Follies2019 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 Folliesso 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”
42nd Street is signing off at the Theatre Royal Drury Lane in quite some style as a perfectly-cast Bonnie Langford joins the company
“Musical comedy – the most glorious words in the English language”
I liked 42nd Street when I saw it last year but I can’t say that I truly loved it, it felt a 24 carat production of a gold-plate show. But upon revisiting, to celebrate Bonnie Langford’s arrival in the company for its final furlong before closing in the New Year, some kind of magic seems to have happened at the Theatre Royal Drury Lane (or maybe I was just less grumpy tonight!) as it has now matured into something spectacular.
The only major difference is Langford’s presence as Dorothy Brock, but there’s just something about her that shimmers with star quality and it is contagious. So even as she’s trying to dampen it down a bit as this particular fading star, her comic timing makes her scenes crackle with electricity, her singing is on point and she’s just a dream to watch. It’s a perfect role for her – who needs stunt casting when you have the right casting? And as for her surprise appearance in the finale? SWOON!
I also felt Clare Halse has really settled into the role of Peggy Sawyer. It’s a curious role in that she grows to become the leading lady of this musical as the understudy-come-good, but is given precious little time in which to do so and most of that is taken up with dance. Such amazing dance though, she really is effortless in her every graceful move, and she’s acting more through every movement too as her self-belief slowly blooms into the incandescent life of the finale. Continue reading “Re-review: 42nd Street, Theatre Royal Drury Lane”
A trio of West End cast recordings (well, one’s off-West-End…) show that it is sometimes hard to recapture the stage magic
Starting off with the best of this bunch, the Southwark Playhouse’s production of Working might not have seemed like the obvious choice for a cast recording but maybe the lure of a couple of new Lin-Manuel Miranda tracks was a real sweetener.
Truth is, it is the quality of the cast’s performances that make this a fantastic addition to the list of albums you need to hear. From Siubhan Harrison’s impassioned ‘Millwork’ to Dean Chisnall’s gleeful ‘Brother Trucker’, and the highly charismatic Liam Tamne nails both of Miranda’s contributions – the wilful ‘Delivery’ and a corking duet (with Harrison) on ‘A Very Good Day’.
Experience pays though, as Gillian Bevan and Peter Polycarpou take the honours with some scintillating work. The latter’s ‘Joe’ is beautifully judged, as is the former’s ‘Nobody Tells Me How’, both demonstrating the uncertainty that can come at the end of a long career, when retirement doesn’t necessarily hold the joyful promise it once did. Highly recommended. Continue reading “Album reviews: Working / Bat out of Hell / 42nd Street”
“You’re going out a youngster, but you’ve got to come back a star”
In the rush to dole out the five star reviews that seem de rigueur for any big musical these days (22 for An American in Paris so their new poster shouts proudly), there appears to be a willingness to overlook storytelling for spectacle. As at the Dominion, the newly opened 42nd Street is a massive dance show which is undoubtedly hugely, well, spectacular. And it also suffers from not being particularly dramatically interesting, Michael Stewart and Mark Bramble’s book contains hardly any dramatic tension at all – will the show-within-the-show be alright on the night? What do you think?!
I start with this line of thought because as much as I was impressed by 42nd Street, it rarely moved me in the way that Golden Age musical theatre (my favourite genre of all, surprising no-one) at its best does. Based on a novel from the 1930s, the book here – as directed by Bramble – sacrifices any hint of suspense or meaningful character development for the headlong rush from production number to production number. And it just about gets away with it due to the sheer scale of what is being mounted here. 40+ bodies tap-dancing in unison in bucket-loads of sequins – bawdy and gaudy indeed.
“Where the underworld can meet the elite… Naughty Bawdy Gaudy Sporty Forty-Second Street!”
I was lucky enough to be invited to the first preview of 42nd Street at the Theatre Royal Drury Lane and whilst any official opinions about the show are under embargo until press night, I thought I’d give you all some hints and teasers and a little sneak preview (assisted by these beautiful photographs courtesy of Brinkhoff & Moegenburg) through these 42 reasons to see 42nd Street.
For the longest time, I resisted the charms of Hairsprayboth on screen and on stage. It was only my niece and nephew falling in love with the 2007 film and making me watch it with them and made me realise how much fun it is and just how tuneful Marc Shaiman’s score manages to be. So having missed the boat with the West End version (and resisted the temptation to see its seemingly never-ending touring incarnation), I was most pleased to see that Paul Kerryson was creating his own interpretation for the Curve, especially given how successfully Chicagohad been reinvented there over Christmas.
And it appears that lightning really can strike twice. Kerryson clearly has the knack for reconceiving large scale musicals for this Leicester stage and focusing on the qualities that make them so successful and here, in that respect, there’s an embarrassment of riches. Mark O’Donnell and Thomas Meehan’s book captures a crucial moment in US civil rights history but one with an enduringly powerful message in how societal pressure can result in lasting change when focused through the right media channel. And Lee Proud’s wonderfully expansive choreography educates as well as entertains, speaking volumes about the changing ways in which we interact. Continue reading “Review: Hairspray, Curve”
As with last year, which saw my first ever trip to Wicked, the first thing that I booked from the Get Into London Theatre website when it launched was a return trip to the Apollo Victoria. As Mr Boycotting Trends had never seen it before and was so desirous, I booked and managed to get rather good stalls seats for £35. Ironically, lastminute currently have a similar promotion on which is something of a rarity for this show but it is a great opportunity to get good seats for a not-quite-as-eyewatering price.
So I returned to Oz (although not as inReturn To Oz, the film that was responsible for several recurring nightmares I had as a child but seriously, someone should make a show of that) to see the story of Elphaba and Glinda, 2 girls whose destinies to be the witches of Oz are not quite as clear-cut as one might think as an unlikely but deep bond develops between them. Knowing the story this time round meant that the surprise element of the way the show fits into The Wizard of Oz’s mythology was lost but it just meant that I appreciated the main thrust of the story more and admired both the message of tolerance for those who are ‘different’ that it preaches and the frankness with which the messiness and complexity of friendship is portrayed here. And I think this last point is key to its enduring success, there’s something so recognisable in the frustrations both women have with the other that is borne out of true friendship. Continue reading “Re-review: Wicked, Apollo Victoria”