Against a barrage of bad reviews, I tried to give Cats a fair hearing. There may have been wine involved…
“I remember the time I knew what happiness was”
I wanted to like Cats, honest. But…but…everytime you look at a detail in this unexpected horror film, there’s something ungainly or odd that distracts you inordinately:
the scale of the damn thing. The mind boggles as the cats change from being tiny compared to railway tracks to almost human-sized at Nelson’s Column, bringing almost any object into screen ends up pulling focus as you try and work out wtf is going on
why do some of them wear shoes (the ‘street’ cats in trainers, TSwift in heels…?) and of those who don’t, what’s with the toes
in fact the whole anthropomorphic thing. There’s cleavage and six packs but no genitals or anuses. You wouldn’t think it would bother you so much but there’s so many lingering shots of these places…!
the dancing cockroaches in danger of being eaten. Whyyyyyyyy?!
it’s rather amusing that pretty much every reaction shot of Dench is her looking aghast, we know how you feel Judi
An unfortunate waste of talent all-round I’m afraid.
Baz Luhrmann’s Strictly Ballroom the Musical may not be the strongest musical in the world, but it’s a stronger piece of musical theatre, thanks to Drew McOnie’s choreography
“Pam Shortt’s broken both her legs, and I wanna dance with you”
It is fascinating to be able to follow the development of a show, particularly one that has morphed as much as Strictly Ballroom the Musical. I saw it at the West Yorkshire Playhouse the winter before last, where it didn’t quite set my world on fire, so I was intrigued to hear that its arrival in the West End at the Piccadilly would be accompanied by quite the overhaul, still directed and choreographed by Drew McOnie.
The major change to this adaptation of Baz Luhrmann’s 1992 cult hit movie comes with the introduction of bandleader Wally Strand, played by Will Young, an MC figure and human jukebox who takes on the vast majority of the evening’s singing. And as we skip from Grace Jones to Billy Idol, via Bowie, Whitney and Cyndi, it’s a real pleasure to hear him sing Marius De Vries’ brilliant new arrangements. Continue reading “Review: Strictly Ballroom the Musical, Piccadilly”
This mahoosive new tour of Hairspraystarted in the middle of last month and stretches right through to June 2018 and it certainly feels like it has the potential to be a great success. There are some cracking performances which really elevate Paul Kerryson’s production of this most effective of shows (music by Marc Shaiman, lyrics by Scott Wittman and Shaiman, book by Mark O’Donnell and Thomas Meehan) and choreography from hot-shot of the moment Drew McOnie.
And given how dance heavy Hairspray is, it is an astute move from Kerryson as McOnie’s inventive use of movement establishes and reinforces so much of the febrile mood of simmering racial tension and potential societal change. In the hands of the likes of Layton Williams’ Seaweed and an effervescent ensemble, it’s hard to keep a smile from your face as the sheer toe-tapping enthusiasm of it all as fabulous group numbers shake and shimmy their way across the stage. Continue reading “Review: Hairspray, Orchard Dartford”
Hoping for a ten from Len and to avoid the dreaded dis-sah-ter from Craig, Baz Luhrmann’s Strictly Ballroom arrives for its UK premiere at the West Yorkshire Playhouse. Best known in its 1992 film version, it actually began life as a play in the mid-1980s when it became big in Czechoslovakia as well as Luhrmann’s native Australia and perhaps appropriately, it is now Drew McOnie who takes the directorial chair, the choreographer-director’s rising star an ideal fit for a musical all about dance.
And what dance it is. We’re in the world of competitive ballroom dancing and we’re treated to a wide range of routines from rehearsals to all-out performances and much inventive work in-between, especially where mirrors are involved. And in all this freedom of expression, there’s a crystal-clear distillation of the story’s message in the sheer joy of dancing for fun and the power of following an individual path. But the show isn’t just dance, it’s words and music as well and there, it is less sure-footed.
Truth be told, I don’t review much dance because I don’t feel qualified to comment on it. And because I don’t feel qualified to comment on it, I don’t see much dance…and so the vicious cycle continues. I was able to get a ticket to the last night of Drew McOnie’s re-imagining of Jekyll and Hyde though, it having been recommended to me by several people, but knowing that I wouldn’t be writing about it, I might have had a couple of sherbets pre-show. So aside from saying that I really enjoyed it, I won’t be commenting any more to say that Manuel Harlan took these lovely pics.