Review: Sasha Regan’s All Male The Pirates of Penzance, Palace Theatre

Sasha Regan’s All Male The Pirates of Penzance proves a feast for ears and the eyes in a glorious but short at the Palace Theatre

“Here, in this our rocky den,
Far away from mortal men”

There’s a beautiful sense of homecoming to the return of Gilbert & Sullivan to the West End, even if its only for a weekend. The Palace Theatre was founded by Richard D’Oyly Carte as The Royal English Opera House in 1891 and opened with Sir Arthur Sullivan’s Ivanhoe so the arrival there of Sasha Regan’s All Male The Pirates of Penzance could hardly be more apposite and turned out to be a real festive treat. 

We don’t see much operetta around these days but Regan’s commitment to the cause has been admirable. It’s over a decade now since she first reinvigorated the form with this production (previously reviewed here and here), and working her way through the G&S catalogue (for my money, Iolanthe is the best), transfers, national tours and even international tours are a testament both to the enduring quality of the material and the frisson that comes from this method of interpretation.  Continue reading “Review: Sasha Regan’s All Male The Pirates of Penzance, Palace Theatre”

Sasha Regan’s All Male ‘The Pirates of Penzance’ cast announced, plus second date in the West End

Sasha Regan’s All Male The Pirates of Penzance cast announced, plus second date in the West End confirmed

Nimax Theatres have added a second night for Sasha Regan’s all-male take on W. S. Gilbert and Arthur Sullivan’s The Pirates of Penzance at the Palace Theatre, Shaftesbury Avenue.  The show will now run on Saturday 12th December and Sunday 13th December 2020 at 7:00pm.  

The production was meant to open at Wilton’s Music Hall and then tour but those plans have had to be cancelled and postponed respectively. For the uninitiated, Regan’s reinvigoration of this classic is a corker, I’ve seen it a couple of times now over the years and it never fails to delight. Continue reading “Sasha Regan’s All Male ‘The Pirates of Penzance’ cast announced, plus second date in the West End”

Review: Floyd Collins, Wilton’s Music Hall

“Do you feel the kind of grace inside the breeze?”

One of the joys of having this blog is the aide memoire aspect of it, the theatrical diary that it has become, allowing me to trace how my tastes have shifted. I say this in particular reference to Floyd Collins, a show I didn’t much enjoy the first time I saw it at its 2012 production at the Southwark Playhouse and yet which on this revisit, four years later, I adored. 

A substantial part of it comes with the musical complexity of Adam Guettel’s score, one I (still) think few people would fall in love with instantly, but also one which has repaid repeated listens and the breadth of performers yearning to sing his music (Audra McDonald, Kelli O’Hara…), incrementally convincing me of its worth and culminating in the gloriously revelatory sound of Tom Brady’s band tucked away in the balcony of Wilton’s Music Hall.
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Review: Sasha Regan’s All Male HMS Pinafore, Hackney Empire

“The gentleman is quite right. If you please” 

If you have seen one of Sasha Regan’s all-male productions of Gilbert and Sullivan, then you know exactly what you’re getting with HMS Pinafore; if you haven’t, then there’s many a pleasant surprise in store. This production of the evergreen show has been seen before, at the Union in 2013 and on tour in 2014 but is being reprised here for another UK tour stretching from Yorkshire to Cornwall and it remains as refreshing as a Fisherman’s Friend.

Regan’s approach sees Sullivan’s score stripped back to solo piano, musical director Richard Bates doing sterling work from the keys, and Gilbert’s book performed by a set of 16 strapping sailors, the conceit here being performance as a way of passing the time, to lift spirits flagging a little after receiving letters from their loved ones. It’s a canny framing device and one which works effectively with hardly any tinkering with the plot at all. Continue reading “Review: Sasha Regan’s All Male HMS Pinafore, Hackney Empire”

Review: The Pirates of Penzance, Richmond Theatre

“We can’t make piracy pay”

Gilbert and Sullivan’s titular buccaneers may struggle with a lack of a ruthless edge but Sasha Regan’s sharp eye means that piracy definitely pays as her all-male interpretation of The Pirates of Penzance enters a fifth year of swashbuckling success. From its initial run at the Union Theatre in 2009 and subsequent transfer to Wilton’s Music Hall, it has toured Australia, played the Hackney Empire and now returns for a UK tour which runs through to the end of June.

And getting to gaily tread the measure one more time was indeed an especial pleasure once again. In the august surroundings of Richmond’s Victorian theatre, the set design may look a little spare but once the stage is filled with heaving bodies – whether preening with piratical glee, gambolling in corsets or patrolling a policeman’s lot, or indeed all three at the same time, the musical spectacle of these eighteen lads, plus pianist, is quite something to behold. Continue reading “Review: The Pirates of Penzance, Richmond Theatre”

Review: Evita, Dominion Theatre

“The lady’s got potential”

Right, first things first, Marti Pellow’s name is deliberately bigger than Madalena Alberto’s on the poster. Really? He may have the greater name recognition factor, indeed Popped In Souled Out was one of the first cassette albums I ever owned, but is the show called Che? It is not, it is called Evita. And more significantly, in the role of Eva Perón, Alberto delivers an utterly magnificent performance (one which should give Anna-Jane Casey pause for thought in the recently rewritten Forbidden Broadway, star quality indeed…) which far outshadows Pellow’s perfunctory work. Simply put, this is not a West End-standard leading man turn and so demanding higher billing than the show’s true star feels even more inexcusable.

Andrew Lloyd Webber’s show has been touring the country since May 2013 and has now turned up at the Dominion Theatre to finish its run with a seven week stint in the West End. It’s quite a successful transfer too – Matthew Wright’s design holds up well on the vast stage and directors Bob Tomson and Bill Kenwright ensure a sense of grandeur infuses this story of the rise to power of Eva Perón under the auspices of her husband Juan who became the Argentine president. Creatively, the only disappointment comes in Bill Deamer’s choreography which lacks the organic Latin spirit that so elevated the last West End revival (the explosive power of that ‘Buenos Aires’ is one of my all-time favourite theatrical memories).

Continue reading “Review: Evita, Dominion Theatre”