“That’s my Charlie, that’s my son”
At a time when big new musicals have been dropping like flies, the mere fact that Charlie and the Chocolate Factory is still open is something of an achievement, never mind its actual enduring success. And with a major cast change soon to take place (featuring the likes of Alex Jennings and Josefina Gabrielle, just to make sure that I have no choice but to return), it seemed as good a time as any to give the soundtrack a listen.
I’ve seen the show a couple of times now and even in the couple of months between those viewings, it was clear that my original thought, that Marc Shaiman’s score might possess longevity that wasn’t initially obvious, wasn’t too far off the mark. The tunes worm their way into your head under the cover of the cuckoo in the nest that is the late-arriving ‘Pure Imagination’ which predictably is what most people will leave the Theatre Royal Drury Lane humming. Continue reading “Album Review: Charlie and the Chocolate Factory Original London Cast Recording”
BEST ACTRESS IN A PLAY
Helen Mirren – The Audience at the Gielgud
Anne-Marie Duff – Strange Interlude at the NT Lyttelton
Hayley Atwell – The Pride at Trafalgar Studios
Suranne Jones – Beautiful Thing at the Arts
Tanya Moodie – Fences at the Duchess
BEST ACTOR IN A PLAY
Daniel Radcliffe – The Cripple of Inishmaan at the Noël Coward
Ben Whishaw – Peter and Alice at the Noël Coward and Mojo at the Harold Pinter
James McAvoy – Macbeth at Trafalgar Studios
Lenny Henry – Fences at the Duchess
Rory Kinnear – Othello at the NT Olivier Continue reading “2014 What’s On Stage Award nominations”
“So we’ve lost a few children along the way, we’ve all learned something though”
One of the hottest tickets of the year is a golden one. London gets its second major adaptation of a Roald Dahl story into a big budget piece of musical theatre as the long-awaited Charlie and the Chocolate Factory finally opens its gates at the Theatre Royal Drury Lane. And taking his cue from Willy Wonka, director Sam Mendes has mixed it with love and made it taste good, displaying, along with designer Mark Thompson, just as much wit and invention as the candyman himself in bringing this world to such entertaining life on the stage.
David Greig’s book remains largely faithful to Dahl’s novel, but expanding the poverty-stricken domestic set-up of Charlie Bucket and his extended family as the young boy dreams of finding one of five elusive passes into Wonka’s mysterious factory. As the tickets are found one by one in a series of vividly realised tableaux, his hopes recede but the presence of a shadowy tramp-like figure ensures that there’s soon a golden twinkle in Charlie’s eye and a life-changing journey can begin. Continue reading “Re-review: Charlie and the Chocolate Factory, Theatre Royal Drury Lane”
“It’s the a-choc-alypse…no, it’s choc-mageddon”
What to do when a golden ticket is actually thrust into one’s hand?! A late invitation to a very early preview of new big budget musical Charlie and the Chocolate Factory meant a hurried trip to the newly refurbished Theatre Royal Drury Lane to see what has to be one of the most highly anticipated productions of the year with Sam Mendes directing, Peter Darling choreographing and Douglas Hodge taking on the role of Willy Wonka. Given the huge success of fellow Roald Dahl adaptation Matilda, the stakes on this multi-million production are substantial and a month long preview period is testament to how much the team want to test the show before opening night.
Where Charlie might suffer, unlike Matilda, is in the enduring memory of the iconic film version from 1971. When Hodge appears at the door of his factory, you can sense the sigh of relief as he looks ‘right’, as in definitely inspired by Gene Wilder’s take on the character; when the doors open on the Chocolate room, there’s a slight sense of disappointment which is perhaps inevitable as the logistics of creating a chocolate waterfall and river come up hard against what appears to be a giant curly-wurly (hopefully there’s more to be done here). Continue reading “Review: Charlie and the Chocolate Factory, Theatre Royal Drury Lane”
“Laws are like sausages, it’s better not to see them being made”
‘Released after fifteen years in prison, trapped in a bureaucratic maze, petty criminal Wilhelm Voigt wanders 1910 Berlin in desperate, hazardous pursuit of identity papers. Luck changes when he picks up an abandoned military uniform in a fancy-dress shop and finds the city ready to obey his every command. At the head of six soldiers, he marches to the Mayor’s office, cites corruption and confiscates the treasury with ease. But still what he craves is official recognition that he exists.’
It is probably cheating to use the official synopsis of a play wholesale like this but to be honest, I couldn’t care less after suffering the bloated self-satisfaction of The Captain of Köpenick at the National Theatre. An adaptation by Ron Hutchinson of a 1930s German satire by Carl Zuckmayer, it is a heavy-handed, ploddingly-laboured, fatally-misjudged confection which throws everything plus the kitchen sink into the Olivier but for shockingly low returns.
