Supporting the COVID-19 Emergency Relief Fund Featuring over 150 performers and musicians, reunited from across the world to present a truly unique, memorable and breath-taking performance of ‘All That Jazz’ from the legendary Kander and Ebb musical Chicago. Bringing together former Broadway, West End and International Tour company members, ‘All That Jazz’ provides plenty of razzle dazzle, featuring award winning stars that played the roles of Velma Kelly, Roxie Hard and Billy Flynn including Ute Lemper, Sally Ann Triplett, Debbie Kurup, Bonnie Langford, Sue Kelvin, Ian Kelsey, Michael Greco, David Hasselhoff, Annette McLaughlin, Gaby Roslin, and many more.
The West End is a tough nut to crack at the best of times and despite its best efforts, the musical version of Ken Ludwig’s Lend Me A Tenor lasted barely 2 months at the Gielgud in 2010. It’s strange, especially in light of Dirty Rotten Scoundrels’ relative success, as it occupies a similar groove with its traditional, even old-school, vibes, aping a classic era of musical theatre with japes and jolliness but somehow, it just didn’t connect with audiences – not everyone loves a farce…
Its old-fashioned humour and madcap antics are well served by Brad Carroll’s score and Peter Sham’s lyrics and book, which follows the trials of the Cleveland, Ohio Grand Opera Company as a world famous tenor scheduled to sing in their Otello goes AWOL in the hotel just hours before he’s due onstage. Is there a schmuck who can step in at the last minute and pretend to be Merelli, of course there is, but there’s also jealous wives, lovelorn girlfriends and conniving co-stars aplenty to thicken the plot. Continue reading “Album Review: Lend Me A Tenor (Original London Cast Recording)”
“Never had to have a chaperone…”
There’s most likely financial reasons for opening White Christmas in early November but it certainly gave many a critic the excuse to get their Scrooge on early. Likewise, there’s reasons of integrity for treating this show like any other in terms of theatrical criticism. But it is hard not to feel that this piece of festive window dressing perhaps deserves something of a free pass as it arguably falls under the bracket of high-class panto rather than fully-fledged musical theatre (even if the ticket prices err towards the latter).
Which is basically code for saying it is undemanding good fun and you pretty much know what you’re going to get in advance – people in search of punchy narrative drive and incisive characterisation are advised to look elsewhere. I actually saw this production in an earlier incarnation on one of its Christmas trips to the Lowry back in 2012 and whilst not being blown away by it, it hit the mark in terms of festive frippery. David Ives and Paul Blake’s book lightly adapts the 1954 classic film but the real star of Morgan Young’s production here of course is Irving Berlin’s evergreen music and lyrics. Continue reading “Review: White Christmas, Dominion Theatre”
“If I were a watch I’d start popping my springs!”
From the opening moments of an overture that demands the attention, it is clear that Chichester’s revival of the Broadway classic Guys and Dolls is going to be a scorcher. Director Gordon Greenberg utilises not only Carlos Acosta as choreographer but also Andrew Wright as a co-choreographer and the combination of the two is simply explosive – these are no two-bit routines that people are shuffling around, this is proper dance and it is thrilling to behold.
It helps of course to be connected to Jo Swerling and Abe Burrows’ amiable book, based on Damon Runyon’s characters, about the travails of a bunch of New York gamblers, and Frank Loesser’s evergreen music and lyrics which churns out classic after classic after classic. Greenberg wisely doesn’t interfere much at all with the material, just cultivating warmth from all of his performers and particularly his two leading couples, making them utterly adorable. Continue reading “Review: Guys and Dolls, Chichester Festival Theatre”
“I’m bored with widowhood”
As the aristocratic Lady Conway, Thelma Barlow’s amusing run through the options open to a rich widow of nearly 70 sets up Mrs Henderson Presents succinctly in its opening moments – Laura Henderson pricks her thumb trying embroidery as a hobby and bristles at the snobbery of the ladies who run charities for the deserving and so is left to spend money as she sees fit, alighting on the derelict Windmill Theatre which she purchases in a moment of inspiration as she passes in her car. Martin Sherman’s script is based on the true story of this woman who became an unlikely theatrical impresario and in director Stephen Frears’ hands, Judi Dench delivers a heart-warmingly cracking performance at the centre of a lovely film.
Set in the late 1930s, the story follows Laura as she and her theatre manager, Bob Hoskins’ cantankerous but inspired Vivian van Damm, set up a continuous variety revue called Revudeville and trying to keep ahead of a market full of copycats, they introduce still tableaux of female nudity into the show which becomes a roaring success. The onset of war casts a heavy shadow though and whilst the show continues, providing much needed entertainment and respite, as the bombs fall on London, the determination that the show must go on puts everyone in serious peril. Continue reading “DVD Review: Mrs Henderson Presents”
“Anna 1, Anna 2, Anna 3”
For the second time in three days, I deliberately went to a show knowing nothing about it in advance, and I would evidently seem to have used up much of my theatrical karma as for the second time, I was subjected to farce! But ever the contrarian, musical comedy Lend Me A Tenor hit the spot for me with a highly entertaining production where Rumours at the Hen + Chickens did not (although they are completely different beasts in the end). A relatively new musical, written by Peter Sham and Brad Carroll and based on the 1986 play of the same name by Ken Ludwig, the show had a short run in Plymouth last autumn and transfers now to the Gielgud in the West End where it is now previewing following the untimely departure of The Umbrellas of Cherbourg. Several of the cast members have made the move with the show but in a neat twist of continuity, Joanna Riding has joined the ensemble here meaning she will continue to perform in the same theatre.
Set in 1934, the Cleveland, Ohio Grand Opera Company is struggling to survive and manager Henry Saunders is banking everything on their new production of Otello featuring leading Italian opera star and notorious womaniser Tito Minelli. But when a set of circumstances conspire to leave Tito unable to perform, shy assistant Max – who harbours his own dreams of performing – has to find a last minute replacement to play the title role. Things are not quite so simple though, this is a farce after all, as there’s a jealous Italian wife, conniving co-stars, a trio of ex-wives, a randy daughter, three version of the same costume, oh, and the President is coming to watch. Continue reading “Review: Lend Me A Tenor, Gielgud Theatre”