“What is this impulse that drives otherwise sane men to attempt the impossible?”
Take Flight was a 2007 musical that played at the Menier Chocolate Factory (before my blogging time) written by composer David Shire, lyricist Richard Maltby Jr and writer John Weidman. Weidman is known for his collaborations with Stephen Sondheim (Pacific Overtures, Assassins) and it is hard to avoid the comparisons to that style of musical theatre here, for it does come across as very much of the same school.
The musical was inspired by the early history of aviation, weaving together the likes of “the Wright Brothers, Charles Lindbergh, Amelia Earhart, along with such sundry luminaries as Otto Lilienthal, the German “Glider King”; Commander Richard Byrd; French flying aces Nungesser and Coli, and various others”, bouncing around three key narratives as they attempt to…take flight. Continue reading “Album Review: Take Flight (2007 Original Cast Recording)”
Stick it in your fam’ly album”
With Half A Sixpence due to close in the West End in exactly one month, I thought now was as good a time as any to give the Original Cast Recording a listen. The show has built up quite the devoted following in its lifespan but for me, in both its original Chichester production and the subsequent transfer to the Noël Coward, it was a musical that I liked rather than loved, the balance not quite right with all the magic in the second half.
And listening to the show simply reminded me of how I felt. Stripped of its extraordinary physicality, Charlie Stemp’s chirpy chappy routine is surprisingly quite wearisome to listen to from the outset. The sentiment of the opening title track proving cloying and the lack of any killer new tunes from Stiles and Drewe before the interval leave the score sounding solid rather than spectacular, I still can’t hum you a single track save ‘Half A Sixpence’ itself. Continue reading “Album Review: Half A Sixpence (2016 London Cast Recording)”
“I’d let him strum my banjo”
It was no surprise to discover that Half A Sixpence would be transferring into the West End – its run at Chichester Festival Theatre was a huge success (you can read my review here) and with Cameron Mackintosh on producing duties, it was always going to be a case of when rather than if. It’s a slow-burner of a show, the second act really is the business thanks to Andrew Wright’s choreography and as it opened at the Noël Coward Theatre last night, you can now read my 4 star review for the transfer over at Cheap Theatre Tickets here.
Running time: 2 hours 45 minutes (with interval)
Booking until 11th February
“Don’t forget your banjo”
Take a deep breath… the 1963 musical Half A Sixpence by Beverley Cross and David Heneker, based on the HG Wells novel Kipps: The Story of a Simple Soul, has been adapted anew for Chichester audiences with Julian Fellowes writing a fresh book and George Stiles and Anthony Drewe adding new music and lyrics to Heneker’s original songs. And because Cameron Mackintosh is Cameron Mackintosh, he gets a co-creator credit.
Originally written as a star vehicle for Tommy Steele, Half A Sixpence is the story of Arthur Kipps, an orphan who dreams of a better life whilst earning a pittance as a draper’s assistant in Shalford’s Bazaar, Folkestone. An unexpected bequest thrusts a fortune into his hands but his meteoric rise in society leaves him conflicted about his place in life as his heart is pulled between two very different young women (and a banjo). Continue reading “Review: Half A Sixpence, Chichester Festival Theatre”
“What the hell, it’s only a name. It’s the same isn’t it. Well, isn’t it?”
In something of an anniversary year for them, English Touring Theatre are having themselves quite the 21st birthday. Howard Brenton’s Eternal Love has been revived to great effect, Blanche McIntyre’s take on Noël Coward looks set to be an exciting highlight of the summer and their production of Brian Friel’s Translations, co-produced with the Rose Kingston and Sheffield Theatres, turned out to be an absolute cracker in a month that has already seen a lot of great theatre that is sure to figure heavily on all our year-end lists.
Set in 1833 in a Gaelic-speaking hedge school in Donegal, the lives of those in this quiet rural teaching establishment are set for massive upheaval with the arrival of a British Army platoon who have the job of redrawing territorial boundaries and translating all of the local Gaelic place names into English. Ageing school master Hugh’s two sons embody the conflict – the one having stayed on to become an apprentice at the school, the other becoming an interpreter in Dublin and only returning to turn his home from Baile Beag to Ballybeg. Continue reading “Review: Translations, Rose Theatre Kingston”
“I’m anybody’s for a pint of semi-skimmed and a walnut yoghurt”
Coming out of Puss in Boots, I said this will be the last panto I see this year. Oh no it wasn’t… The New Wimbledon has built up a reputation to rival the Lyric Hammersmith and the Hackney Empire in London pantomimes, producing slickly professional productions starring high-profile names such as David Hasselhoff, Dame Edna and last year, Priscilla Presley. This year though, the celebrity wattage is homegrown in the form of Jo Brand, who takes the role of the Genie of the Ring in Aladdin.
And with someone who actually understands what pantos are all about (Presley’s air of bemusement at the whole shebang was hilarious), the dynamic of the show feels like a properly old-school affair. Brand’s hugely dry wit makes her perhaps too laconic a presence for the kids but she certainly makes the adults laugh, the presence of two Britain’s Got Talent acts lends a variety feel to the whole affair and in Matthew Kelly’s Widow Twankey, there’s a game dame indeed. Continue reading “Review: Aladdin, New Wimbledon Theatre”
“We play the Lambeth way, not like you but a bit more gay”
For its festive musical, Sheffield’s Crucible Theatre has taken on the 1937 classic Me and My Girl with music by Noel Gay and book and lyrics by L Arthur Rose and Douglas Furber. Stephen Fry’s revised book from 1985 is used here, with additional contributions to the revisions by Mike Ockrent, these adding a raft of terrible puns and a modern knowingness to what is a brilliant set of songs. The story is pure musical theatre hokum: East End barrow boy Bill Snibson is uncovered as the long-lost heir to an aristocratic fortune but must prove himself to be ‘fit and proper’ before he can inherit as his new-found relatives try to make him behave like a lord and encourage him to ditch his one true love, Sally Smith: will love conquer all? What do you think!
This is director Anna Mackmin’s first musical and her canniest decision has been to employ Stephen Mears as choreographer as he really is one of the best working in the field, as he proves yet again here. Whilst there is nothing quite as delightfully jaw-dropping as the train sequence from Hello, Dolly!, the Act I finale The Lambeth Walk comes preciously close with a brilliantly conceived and superbly executed routine, spilling with energy and invention and whipping up the audience into singing and clapping along with pure joy. The Sun Has Got His Hat On was another stand-out moment but this show is just full of winners and they are matched by a superlative production and some top quality performances. Continue reading “Review: Me and My Girl, Sheffield Crucible”
My intention is, honestly, to see less theatre this year and try and regain some semblance of a normal life again on the odd evening. But the curse of advance booking and grabbing cheap(er) tickets whilst you can has meant that there’s already an awful lot of theatre booked for 2011. Some have been booked without a huge deal of enthusiasm, but others have a dangerous amount of anticipation attached to them…and so I present to you, the shows I am most excited about seeing this year (so far).
Antonioni Project – Toneelgroep Amsterdam at the Barbican
The Roman Tragedies was hands down one of the most exhilarating and refreshing theatrical experiences of 2009 and possibly my life, I’m even headed to Amsterdam in May to see a surtitled production of their Angels in America. So when I heard that the same Dutch theatre company were returning to the Barbican in February, tickets were booked instantly and I am feverishly over-excited for this now! Continue reading “Shows I am looking forward to in 2011”