The Guardian looks back at some of the many Sondheim productions that have graced stage and screen over the years: https://www.theguardian.com/stage/gallery/2021/nov/26/stephen-sondheims-musical-masterpieces-on-stage-and-screen-in-pictures
The National Theatre announces new programming and launches a major new campaign for its future, National Theatre Together
The National Theatre has announced its programming until the start of next year with productions on all three South Bank stages as well as three major UK tours, two productions on Broadway, a return to cinemas, and a new feature film to be broadcast on television this autumn. In the week the theatre reopened for audiences again, six new productions were announced, and five productions halted by the pandemic were confirmed to return to the South Bank.
It has also announced the public launch of National Theatre Together, a new campaign with people at its heart, highlighting the importance of creativity and collaboration with theatre-makers and communities, for young people and audiences. The campaign cements the NT’s commitment to the people of this country and will raise vital funds for the theatre’s ambitious recovery post-pandemic. Continue reading “News: The National Theatre announces 2021-22 programming and launches National Theatre Together”
You can now vote for the Best London Cast Recording, Best Broadway Cast Recording and Best Solo Album here. Then fill in your details and click Vote and one lucky voter will win £100 worth of Theatre Tokens!
Best UK Cast Recording
& Juliet – Original London Cast Recording
Company – 2018 London Cast Recording
Follies – 2018 National Theatre Cast Recording
Heathers (Original West End Cast Recording)
The Secret Diary of Adrian Mole Aged 13 ¾ – 2019 Original London Cast
Tina – The Tina Turner Musical Original Cast Recording
Best American Cast Recording
Beetlejuice (Original Broadway Cast Recording)
Hadestown (Original Broadway Cast Recording)
Jagged Little Pill (Original Broadway Cast Recording)
Moulin Rouge (Original Broadway Cast Recording)
Oklahoma! (2019 Broadway Cast Recording)
Tootsie (Original Broadway Cast Recording)
A trio of album reviews cover the (relatively) recently released cast recordings of Company, Follies and Mythic
“One more souvenir of bliss”
I adored Marianne Elliott’s reinterpretation of Stephen Sondheim and George Furth’s Company on my many visits and so the news of a cast recording was of course ecstatically received. And perhaps inevitably it doesn’t quite live up to the thrill of seeing it live but maybe that’s because the production is still so fresh in my mind. I mean we’re only talking a 4 instead of a 4.5…
I swear Patti LuPone’s ‘Ladies Who Lunch’ was different every time I saw it but this version here is as good as any, with the glorious fullness of her voice pointedly sharpening its wit. Her contributions to ‘The Little Things We Do Together’ are inspired, Jonny Bailey’s ‘Not Getting Married’ is breathlessly affecting and the warmth of Rosalie Craig’s character and voice infuse the whole experience with real quality. Continue reading “Album Reviews: Company / Follies / Mythic”
Follies 2019 remains the show that I need right now
“I’m so glad I came”
Just a quickie for this revisit to Follies, which remains as perfect a piece of musical theatre as I could hope for. I loved it then but I really love it now, Joanna Riding is just heartbreakingly perfect as Sally, she really brings something to the role that somehow eluded Imelda Staunton (for me at least), Alexander Hanson is superb in tracing Ben’s tragic fall, and Janie Dee and Peter Forbes maintain their stellar work as Phyllis and Buddy (seriously, Dee is a proper showstopper).
And as is surely appropriate in Dominic Cooke’s production, ghosts of the past interplay with what we’re seeing from top to bottom. It was great to see Dame Felicity Lott as Heidi, a different but no less affecting proposition than Dame Josephine Barstow (there truly ain’t nothing like a…). And the young talents of Gemma Sutton, Ian McIntosh, Harry Hepple and Christine Tucker are eloquently elegant as the younger incarnations of the central quartet. Continue reading “Re-review: Follies 2019, National Theatre”
The Olivier Award-winning Follies returns to the National Theatre in richer, deeper, more resonant form and just blows me away
“It’s the cat’s pyjamas”
Like the ghosts of their younger selves that haunt the characters in Follies so beautifully in this production, for those who were lucky enough to catch its superlative Olivier Award-winning 2017 run, so too do our memories interplay with what we’re seeing, inducing some soul-shiveringly exceptional moments that are almost metatheatrical in the feelings they provoke.
