It’s the end of the universe – so of course Doctor Who – Time Fracture is utterly chaotic. It is also rather good fun.
“The gateway is active”
Time Fracture isn’t the first time Doctor Who has ventured into the world of immersive theatre. Punchdrunk’s The Crash of the Elysium was a triumph a decade ago so it’s about time (and relative dimension in space) that we got another and fresh from the success of their Gatsby experience, Immersive Everywhere have launched this huge new immersive endeavour. A time bomb has been dropped in 1940s London but its cataclysmic explosion is only due in the near future. Only us – a team of volunteers recruited by the Doctor – can save the day – sonic screwdrivers at the ready.
The need for #spoilers means that I can’t give too much away but the show takes full advantage of the cracks in time caused by the bomb falling to offer up vignettes that involve major historical figures, explore far-future technological innovation and nod to the rich and varied legacy of Doctor Who and its iconic characters. I can safely say I had two properly wish-I-could-hide-behind-the-sofa moments – one of which is ingeniously staged late on – and two hairs-on-end moments, one of which reconfirming just how brilliant Jodie Whittaker’s Doctor is. Continue reading “Review: Doctor Who – Time Fracture”
Best Actor in a New Production of a Musical
Alex Wadham, The Full Monty: The Musical, Old Joint Stock Theatre, Birmingham
Giles Terera, Hamilton, Victoria Palace Theatre
Jamal Kane Crawford, Fame, UK Tour
Jamie Muscato, Heathers The Musical, The Other Palace/Theatre Royal Haymarket
Louis Maskell, The Grinning Man, Trafalgar Studios
Marc Antolin, Little Shop of Horrors, Regent’s Park Open Air Theatre
Best Actor in a New Production of a Play
Aidan Turner, The Lieutenant of Inishmore, Noël Coward Theatre
Ben Batt, The York Realist, Donmar Warehouse/Crucible Theatre, Sheffield
Ian McKellen, King Lear, Chichester Festival Theatre
Matthew Tennyson, A Monster Calls, Old Vic
Reed Birney, The Humans, Hampstead Theatre
Tyrone Huntley, Homos, Or Everyone in America, Finborough Theatre Continue reading “2018 BroadwayWorld UK Awards Shortlist”
The Woman in Black continues to pack ’em into the Fortune Theatre but can it really justify its continued casting practices?
“I don’t believe in ghosts”
I got to thinking there’s something a little ironic about the title The Woman in Black whilst watching it this weekend. I’ve not been able to find a comprehensive list of those who have acted in it but I can’t find reference to a single person of colour or woman who has played in either of the main roles.
For a play so firmly about the nature and power of storytelling, it feels a little disappointing that the production has rested on the laurels of being a classic. The choice not to expand what is meant by such a term as ‘classic’ and who can tell such ‘classic’ stories feels like a real missed opportunity. Continue reading “Review: The Woman in Black, Fortune”
This trio of album reviews covers Peter Pan A Musical Adventure, The Confession Room and Marie Christine
“Would I oblige?
Michael John LaChiusa is one of those composers of the new American musical theatre mould, or maybe even beyond, in adopting a dense and complex compositional style that means his work hasn’t always had the credit it deserves. This original Broadway cast recording of his 1999 show Marie Christine feels like a case in point – a Tony-nominated book and score that has rarely been revived, never mind made it to the UK. An adaptation of the Medea story that relocates it to 1890s New Orleans, it is blessed by a stunning central performance from Audra McDonald as a remarkably vicious leading lady. The score is made up of fragmented pieces of music rather than conventional notions of what we would consider a song but its operatic drama hits the mark for me. And I’d love to see it the UK some time soon please… Continue reading “Album Reviews: Peter Pan A Musical Adventure / The Confession Room / Marie Christine”
“Eä, Arda, Ainulindalë.
Aratar, Maiar, Rána, Nénar”
Believe it or not, there was a time when I lived in London and I only saw a handful of shows a month, actually making considered decisions about what I wanted to see. And I have to say the musical of Lord of the Rings did not make the cut (obvs I wasn’t aware of who Rosalie Craig was at that point, or else I would have gone!). The show lasted just over a year at the Theatre Royal Drury Lane and probably lost a shit-ton of money (it allegedly cost £12 million to make) but we do have a cast recording to remember it by.
And what a rather odd-sounding show it is, little surprise really when you consider that producer Kevin Wallace brought on three different composers to complement the book and lyrics by Matthew Warchus and Shaun McKenna. So Bollywood supremo A. R. Rahman, Finnish folk group Värttinä and Lloyd Webber-wannabe Christopher Nightingale all contributed to an altogether epic score, but one which sprawls in an unwieldly manner as these three strands struggle to cohere into an effective whole. Continue reading “Album Review: Lord of the Rings (2008 Original London Production)”
“If my mother tells me not to leave the path again, then that’s what I’ll do”
A shoebrush becomes a baby hedgehog, a repurposed umbrella a mournful songbird, a coil of rope Rapunzel’s long tresses. For the eight people roaming the nooks and crannies beneath Shoreditch Town Hall, anything they find can be co-opted into their storytelling, as they give us their versions of Grimm’s fairy tales, although some will be more familiar than others. And it is not strictly their version, as Philip Wilson’s production uses Philip Pullman’s adaptation of the stories to weave a subtle kind of magic.
The show describes itself as immersive, but it is a gentler kind of immersion than most, probably better described as site-responsive. For the audience are split into two groups and taken on a journey from room to room, through five performances which draw us into their orbit, yet ask little of us but our attention (in case the notion of interaction causes any anxiety). And it is hard not to be enchanted as the company weave their spell through the darker stretches of the imagination – happily ever after doesn’t always seem guaranteed in this world. Continue reading “Review: Grimm’s Tales – Shoreditch Town Hall, London”
“Do something special, anything special…”
This charity shop malarkey is proving to be a veritable treasure trove of theatrical goodies, of variable quality I should stress, but after the delights of Ms Paige – which will be continued shortly with an upcoming DVD review – I was given this DVD of the 1998 Cameron Mackintosh extravaganza Hey Mr Producer which cost a whole 99p from a British Heart Foundation shop in north west London. A benefit concert ostensibly put together for the RNIB but also honouring and celebrating the work of producer Mackintosh (although oddly he was involved in putting the show together – honouring himself…) by bringing together excerpts from many of the most famous shows he has been involved in and pulling together an extraordinary cast of the musical theatre glitterati, many of whom originated the roles, the like of which has rarely been seen since.
And it really does come across as something special, at times a little frustrating but it is often the way with concerts like these that tantalise with little glimpses of shows and when the calibre of performer is such as it is here, one barely minds as there is much pleasure to be had. It is impressive how much was packed into the single evening, multi-song sections from shows were interspersed with single songs from others meaning that over 20 shows were showcased here. Whether it was shows I love – Little Shop of Horrors, Oliver!, Les Mis, ones I’m ok with – Phantom of the Opera, Company or even ones I’ve never actually seen – My Fair Lady, Miss Saigon, Martin Guerre, Carousel – the sequences that had more than one song worked surprisingly well, getting across something of the flavour of the shows even with the rapid pace and semi-staging. I would have loved to have seen and heard more from Anything Goes, Godspell and The Boyfriend and for Salad Days, Mackintosh’s favourite show apparently, to have gotten a proper treatment, but then I guess the three hour show would have gone on for days. Continue reading “DVD Review: Hey Mr Producer”