There’s still a reason Mame hasn’t been seen in the UK for 50 years but this lavish Hope Mill Theatre production and a spectacular Tracie Bennett give it a damn good try
“Your special fascination’ll
prove to be inspirational
we think you’re just sensational”
In some ways you have to admire the ambition in reviving a show that hasn’t been seen professionally in the UK for 50 years. In others, you wouldn’t be blamed for blurting ‘what are you thinking’! The ever-adventurous folks at Manchester’s Hope Mill Theatre have done just that with this revival of Mame, hoping to find a glitzy neglected diamond in the rough. (And when oh when will they transfer their lovely take on Little Women to London like so many of their other shows.)
Director Nick Winston’s wisest decision is to mount it with a lavishly decadent production that you don’t often see on the fringe, especially with the likes of Tracie Bennett (so excellent in Follies recently) heading the cast. Getting to see a performer of the calibre of Bennett, with a voice like that, in such intimacy as this, is a rare treat and even singing a minor Jerry Herman score, is a genuine theatrical thrill.
Continue reading “Review: Mame, Hope Mill Theatre”
“No more falsehoods or derisions”
I went into Hair with as open a mind as I could muster but it really isn’t my cup of (herbal) tea at all, particularly in a production like this one which felt overly concerned in making sure we were all having ‘a good time’. That may be in keeping with the hippy schtick but doesn’t cut to the core of any of the many more serious issues which it ends up skating over rather too thinly. Plus the score (still) doesn’t do anything for me. That’s just the way it goes sometimes.
Running time: 2 hours 10 minutes (with interval)
Booking until 13th January
“What is this that I see”
Robert J Sherman’s musical Bumblescratch played a high-profile charity concert at the Adelphi Theatre last year and keeping up the energy behind this piece of new writing, the original band and cast made this London Concert Cast Recording at Angel Studios, under the auspices of the folks at SimG Records. It’s a canny way to keep up the profile of a show that only a handful of people got to see and a useful tool for those that did to reassess the score.
Sherman’s extensive family legacy (A Spoonful of Sherman) means that the family friendly ethos is never far from the surface and it is something that has emerged in his previous work (Love Birds). And in some ways it is a blessing and a curse. A blessing in that he clearly has a gift for melody, sometimes gentle, sometimes nagging (in the best way); and a curse in that it is so ingrained in his musical identity that it is hard to escape it. Continue reading “Album Review: Bumblescratch (2016 London Concert Cast Recording)”
“I’m a fool…just a fool”
There’s something admirable in the Union Theatre’s admirable determination to work its way through the dustier, neglected end of the musical theatre canon to see if anything comes up roses. I liked what they did with Anyone Can Whistle, less so with Moby Dick, and now its the turn of the lesser-known Tim Rice musical Blondel (the first he wrote after his Andrew Lloyd Webber collaborations) to get the revival treatment.
Sometimes though, when polishing a pebble in the hope that it turns into a diamond in the rough, it remains a pebble. Sasha Regan’s high-spirited, fun-loving production has a wonderfully playful energy about it, and the cast are clearly having a whale of a time, but it isn’t too hard to see why the show has rather languished in obscurity. Daftness can only take you so far (believe me, I know!) and Blondel (over-)runs at 2 hours 30 minutes. Continue reading “Review: Blondel, Union Theatre”
“At least a rat ‘as got an excuse”
In the cut-throat world of the West End, introducing a new musical is an undoubted challenge so it is quite gratifying to see the backers of Bumblescratch going all out to make its mark with this gala concert launch. With merchandise available, a full-throttle social media campaign in train, and a top-notch cast and creative team making the most of their two week rehearsal period, there’s certainly no lack of ambition here.
Set in London during the Great Plague of 1665 and Great Fire of 1666, the show is told from the perspective of plague rat Melbourne Bumblescratch and the anthropomorphic nature of the musical should come as no surprise once you learn it was written by Robert J Sherman, who has both form of his own (Love Birds) and an impressive family history (A Spoonful of Sherman) to live up to when it comes to writing a tune or two. Continue reading “Review: Bumblescratch, Adelphi Theatre”