Musical revue Disenchanted takes a deeper look at the lives of Disney princesses and whether happy ever after is all that
“One more once upon a time and I swear I’ll go insane”
Revisiting fairytale endings and reclaiming female historical narratives will be familiar to fans of Into the Woods and SIX but Dennis T Giacino’s Disenchanted attempts to tackle both in an ambitious if patchy musical comedy. Returning to some of the characters so familiar from our storybooks, the show gives them new voice to explain what life as a ‘princess’ is really and how the stories we’ve been told don’t necessarily reflect ‘reality’.
In some ways, this is powerfully effective. You can’t help but hear echoes of Thandiwe Newton’s recent decision in Badroulbadour’s story of how her name and ethnicity were changed in order to become a secondary character in Aladdin. Or nod at Mulan’s recognition that the reason she’s one of the only princesses not to end up with a partner is because she’s a lesbian. Throw in commentary on typical cup size and waist measurements and you see how much social conditioning has gone on through this mode of storytelling. Continue reading “Review: Disenchanted”
The five–time Oscar®-nominated film will be brought to life once again by a cast of actor-musicians and set to a critically acclaimed re-orchestrated score. With music by Hem’s Daniel Messé, lyrics by Nathan Tysen and Daniel Messé and book by Craig Lucas, Amélie The Musical is directed by Michael Fentiman. The full cast includes Sioned Saunders as Gina, Flora Spencer-Longhurst as Georgette, Rachel Dawson as Amandine/Philomene, Oliver Grantas Lucien/Mysterious Man, Chris Jared as Nino Quincampoix, Caolan McCarthy as Hippolito/Elton John, Samuel Morgan-Grahame as Joseph/Fluffy, Kate Robson-Stuart as Suzanne, Jack Quarton as Blind Beggar, Jez Unwin as Raphael/Bretodeau and Johnson Willis as Collignon/Dufayel. Nuwan Hugh Perera,Miiya Alexandra,Robyn Sinclair and Matthew James Hinchliffe complete the ensemble. Continue reading “Musical news aplenty”
Some epic storytelling and a mighty ensemble make the hyper-violence of Gangs of London highly watchable
“A war was started when my father was shot”
Sky 1 seem to have got themselves quite the coup in Gangs of London, a major new series which – if there was any justice in the world – ought to break through the limitations of Sky’s minimal audience share. Created by Gareth Evans and Matt Flannery and boasting a highly exciting ensemble cast, it is a visceral and highly violent look at an immense power struggles between power syndicates in London after the assassination of the patriarch of its premier crime family.
Finn Wallace ruled the streets of London for 20 years but in the wake of his untimely death and with no-one taking responsibility for ordering the hit, it falls to his younger son Sean to take the reins. But Sean is a highly volatile young man and the careful balancing act required to keep the billions of pounds flowing through the organisation and to maintain the equilibrium between so many warring factions is of little interest to him whilst his father’s killer remains unpunished. Continue reading “TV Review: Gangs of London (Sky 1)”
A trio of quick London cast recordings – The Secret Diary of Adrian Mole Aged 13 ¾, Heathers and Calendar Girls
“For a greasy little nobody, you do have good bone structure”
I was delighted to see a belated West End transfer for this lovely new musical by Jake Brunger and Pippa Cleary. I’ve lovedeverystep of its journey and The Secret Diary of Adrian Mole Aged 13 ¾ (Original London Cast Recording) proves the perfect accompaniment as it captures so much of the energy of this most British of tales and sparky performances from the likes of John Hopkins and the luminous Kelly Price.
I didn’t however make it to Heathers, it just not appealing to me at all. With Heathers (Original West End Cast Recording), the opportunity to listen to this high school musical is now ours but I have to say, its charms elude me. There’s a fatal mismatch between the darkness of the source material (it really is a brutal film) and the breeziness of Laurence O’Keefe and Kevin Murphy’s pop-rock score that not even the quality of Carrie Hope Fletcher, Jodie Steele, Sophie Isaacs and Jamie Muscato’s strong performances can overcome.
And I thought I’d pay another visit to Yorkshire for Calendar Girls (Original London Recording) to see whether it stands the test of time. It proved an amiable if short-lived presence in the West End and listening to it again, I’d argue that there’s a gentleness to it that doesn’t quite linger long enough. Gary Barlow’s tunes are undeniably pretty but ultimately, they don’t really call out to be listened to over and again.
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”
I’m not one to deny anyone their fandom and Lord know Renthas some of the most devoted of the lot. But for whatever reason, the show has left me cold every time I’ve seen it, increasingly so in its determination to defend artistic excess.
I was bought a ticket as a Christmas present so I was able to go and test my feelings once again but no change, no matter how good Layton Williams’ performance was. So for once, I’m just going to leave it here.
Running time: 2 hours 40 minutes (with interval) Booking until 28th January, then touring as below
“I have not a bad word to say, about small towns. Per se.”
Expectations were high, how could they not be. Following on from the extraordinary success of Matilda, Tim Minchin’s next foray into musical theatre was to an adaptation of the 90s movie Groundhog Day, playing a two month run at the Old Vic ahead of a presumed Broadway transfer (a move that has had a little doubt cast on it by the withdrawal of major producer Scott Rudin). Now full disclosure, I saw it in its first week thanks to the PWC £10 tickets and the show went for a full month of previews before officially opening, so feel free to take my opinion with a pinch of salt.
For I did not enjoy Groundhog Day, at all. Worse than that, I was bored by it – at least hating something rouses some form of passion, but as Danny Rubin’s book cycled round and round and Minchin’s not unpleasant but in no way striking score dissipated into the ether, I wondered if Rudin might not have had the right idea. There’s a stellar performance from US import Andy Karl as the central Phil, carved out of that leading man material that is particularly American, but for me there was just too little magic emanating from Matthew Warchus’ direction to elevate the material.
Running time: 2 hours 30 minutes (with interval) Booking until 17th September