Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!)
Extraordinary Public Acts for a National Theatre
The establishment of the Public Acts programme at the National Theatre offered up something sensational in Pericles, an initiative designed to connect grassroot community organisations with major theatres, resulting in a production that swept over 200 non-professional performers onto the stage of the Olivier to create something that moved me more than 99% of professional productions. A truly joyous and momentous occasion.
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 Companyon 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”
Just the one more trip to see the glorious Company at the Gielgud Theatre before it sadly depart
“You can’t stay in your thirties forever”
I went back, again. Well I had to, at least while the above quote is still true for me for a couple more months. There’s not much left to say about Company that I haven’t said already here, or here, or here and it remains an absolute pleasure to watch, a show I could sit through time and time again even more so than I have already. It will be very much missed.
And I do think it really has gotten better as the run has progressed, performances deepened and matured, but also deliciously playful – I swear the magnificently brassy Patti Lupone has done something different every single time and it has been wonderful for it. It will be fascinating to see how Marianne Elliot’s production fares on Broadway and who, if anyone, transfers with it. Continue reading “Yet-another-re-review: Company, Gielgud Theatre”
I can’t keep away from Marianne Elliott’s award-winning Company, and it richly repays the rewatching
“A festive atmosphere pervades the room”
Hot on the heels of its double Evening Standard-award winning weekend, Company remains in sparkingly good form. And from the seats in the dress circle box (a bargainous £20 if you can find ’em), the slightly restricted view matters not a jot as the extreme proximity means you have something of the intimacy of watching a show at the Donmar. Which in a show of this quality means that there’s all sorts of detail that you can see, which isn’t immediately apparent from the back of the stalls.
As if you needed more convincing, here’s another 5 star review of this superlative re-imagining of Sondheim’s Company
“Everything’s different, nothing’s changed. Only maybe slightly rearranged”
From the moment Marianne Elliott’s new production of Companystarted, I knew that it wouldn’t be something I only saw once. Indeed, by the time we’d reached press night, that was my third time at the show! And now that an extension through to the end of March has been announced, there’s never been a better time to get booking. Read my 5 star review of Company for Official Theatre here.
Running time: 2 hours 40 minutes (with interval) Photo: Brinkhoff Mogenburg Company is booking at the Gielgud Theatre until 30th March
The company of Company are simply sensational at the Gielgud Theatre – Rosalie Craig, Patti LuPone, Jonny Bailey…just book now!
“Everyone adores you, what an awful thing”
Phone rings, door chimes, in comes an adaptation of Company that subtly but definitively realigns it for a contemporary audience and makes you wonder how you could ever go back to the original as is. Marianne Elliott’s reworking is most notable for the regendering of its lead character – Bobby becomes Bobbie in the extraordinary hands of Rosalie Craig – but the changes it makes filter right down through the show, reflecting the changes in society since the show was written in 1970.
Sometimes it is overt. Amy becomes Jamie here, and Jonathan Bailey’s show-stopping delivery of ‘Getting Married Today’ (seriously, best priest in a show, ever) is underscored by the fact that gay marriage is a thing now. Less obvious is the switching of roles for Susan and Peter, she’s the professional go-getter and he’s the one who faints at the sight of blood. And even Larry becoming something of a toyboy for Joanne speaks towards an important rebuttal of the kinds of cultural stereotype that have been allowed to persist. Continue reading “Review: Company, Gielgud Theatre”
A lively and emotional actor-musician production of The Secret Garden marks a fantastic debut for the brand new Barn Theatre in the Cotswolds
“I heard someone crying… Maybe it was me”
After three years renovation and development work, the Barn Theatre in Cirencester opens its doors with a fresh and spirited actor-musician take onThe Secret Garden. A passion project of artistic director Iwan Lewis (who once appeared in a youth production of the musical in the town), the 1991 Tony-winning musical adaptation of Frances Hodgson Burnett’s 1911 children’s novel (book and lyrics by Marsha Noman, music by Lucy Simon) has been curiously under-served in terms of major revivals (I saw a fringe version back in 2013) and so proves a canny choice for a new venue seeking to attract an audience.
It is clear to see that time and thought, and resources, has been invested into the Barn to make it to help it succeed. So Sam Rowcliffe-Tanner’s lighting design, with all its delightful hidden surprises, benefits from a properly swanky lighting rig that would be the envy of pretty much any off-West-End theatre; so too PJ McEvoy’s projections looking highly professional as they move us around Misselthwaite, from dusty, disused ballrooms to briar-filled nooks.
But for all the technical strength, this Secret Garden blooms because of the creative work that has been ploughed into it. The physical aspects of McEvoy’s design have a deliberately rustic feel, suiting time and place well, reflected in the nature of Elliot Ditton’s puppets. The evocation of an inquisitive robin is gorgeously done but it is the way in which Simon’s score has been thoroughly reinvented that reinforces how this production, and the venture at large, is about about mimicking the Great White Way than creating a new Cotswolds Way. Continue reading “Review: The Secret Garden, The Barn Theatre Cirencester”