“See these tears flow, this H2O”
There’s not really much more to say than to bid a fond farewell to this most beloved of shows. Despite the fierce love it engendered in its devoted fans, I personally don’t think a transfer would have necessarily worked so well. There’s something wonderfully neat about its life at the Lyttelton, the length and nature of its run in rep meaning that Rosalie Craig was able to make every single performance – an impressive feat even before one touches on the extraordinary demands of the lead role. And getting to see the final show, with a large group of people who had been equally (if not more) touched by the work – and that includes the extraordinary cast and company, I don’t think I’ve ever seen so much visible emotion at the end of a run – was a genuine privilege.
Since the show shone so brightly, yet so briefly, it has left the kind of indelible impression that will be impossible to shift. I saw it five times in total – you can read about visits one, two, three and four – and each time, it surprised me, its densely complex nature revealing something new each time with different musical motifs becoming prominent, the various themes shifting in emphasis, the texture of the show almost malleable in its changeability. So now we have to wait for the soundtrack and dream of once upon a once a, once upon a time.
“What you have done, has brightened the world”
A review of the fourth time I went to see The Light Princess at the National?
What I will say though, is that it was my first time seeing it from the circle and it really did give a different perspective to some of the more expansive scenes in the Wilderness, the illusion of flowing water much more effective. And Althea’s floating also felt different from afar, the magnificent facial hair less of a distraction from further away… Just one more trip booked now before it ends 🙁
“Ringing out, ringing out…”
Visit number three to this most lovely of shows for me, though I’m lagging way behind the super-fans who are surely up to double figures by now. Original review is here, taster preview post from my first viewing here, and given their exhaustiveness, there’s really little else to add. The Light Princess really is the loveliest of shows and its uniqueness and complexity, the very things that turned others of, is precisely what keeps me coming back (I’ve currently got two revisits booked in before it ends…).
The lushness of the score, tangled as the forest that divides Sealand and Lagobel on first hearing, but richly rewarding repeated listens; the gobsmacking consistency of Rosalie Craig’s immensely physical performance replete with flawless vocal, the gorgeous romanticism of the whole production – you really should book if you haven’t done so already.
“You are, you are…Althea, you are…changing the world for me”
Long awaited and long gestated, Tori Amos and Samuel Adamson’s musical take on The Light Princess arrives at the National in a blaze of theatrical glory that makes it one of the shows of the year. Based on a Scottish fairytale, the teenage heirs of warring kingdoms are both mourning the loss of their mothers but their grief has affected them in different ways. Digby’s soul has become weighed down so heavily he has forgotten how to smile, whilst Althea’s protective mechanism has been to become to airily light that she literally floats above it all. As they rebel against their strict fathers, they each escape to neutral ground only to encounter each other and instant attraction. But emotional articulacy doesn’t come easily and political concerns threaten to tear apart their passion before it even really begins.
Marianne Elliott’s direction pulls together the various elements of her huge creative team with exceptional skill, never losing sight of the sheer magic that the best theatre can bring and marrying a very modern aesthetic with the sometimes traditional feel – Althea’s movement (I don’t fly, I float!) is achieved through some amazing acrobatic work from a team of four with just a little help from some high tech flying rig. And in Rae Smith’s gorgeous designs, it all just looks superb; every movement catching an acute moment of emotion, whether the deft manipulation of a falcon into flight (Finn Caldwell and Toby Olié finally making puppetry make sense to me) or a girl literally raising the spirits of a boy (Steven Hoggett’s inimitable physical language once again heart-stoppingly good). Continue reading “Review: The Light Princess, National Theatre”
Any thought that I might have attended The Critics’ Circle Centenary Conference were immediately quashed when I realised that it was being held on a Friday, hardly conducive to those of us who want to engage with theatre reviewing but also have to hold down a 9-to-5 but maybe that was part of the point… Anyhoo, one of the thornier issues that frequently rears its head is the reviewing of previews and whilst the last thing in the world I want to do is resuscitate that debate, I thought it might be an interesting experiment to do things a little differently.