Running time: 2 hours 30 minutes (with interval)
Booking until 4th April
“I account this world a tedious theatre, for I do play a part in’t ‘gainst my will”
Usual caveats and all that, this was an early preview of The Duchess of Malfi that I caught at the Old Vic, and so bear that in mind throughout. Positive comments on previews never seem to cause any controversy but without giving too much away about the direction this review (of a preview) will take, that is hardly likely to be the issue here. I have to say that for the first time, especially at a big theatre, I really felt like I was watching something in the middle of its creative process, that really was still trying to find its feet. Which I suppose is what some would argue the preview period is about but when ticket prices of up to £45 are being charged, it does feel a bit rich.
Marking Jamie Lloyd’s directorial debut at the Old Vic, this revival of The Duchess of Malfi was largely most anticipated by me for attracting Eve Best back onto the London stage (though Lloyd’s treatment of She Stoops To Conquer also quite whetted the appetite). Her Beatrice in the Globe’s Much Ado About Nothing really was one of those once-in-a-lifetime performances that I’ll remember for years to come, and so though it went against my natural instincts, I forked out for a good stalls seat (Row F) for this in anticipation of theatrical yumminess. What I got though was something else, a half-baked cake of a show with what feels like a set of serious misjudgements and lasted well over three hours.
This was first experience of The Duchess of Malfi (I’m choosing to skate over the Punchdrunk interpretation as little of it made any impact on me) and so I wonder how much of a difference that made for me. Upon being widowed, the Duchess takes a new lover, below her class, and marries him secretly as her two brothers, Ferdinand and the Cardinal, are determined to control her life and when they find out what she has done, during which time she has had 3 children by him (although how she got away with this I’m not entirely sure), they exact a chilling, oppressive revenge on her. Continue reading “Review: The Duchess of Malfi, Old Vic”
“A forest is owned by no man”
I don’t have any memory of booking The Heart of Robin Hood at all! But sometime late in November I did indeed book it and failed to put it in my calendar – I may well have been drunk, I most definitely was tired! – and it was only The Trainline sending me a reminder about the train journey that alerted me to what I should be indeed be doing this Thursday afternoon.
The most impressive thing about the production, that is evident from the off, is Börkur Jonsson’s set design which has to rank as one of the most inventive uses of a thrust stage ever. A huge branch of a tree is suspended above a wide green swathe of astroturf which slopes from on high at the back of the stage, down into the auditorium. Thus the forest of Sherwood is evoked, with platforms and sections peeling back to suggest the castle of the nobles. It really is an ingenious piece of staging, endlessly delightful in the constant little reveals and surprises it came up with and even in the sheer fun of seeing people slide down into view from the top. Continue reading “Review: The Heart of Robin Hood, Royal Shakespeare Theatre”
Though the temptation is strong, and the actuality may well prove so, I don’t think I will be catching quite so much theatre in 2012 as I did last year. I could do with a slightly better balance in my life and also, I want to focus a little more on the things I know I have a stronger chance of enjoying.
So, I haven’t booked a huge amount thus far, especially outside of London where I think I will rely more on recommendations, but here’s what I’m currently looking forward to the most: Continue reading “Shows I am looking forward to in 2012”
“The reward of sin is death”
The tale of Faust is one which is seemingly never far from our stages in one form or another, whether it is opera, another opera or Icelandic acrobatics. But Christopher Marlowe can lay claim to perhaps being the first to dramatise this story back in Elizabethan times and this production of Doctor Faustus marks the first time it will have been performed at Shakespeare’s Globe.
A strange mixture of dark tragedy and broad comedy, the play looks at the danger of recklessly pursuing the quest for knowledge, power and wealth without due responsibility. Faustus, tired of his life of dusty scholarship, makes a pact with the Devil exchanging his soul after death for 24 years of service from his trusty servant Mephistopheles. Blinded by the material benefits that easy access to the dark arts garners him, the reality of eternal damnation doesn’t hit until far too late. Continue reading “Review: Doctor Faustus, Shakespeare’s Globe”
“Can I get a definition please?”
A musical comedy at the Donmar? From the moment you enter the auditorium and see how Christopher Oram’s design has been translated down to the tiniest of details to create a school gymnasium, it is clear we’re in for something different and The 25th Annual Putnam County Spelling Bee, a self-confessed scratching of an itch to do something fun for director Jamie Lloyd, is just that. Based around the tradition of spelling competitions at US high schools, it follows a group of six kids aiming to win this contest and qualify for the place at the national final. It also takes the step of inviting audience participation, four people were selected to take part and so the first third of the show is taken up with the early rounds of the competition and the increasingly amusing ways in which they made sure that timely exits were secured from the newcomers.
Originally conceived by Rachel Feldman and with music and lyrics from William Finn (I’ve never seen any of his shows, but a song from Falsettoland, What More Can I Say, is fast becoming a cabaret staple – Simon Burke, Reed Sinclair and London Gay Men’s Chorus just last year – and is utterly gorgeous) and book by Rachel Sheinkin, the show takes the form of a spelling competition but as each child takes their turn to spell, a flashback gives us the opportunity to learn more about these characters, their youthful angsts and ambitions as they struggle to decide who they really are in a world that doesn’t consider them normal. This was a preview performance from Tuesday 15th February, watched in the midst of a large group, not all of whom I sadly got the chance to talk to. Continue reading “Review: The 25th Annual Putnam County Spelling Bee, Donmar Warehouse”