Just as I published one set of casting news for forthcoming musicals, then a whole lot more is announced! 101 Dalmatians, Sister Act the Musical and the return of Anything Goes join the pile of things to book for
Regent’s Park Open Air Theatre have announced full casting for their forthcoming production of 101 Dalmatians (12 Jul – 28 Aug), a newly commissioned musical written by Douglas Hodge (music and lyrics) and Johnny McKnight (book), from a stage adaptation by Zinnie Harris. Based on the book by Dodie Smith, leading the cast as the iconic villain Cruella de Vil is Olivier and Tony Award nominee Kate Fleetwood. Dalmatians Pongo and Perdi are puppeteered by Danny Collins (Pongo Voice), Emma Lucia (Perdi Voice), Yana Penrose (Perdi Head) and Ben Thompson (Pongo Head).
Also joining the cast are: Jamil Abbasi (Ensemble), Stuart Angell (Captain Head), George Bukhari (Jasper), Sonya Cullingford (Ensemble), Jade Davies (Swing), Karen Fishwick (Danielle), Joseph Fletcher (Ensemble), Taofique Folarin (Swing), Courtney George (Ensemble), Tash Holway (Swing and Dance Captain), CJ Johnson (Ensemble), Kody Mortimer (Ensemble), Simon Oskarsson (Swing), Tom Peters (Captain Voice), Eric Stroud (Dominic), Jonny Weldon (Casper), and Grace Wylde (Madam Doué). Continue reading “Some more musicals casting news for March”
A sparkling lead turn from Rebecca Trehearn, and brilliant choreography from Alistair David, enliven this Sweet Charity at Nottingham Playhouse
“Your game makes very good sense”
So pleased to have managed to squeak into Nottingham Playhouse’s Sweet Charitybefore it finished, this is what everyone uses their annual leave for, right…?! The second major production of the show in recent months following the Watermill’s strong actor-muso interpretation this summer, it is one which makes a bold move in introducing Alistair David’s choreography to give this 1966 musical a fresh lick of paint.
It’s the only real sense of updating that Bill Buckhurst’s production provides but it is an impactful one, David reimagining almost wholesale and invigorating the almost-too-familiar sounds of Cy Coleman’s classic score. In takis’ podium-based design, it looks a dream and more than justifies new AD Adam Lenson’s decision to reintroduce musicals to the programme here after an absence of more than a decade. Continue reading “Review: Sweet Charity, Nottingham Playhouse”
Sad to say, what I’m saying is that I was not a fan of The Addams Familyat all. After a cracking opening number which promises oh so much, Marshall Brickman and Rick Elice’s book grinds to a juddering halt in a first half which does nothing but interminably set the scene. And Andrew Lippa’s score offers little respite as it fails to really nail any definitive sense of identity and ends up really rather forgettable. Things do pick up a tad post-interval but it’s too little too late by then.
It all could have been so much better. The Addams Family are an iconic set of characters, previously immortalised on cartoon strip, on television and on film, a legacy which goes some way to explaining the commercial success of the show on Broadway in the face of a scathing critical reception. But classic characters need classic storytelling and here, they’re marooned in a schmaltzy neverland which captures nothing of the golden age, nor has anything to say to audiences today. Continue reading “Review: The Addams Family, New Wimbledon”
Atomic bombs derive their destructive power from nuclear fission, when atoms split after being bombarded with other particles, and there’s a certain sense of random elements being thrown together inMiss Atomic Bomb, in the hope of reaching some kind of critical mass. Comedy gangsters, tap-dancing routines, comedy bank managers, dead sheep, comedy zucchini, pigs in clothes, comedy transvestites, hoedowns, comedy rabbi costumes, a Strallen and a character with a ridiculous surname because you can get a song out of it. Put them altogether and what do you get? A show that’s either a bomb or a blast.
Full disclosure, I saw a preview and I’m given to believe that a lot of work has happened to the show in the last couple of days, which is only natural for a new musical. For me though, the show feels fundamentally flawed in really not knowing what it wants to be. Writers Adam Long, Gabriel Vick and Alex Jackson-Long throw together satire and slapstick uneasily as a desperate Las Vegas hotel manager arranges the Miss Atomic Bomb beauty pageant to drum up tourist trade as the US military test their atomic arsenal in the Nevada desert. Continue reading “Review: Miss Atomic Bomb, St James Theatre”
An early birthday from my Aunty Jean saw me get to revisit those wonderfully swiveling seats at the Royal Albert Hall for the matinée ofFollies in Concert, a semi-staged version of the Sondheim show directed by Craig Revel-Horwood for just two performances with an all-star cast, featuring none other than Diane Lockhart herself, Christine Baranski. Having never seen the show before, I have nothing to compare it too but after hearing the score played by the City of London Philharmonic Orchestra and conducted by the inimitable Gareth Valentine, I suspect I may never need to hear another version!