There are no hard and fast rules about (theatre) blogging and whilst it remains an innately personal exercise for me, there’s no pretending that it exists in a vacuum, cloistered from outside concerns and a fast-changing world. And it seems to me that that is the lesson that theatre criticism as a whole ought to take – railing that things aren’t like they used to be is all well and good but ignoring evolution is just perversely blinkered. Continue reading “(P)review – The Light Princess, National Theatre”
“Just knock three times and whisper low, that you and I were sent by Joe”
Old Broadway classics seem to flourish in the rarefied air of West Sussex and it is hard to shake the feeling that Chichester has done it again with a revival of The Pajama Game. No stranger to big American musicals, director Richard Eyre demonstrates the surest of touches to keep the improbable subject matter – the trials of working life in a pyjama factory – anchored in a world that we always care about and is aided by the kind of score that feels recognisable even if you think you haven’t heard it before. Richard Adler and Jerry Ross’ score is full of fantastic old school tunes like Hey There (You with the Stars in your Eyes) and Steam Heat and two of the songs were actually written by Frank Loesser, although uncredited.
George Abbott and Richard Bissel’s book is based on Bissell’s novel 7½ cents set in the Cedar Rapids, Iowa Sleep-Tite factory in which new-to-town Superintendent Sid Sorokin finds himself falling head over heels for feisty union rep Babe Williams, whose stubborn initial resistance can’t ignore the mutually fiery passion between them. But trouble brews when the workers are denied a justified 7½ cent pay rise and Sid and Babe find themselves on opposing sides of a heated labour debate. Continue reading “Review: The Pajama Game, Minerva”
“An Ogre always hides, an Ogre’s fate is known, an Ogre always stays in the dark and all alone”
I hadn’t originally intended to go to Shrek The Musical, certainly not this early in the run, never having seen the films and having a somewhat mixed reaction to the lead casting. The Nigels, Lindsay and Harman, intrigued me but Amanda Holden (I’ve never seen Britain’s Got Talent either) and Richard Blackwood did not appeal. But when an offer appeared on the show’s Facebook page, for £40 tickets at the front of the Upper Circle at a ridiculously cheap price of £15, I snapped up a pair as a birthday treat.
A big-budget production of the show had a relatively short run of just over a year on Broadway but a much-revised version went out on tour across North America last year and it is a copy of this scaled-down production that is now previewing in the Theatre Royal Drury Lane, directed by Rob Ashford and Jason Moore. It has a book and lyrics by David Lindsay-Abaire (also writer of the harrowing Rabbit Hole – talk about diversity!) and music by Jeanine Tesori, and according to my lovely companion for the evening, it cleaves very closely indeed to the first film in the franchise, right down to the same jokes being repeated. This is a review of an early preview, indeed there’s about a month of preview performances, so do bear that in mind as I have. Continue reading “Review: Shrek The Musical, Theatre Royal Drury Lane”
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”
“I had a revelation when I skipped my medication”
One of the cardinal rules of theatre booking is that you should never book to see a show just to see a particular performer as that road can only lead to disappointment. And so it came to be when I booked a return visit to Sister Act The Musical when it was announced that Whoopi Goldberg would be covering the role of Mother Superior for most of August for the sole reason of seeing her rather than any desire to see the show again. With the sad news of her mother taking very ill, Whoopi was forced to cut her run short and return to the US and so I ended up giving my tickets to a friend.
But the world works in mysterious ways and I clearly had some good karma stored up so when I booked the shows on my Groupon deal (including this one as I had decided to give it a whirl again since it had announced it was closing in advance of a move to Broadway and also to make way for The Wizard of Oz) and was randomly allocated a date, it just so happened to coincide with Goldberg’s return to the show for just 5 performances. Continue reading “Re-Review: Sister Act with Whoopi Goldberg, Palladium”
I am nothing if not contrary, and whilst weighty fare such as Lantana features in my Top 5 films, Sister Act is also up there amongst my all-time favourites. I have seen it numerous, numerous times and absolutely adore it, so I had mixed feelings when I heard that it was being made into a musical and arriving at the Palladium. My fears were then heightened when I found out that the songs from the film would not be featured in the show, and so I was quite sceptical as I approached the theatre.
Sister Act The Musical first came into being in the States in 2006 and has been developed since then, with the book being written by multi-Oscar-winning songwriter, Alan Menken. The story is still fairly similar to the film, lounge singer Deloris Van Cartier is placed in a witness protection programme after witnessing her hoodlum boyfriend shooting someone, and so she finds herself in hiding in a convent, disguised as a nun. Her only connection to the sisters with whom she is sequestered is through music, and she inspires the choir to hgh levels of success, but in doing so threatens to ruin her cover, and the safety of the nuns, as she has a contract out on her head. Continue reading “Review: Sister Act, Palladium”