The Hope Mill Theatre crack open their address book to gather a great guest-list for this Rodgers & Hammerstein tribute concert, raising much needed funds
“Night after night, as strange as it seems…”
By rights, the Hope Mill Theatre should have been opening the UK premiere of Rodgers & Hammerstein’s Cinderella next month but ever pragmatic, its very own William Whelton and Joseph Houston have turned their hand to the theatre’s first online concert. Some Enchanted Evening still pays tribute to the iconic composing duo albeit in a different form, with friends and patrons gathering to take us through this wondrous songbook and an illustrious company bringing the songs to life.
From the incomparable Maria Friedman with a King & I medley to the ever-witty Sophie-Louise Dann relishing Allegro’s ‘The Gentleman is a Dope’, Joel Harper-Jackson (who was very good in Little Women) crooning through ‘If I Loved You’ to Louise Dearman#s shimmering star quality in ‘Edelweiss’, there’s a strong set of performances here. Standout of the night for me though was The Prince of Egypt‘s Simbi Akande, whose gorgeous soprano perfectly soared in Flower Drum Song‘s ‘Love Look Away’. Continue reading “Lockdown review: Some Enchanted Evening – Hope Mill Theatre”
“A man lost in time”
It’s no secret that I’m a big Ivo van Hove fan, I’ve been to New York and Amsterdam several times to see his work as regular readers will know, so booking for his latest show to hit London – Lazarus – was a no-brainer. At the same time though, I have to say that the music of David Bowie has played little part in my life, so a musical continuing the story of his 1976 film The Man Who Fell To Earth and based on his songs doesn’t actually carry the same appeal that I might normally have with a van Hove show.
Of course, the shock news of Bowie’s passing as the show opened in New York this past winter lends Lazarus an especial charge, featuring as it does songs from his later albums and songs that were written for this project, among some of the last he ever penned. To an outsider though, it makes for strange experience with a strong sense of mood prevailing over a defined narrative progression, Enda Walsh co-writing a book with Bowie that is labyrinthine in its own fractured, hallucinatory way. Continue reading “Review: Lazarus, King’s Cross”
“Dancing, oh so beautifully
Dancing, dancing together
Dancing, oh as if in a dream”
It’s not often I leave a play with penis envy – giant golden cock hat envy to be precise – but that’s how I felt leaving the newly-opened Dorfman Theatre (the National’s Cottesloe getting a much needed facelift) after the blisteringly good fun of Here Lies Love. (I also felt sad that I didn’t get a glowstick, it was only later I realised they weren’t being handed out to all and sundry.) But by and large, the abiding feeling was one of huge exhilaration, akin to the endorphin rush of a good night’s clubbing, for if you’ve booked correctly, that’s what you get here.
You can sit down to see the show, the tiered seating of the theatre remains intact, but the real route into Alex Timber’s ingeniously immersive production is by getting a dancefloor ticket, whereby one is thrust right into the midst of this utterly idiosyncratic musical which tells of the rise and fall of Imelda Marcos, former First Lady of the Philippines entirely through the medium of dance music from David Byrne and Fatboy Slim. It is so thoroughly audacious a concept that it is hard to fathom how it even came into being, never mind emerge as the huge success it is here. Continue reading “Review: Here Lies Love, National Theatre”