A live-action remake of Aladdin is decent enough but lacking in any real point or purpose
“You have got to be more confident about what you have to offer”
Disney’s project of milking its animated classics for all their worth through live-action remakes continues apace with Aladdin. And whilst it is enjoyable at times, particularly in the sweet romance of the clean-cut Mena Massoud and Naomi Scott as Aladdin and Jasmine, too much of what made the original work is lost in realism.
This is particularly evident in Will Smith’s Genie, already up against it in the shadow of Robin Williams’ iconic performance. There’s a move to make him a relatable figure with feelings which seems to fly entirely in the face of a fantastical fairytale. Minimising the actual magic consequently robs the film of much of its screen magic. Continue reading “Film Review: Aladdin (2019)”
The thought of outdoors theatre was fine earlier this week, not so much right now! For the brave, Regent’s Park Open Air Theatre have confirmed full casting for Rodgers and Hammerstein’s Carousel, which plays 31 July – 25 September. Joining the already announced Carly Bawden (Julie Jordan), Declan Bennett (Billy Bigelow), John Pfumojena (Enoch Snow), Joanna Riding (Nettie Fowler) and Natasha May Thomas (Louise Bigelow) are Brendan Charleson (Mr Bascombe), Jo Eaton-Kent (Mrs Mullin), Sam Mackay (Jigger Craigin), Ediz Mahmut (Young Enoch) and Christina Modestou (Carrie Pipperidge).
The ensemble includes: Chanelle Anthony, Craig Armstrong, William Atkinson, Shay Barclay, Sarah Benbelaid, Madeline Charlemagne, Freya Field, Sebastian Goffin, Amie Hibbert, Tim Hodges, Lukas Hunt, Tessa Kadler, Lindsay McAllister, Matthew McKenna, Jack Mitchell, Charlotte Riby, Lisa Ritchie and Daisy West. Continue reading “News: West End musical castings confirmed”
“The passengers were bound to resist”
Michael Buffong’s reinterpretation of Guys and Dolls, a co-production between the Royal Exchange and Talawa Theatre, is just that, a bold re-envisioning of the classic musical that consequently comes up with something different. That’s the point. So it may take a second to recalibrate, to adjust to these portrayals of familiar characters but in doing so you get to embrace something fresh and new and really rather exciting.
Moving the show from Times Square to the heart of the Harlem Renaissance in 1939 allows Buffong to employ an all-black cast, infuse Frank Loesser’s score with jazz and gospel (new orchestrations by Simon Hale) and introduce a vibrant choreographic vision (by Kenrick Sandy) that draws on several decades of dance history. The result is less-concept heavy than you might expect and often, explosively good fun. Continue reading “Review: Guys and Dolls, Royal Exchange”
The Royal Exchange in Manchester have really been upping the ante as far as their Christmas musicals are concerned. Last year’s Sweet Charity was a stonker, their Into the Woods was something special, and 2014/15’s Little Shop of Horrors was basically perfection. This year see them tackle Broadway classic Guys and Dolls in a co-production with Talawa Theatre Company and by the crin (as my Aunty Mary would say – a bit of Wigan dialect for you there…) just take a look at this bushel and a peck’s worth of beauties! Continue reading “Cast for the Royal Exchange’s Guys and Dolls announced”
“Tale as old as time”
It’s taken me a little time to get round to writing this review, which is rarely a good sign, as I was struggling for anything entirely constructive to say about this film. The 1991 animated Beauty and the Beast was Disney close to its best but these days, nothing is left alone if it has even the merest hint of cash cow about it. So it has previously hit the stage as a musical and following the success of Kenneth Branagh’s Cinderella, it now has a cinematic live-action remake.
Which is all fine and good but just because you can do something doesn’t mean you should. And at no point does Bill Condon’s film ever convince us that the world needed this version of Beauty and the Beast, there’s rarely any sense of it bringing something new and insightful to the story. Plus the contortions it (and star Emma Watson) has had to make to try and convince of its feminist credentials scarcely seem worth it in the final analysis. Continue reading “Film Review: Beauty and the Beast (2017)”
“Remember when you used to play Mozart?”
I’ve been lucky enough to see Cassidy Janson in a number of productions over the years and I’ve been a fan from the start, from stepping into Julie Atherton’s not-inconsiderable shoes in Avenue Q onwards, so I was mightily pleased when she was announced as the replacement for Katie Brayben in the lead role in Beautiful – The Carole King Musical. I really enjoyed the show when it opened last year and thought Janson would be a good fit but in finally getting to see her, I couldn’t have imagined how perfect a marriage of performer and material this would be.
As Carole King, one of the most successful songwriters of the last century, she thoroughly imbues the character with an engaging sense of life and vivid musicality that just bursts from the stage. Through a decade of huge change as this ebullient Manhattan teenager becomes a wife and mother as well as writing some of the biggest pop hits around, Janson keeps us thoroughly engaged with Douglas McGrath’s sometimes-a-bit-too-functional book whether acting, singing or acting through song – if she weren’t already a star, I’d say it’s a star-making performance. Continue reading “Re-review: Beautiful – The Carole King Musical, Aldwych”