The set-up of a reunion concert for an old theatrical troupe as per James Goldman’s book works wonders for the show and especially this production. There seemed to be real joy and appreciation amongst the company as they watched their colleagues each take their turn to reprise their former glories – Anita Harris and Roy Hudd’s light-hearted skip through ‘Rain on the Roof’, Stefanie Powers’ glamorous swish through ‘Ah, Paris!’, Lorna Luft’s quirky take on ’Broadway Baby’, Betty Buckley raising the roof with a soaring ‘I’m Still Here’ – whether the onlookers were acting or not, seeing them give each turn hugs, kisses and standing ovations felt real. Continue reading “Review: Follies in Concert, Royal Albert Hall”
“I’d be the first one to agree that I’m preoccupied with me”
Mack and Mabel reunites much of the creative team from last year’s very well received Paradeat the Southwark Playhouse but sadly it also sees them go back into the same space of the Vault there. Despite its cavernous nature, it has become the default space for musicals at this London Bridge venue, although mystifyingly so as its first one – Company– was brilliantly played, unmiked, in the main house. To overcome the echoing acoustics of the Vault, shows tend to be heavily amplified and this has been something of a learning curve to say the least and for me undoes much of the point of going to see fringe musicals as it robs shows of the immediacy of hearing amazing voices up close and personal.
The show – book by Michael Stewart and revised by Francine Pascal – centres on the on-off relationship between Keystone Cops creator and silent film director Mack Sennett and the waitress he spotted, Mabel Normand, and turned into a star. Problem is, it isn’t a particularly gripping story, not even in its revised version, which tends towards a rather gloopy sentimentalisation, complete with annoying narration device, which never really addresses the fact that Mack is not someone you could imagine anyone ever giving the time of day to. Thom Southerland’s overlong production never really manages to overcome this deficiency in the story. Continue reading “Review: Mack and Mabel, Southwark Playhouse”
After a highly accomplished run at the Open Air Theatre, Crazy For Youhas transferred into the West End to take up residence in the Novello Theatre, taking advantage of the premature closing ofBetty Blue Eyes. I saw it in Regents Park – review can be read here – and was easily seduced by its combination of Stephen Mears’ pulsating choreography and lively renditions of selections from the Gershwins’ considerable catalogue of songs. The show has been transplanted indoors pretty much in its entirety and continues to be a whole heap of uncomplicated entertainment.
I previously described the story as ‘pure hokum’ and little has changed in that respect but it really doesn’t matter in the end, because this really is a show that is all about the singing and dancing. It doesn’t so much reinvent this set of classic Gershwin songs, they are too well known for that, but it does present them in a fresh new setting which feels incredibly natural and well-fitted. Sometimes with jukebox shows there can be the feeling of songs being shoe-horned into the narrative but because this show wears its story quite lightly, that is rarely the case here. Instead, there’s a cheery skip through some of the best songs ever written that is guaranteed to lift the heart. Continue reading “Re-Review: Crazy For You, Novello”
There’s no hiding the fact that the Open Air Theatre’s Crazy for Youis pure hokum but for sheer escapist fun and a feel-good atmosphere that will whisk you away from the troubles outside of Regent’s Park for an evening, this will pretty much do the trick. Based on the George and Ira Gershwin musical Girl Crazy, Ken Ludwig – he of the recently departed Lend Me A Tenor– wrote a new book in 1992, heavy on post-modern knowingness and light on substance: silly but fun – if you come here looking for authenticity you’re bound to be disappointed!
Banker Bobby Child is forced to abandon his Broadway dreams and is dispatched to Deadrock, Nevada to foreclose on a theatre there. Sensing an opportunity as he falls head over heels with the daughter of the theatre’s owner, he decides to impersonate the Broadway impresario he longs to work for and arranges for a benefit show to be put on to save the theatre: madcap fun ensues with mistaken identities – clearly a Ludwig fave – at the fore. Continue reading “Review: Crazy for You, Open Air Theatre”