With so much uncertainty still blighting the West End, Frozen the Musical has announced that it is taking tickets offsale and postponing its premiere until a new timetable can be confirmed. But to sweeten the pill, they’ve also revealed the final members of their company.
Chris Fung and Kerry Spark will join the already announced cast, led by Samantha Barks (Elsa) and Stephanie McKeon (Anna), as well as Obioma Ugoala (Kristoff), Craig Gallivan (Olaf), Oliver Ormson (Hans), Richard Frame (Weselton), and alternating the role of Sven, Mikayla Jade and Ashley Birchall. Continue reading “News: updates for Frozen in the West End.”
There’s still a reason Mame hasn’t been seen in the UK for 50 years but this lavish Hope Mill Theatre production and a spectacular Tracie Bennett give it a damn good try
“Your special fascination’ll
prove to be inspirational
we think you’re just sensational”
In some ways you have to admire the ambition in reviving a show that hasn’t been seen professionally in the UK for 50 years. In others, you wouldn’t be blamed for blurting ‘what are you thinking’! The ever-adventurous folks at Manchester’s Hope Mill Theatre have done just that with this revival of Mame, hoping to find a glitzy neglected diamond in the rough. (And when oh when will they transfer their lovely take on Little Women to London like so many of their other shows.)
Director Nick Winston’s wisest decision is to mount it with a lavishly decadent production that you don’t often see on the fringe, especially with the likes of Tracie Bennett (so excellent in Follies recently) heading the cast. Getting to see a performer of the calibre of Bennett, with a voice like that, in such intimacy as this, is a rare treat and even singing a minor Jerry Herman score, is a genuine theatrical thrill.
Continue reading “Review: Mame, Hope Mill Theatre”
“A hundred thousand things to see”
Say Aladdin to most people across the world, and Disney would hope that the first thing that comes to mind is their 1992 animated film. In the UK though, the title is indelibly linked to pantomime and so it feels a little incongruous to have a major musical production of it opening in the middle of June. And whilst Casey Nicholaw’s production hasn’t stimped in any conceivable way when it comes to the look of the show (striking design from Bob Crowley), there’s still a faintly hollow ring to the whole proceeding.
A big hit on Broadway, Aladdin
has been pretty much replicated and transplanted into the Prince Edward. Which is good in terms of the undeniable quality of the Disney brand – the family-friendly ethos, the slickness of the design, the unexpected self-referential dips into other Disney musicals. And in the knowing performance of American Trevor Dion Nicholas as the Genie, there’s a respectful homage to the character that Robin Williams brought to life so memorably on screen, which still carves its own identity too.
But the show is called Aladdin
, and there’s no escaping that he’s a dud of a character. As is his high-born love interest Jasmine, Chad Beguelin’s book surprisingly weak here. Which leaves the show at a pretty pass, for neither Dean John-Wilson nor Jade Ewen can do too much to invest any kind of real life into them or the jolly japes they work their way through – Ewen does try valiantly though to inject some kind of positive feminist message into a story that is appallingly, dare one say it unforgivingly, lacking in that respect.
You can point to the devilishly good time that Don Gallagher and Peter Howe have as the nefarious Jafar and (humanised) Iago; or to the boisterous camaraderie of Aladdin’s coterie of (male) monkeying pals, Stephen Rahman-Davies and Nathan Amzi standing out here; there really is much to enjoy here on this magic carpet ride. But for all the theatrical pizzazz, there’s not enough emotional magic to keep you soaring, tumbling, freewheeling like the best fairytales should.
Running time: 2 hours 30 minutes (with interval)
Booking until 11th February
“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”