Full casting has been announced for the brand new stage adaptation of British comedy The Good Life which tours the UK this Autumn. The acclaimed cast will include actress and presenter Preeya Kalidas as ‘Margo Leadbetter’, Dominic Rowan as ‘Jerry Leadbetter’, and Sally Tatum as ‘Barbara Good’, joining the previously announced actor and comedian Rufus Hound as ‘Tom Good’. Also featured will be Nigel Betts and Tessa Churchard.
The new comedy by Jeremy Sams, is based on the classic television series by John Esmonde and Bob Larbey which entertained countless millions in the 1970s and which I have never seen an episode of. Directed by Jeremy Sams, this world premiere production will be the first time that the iconic characters of suburban neighbours the Goods and the Leadbetters will be seen on stage. The Good Life will open at Theatre Royal Bath on 7 October 2021, before dates at Cheltenham Everyman, Salford Lowry, Oxford Playhouse, Cambridge Arts Theatre, Malvern Theatres, Richmond Theatre and Chichester Festival Theatre. Continue reading “Early September theatre news”
The nominees for the 9th annual Mousetrap Awards are announced
These awards are voted for by young people, anyone aged 15-29 is invited to have their say as to who should pick up the trophies at the ceremony on Sunday 19th April. And while usual suspects Dear Evan Hansen, Waitress and & Juliet are leading the pack, it is nice to see such love for Small Island here too.
Mousetrap Theatre Projects strive to make London’s theatre scene accessible to young people, low-income families, mainstream and SEND state schools, and those with additional needs.
Voting is open until midnight on 23rd March via this link. Continue reading “Nominees for the 9th annual Mousetrap Awards”
Just the three years between visits to Harry Potter and the Cursed Child at the Palace Theatre and its impact is no less
“So you’re telling me that the whole of history rests on . . . Neville Longbottom? This is pretty wild”
It’s over three years since Harry Potter and the Cursed Child opened at the Palace Theatre, in which time it has won pretty much every award going both here and on Broadway and gone through three major cast changes. So I thought it was high time I paid a return visit and hopefully get a better view than last time (when we saw the two-parter from the very back row of the balcony, a veritable steal at £10 a pop).
And I have to say its holding up really rather well, the storytelling feeling less complex than I’d initially feared. All sorts of details about the plot came back to me while watching but there was still gentle surprise aplenty, not least from being able to see so much more detail from the rear stalls. And there’s always the great thrill of anticipation in knowing what’s to come in certain key moments… #keepthesecrets. Continue reading “Re-review: Harry Potter and the Cursed Child, Palace Theatre”
Performances begin this week for the fourth West End cast of Harry Potter and the Cursed Child. Joining the company are Michelle Gayle as Hermione Granger, Rayxia Ojo as her daughter Rose Granger-Weasley and Dominic Short as Albus Potter. Continuing company members include Jamie Ballard as Harry Potter, Susie Trayling as Ginny Potter, Thomas Aldridge as Ron Weasley, James Howard as Draco Malfoy and Jonathan Case as his son Scorpius Malfoy.
They are joined by cast members Lola Adaja, David Annen, Valerie Antwi, Emma Bown, Adrian Christopher, Craig Connolly, Robert Curtis, Tim Dewberry, Rachelle Diedericks, Blythe Duff, Antony Eden, Jim Fish, Thomas Gilbey, Elliot Grihault, Rosie Hilal, Joseph Horsford, Mia Hudson, William Lawlor, Susan Lawson-Reynolds, Ronnie Lee, Ryan J Mackay, Lucy Mangan, David Mara, Barry McCarthy, Marcus McKinlay, Kathryn Meisle, Gordon Millar, Duncan Shelton, Molly Shenker, Luke Sumner, Mark Theodore, Emma-May Uden, Madeleine Walker and Maddy Yates who complete the 42-strong company playing a variety of characters, including seven children who will alternate two roles.
Defying the critics and showcasing the marvellous Keala Settle, there’s more to like about The Greatest Showman than you might think. Or not.
“The noblest art is that of making others happy”
There’s always something amusing about a piece of art that manages so successfully to flick two fingers at the critics and right now, none more so than The Greatest Showman. In the UK alone, it has achieved a box office consistency near the top of the list unseen since Avatar, the cast recording has been at the top of the album charts for the past two months, and such is its hold on the zeitgeist that it is now holding singalong performances across a range of cinemas.
None of which you would have predicted on its critical reception ahead of its Boxing Day release. It’s not an accurate portrayal of PT Barnum’s life, some said; it doesn’t have enough of a dramatic narrative, others sniffed; still more have derided its complete lack of any post-modern ironic edge, de rigueur for a contemporary musical so they’d have you believe. And there’s merits to all of these points though they do seem to spectacularly miss the point of the film, which is pure entertainment. Continue reading “Oscar Week Film Review: The Greatest Showman”
“Things just come out of my mouth which are true”
Truth be told, I wasn’t intending to go back to The Elephant Man. It was probably my least favourite of the plays I saw on Broadway at New Year (so of course it would be the one to transfer lock, stock and barrel to London) but I won a pair of tickets through my efforts on the Seatplan website and able to take a friend, I decided it was worth the revisit at the Theatre Royal Haymarket. The irony of Americans bringing us a version of Victorian London from the Great White Way aside, little has changed about my opinion in that it really isn’t that grand at all.
That’s not to detract from the now Tony-nominated efforts of Bradley Cooper, who plays the physical condition of Joseph Merrick without make-up or prosthetics but purely through the contortions of his face and body. An early scene where Merrick’s physical attributes are described and Cooper layers them onto his body one by one is expertly done but as the play progresses, it remains an effortful performance that never achieves, or allows for, emotional truth, so focused is the actor on the physicality. Continue reading “Review: The Elephant Man, Theatre Royal Haymarket”
“I did not think of all these things, because there was no one to bother to think them for”
Of all the shows that I saw on Broadway, I really wouldn’t have picked this one to be the one that transfers to the West End. But to the Theatre Royal Haymarket it doth come after a commercially successful run. And oh the irony, casting someone named Sexiest Man Alive as the noted Victorian ‘freak’ Joseph Merrick, aka The Elephant Man. The selling point of Scott Ellis’ production of Bernard Pomerance’s 1977 is most definitely three time Academy Award acting nominee (seriously, how did that happen?!) Bradley Cooper and in the grand tradition of things that Oscar likes, he’s feigning a disability in what I found to be a somewhat disturbing performance.
The script determines that no make-up or prosthetic should be used, that Merrick’s deformity should be portrayed only through physicality, and whilst that offers up a veritable challenge to any actor wishing to take on the role, it also throws up big questions that this production comes frustratingly close to interrogating in an interesting way. Putting so fêted and objectified an actor on stage and having society’s reactions in the play range from outright horror to morbid fascination feels like the beginnings of an interesting commentary on today’s obsession with celebrity – indeed, were I directing it I’d’ve had Cooper play no disability at all, to really highlight how we respond to those who are ‘different’. Continue reading “Review: The Elephant Man, Booth Theatre”