The tingle of anticipation is never far away but the show somehow feels richer, deeper, more resonant in the note of melancholy it strikes as it exposes nostalgia for the rose-tinted self-delusion it so often becomes. Janie Dee’s Phyllis somehow feels more desolate, especially in her bitterly brilliant ‘Could I Leave You’; Tracie Bennett scorches the roof once more in ‘I’m Still Here’ in what feels like a more internal performance now; we’re all at least a year older… Continue reading “Review: Follies 2019, National Theatre”
“Darling, shall we dance?”
Not too much more to say about Follies that I didn’t cover last time, suffice to say it’s just such a luxuriously fantastic show and I think I could watch it over and over! The head-dresses! Everything Janie Dee does! The orchestra! How no-one seems to be falling down that staircase! The staging! The shade of mint green in Loveland! The Staunton’s icy bitterness in ‘Losing My Mind’! The amount that Josephine Barstow has now made me cry, twice! The Quast! Just get booking now, while you still can.
Running time: 2 hours 20 minutes (without interval)
Booking until 3rd January, best availability from 6th November
Follies will be broadcast by NT Live to cinemas in the UK and internationally on Thursday 16 November.
An utterly majestic production of Sondheim’s Follies is a masterpiece for the National Theatre
“All things beautiful must die”
Well this is what we have a National Theatre for. For Vicki Mortimer’s set design that both stretches towards the heights of the Olivier and lingers some 30 years back in the past; for the extraordinary detail and feathered delights of the costumes; for the lush sound of an orchestra of 21 under Nigel Lilley’s musical direction; for a production that revels in the exuberance and experience of its cast of 37. And all for what? For a musical that, despite its iconic status in the theatre bubble, is more than likely to raise a ‘huh?’ from the general public (at least from the sampling in my office!).
Stephen Sondheim (music and lyrics) and James Goldman’s (book) Follies is a show that has a long history of being tinkered with and more often than not, is as likely to be found in a concert presentation (as in its last London appearance at the Royal Albert Hall) as it is fully staged. Which only makes Dominic Cooke’s production here all the more attractive, not just for aficionados but for the casual theatregoer too. Using the original book with just a smattering of small changes, this is musical theatre close to its most luxurious, and a bittersweetly life-affirming thrill to watch. Continue reading “Review: Follies, National Theatre”
“What did you do it all for Mama?”
Gypsy is one of those shows that I’ve heard much about, it is extremely highly regarded in the US, but have had little real contact with. Bernadette Peters, Patti LuPone and Tyne Daly have taken on the iconic role of Mama Rose in recent years with very mixed results, but it is many years since anyone tried to bring it to the UK. Director Paul Kerryson has taken on the challenge though at the Curve in Leicester, with British/Australian chanteuse Caroline O’Connor in the lead role and so I took my first ever trip to Leicester to see what all the fuss was about.
The story takes its inspiration from the memoirs of burlesque dancer Gypsy Rose Lee which details the remorseless drive of her pushy stage mother from hell Mama Rose as she lived out her own dreams of being a performer by putting her two daughters onto the stage in a touring vaudeville act. Her relentless drive comes at great cost though, alienating one daughter who runs off, pushing the other into becoming a stripper and losing the man who has stood by her for so long. Continue reading “Review: Gypsy, Curve”
But when you have quality in your cast, it can’t help but occasionally shine through and there were moments here something more was hinted at. Jo Stone-Fewings as the local aristocrat with hidden depths and Geraldine Fitzgerald as a pipe-smoking Scottish schoolteacher had a great connection together with their burgeoning relationship, Christopher Godwin was nicely droll as a jack-of-all-trades and Maria Friedman’s bawdy hostess was also well-pitched. But there was also hamminess, sometimes just about ok as in Gerard Carey’s camp vicar, but Natalie Casey’s dim maid was a screechy mess which had me cringing and I didn’t react well to Gary Wilmot’s faux bonhomie and his constant breaking of the fourth wall to remind us, as if we could forget, of the music hall setting.