp – The Rise & Fall of Little Voice at the Vaudeville
THE CAPITAL BREAKS BEST ACTOR IN A PLAY
Jude Law – Hamlet, Donmar West End at Wyndham’s
David Harewood – The Mountaintop at Theatre 503 & Trafalgar Studios 1
Dominic West – Life Is a Dream at the Donmar Warehouse
Ken Stott – A View from the Bridge at the Duke of York’s
Mark Rylance – Jerusalem at the Royal Court Downstairs
Samuel West – Enron at the Royal Court Downstairs Continue reading “2010 What’s On Stage Award nominations”