42nd Street is signing off at the Theatre Royal Drury Lane in quite some style as a perfectly-cast Bonnie Langford joins the company
“Musical comedy – the most glorious words in the English language”
I liked 42nd Street when I saw it last year but I can’t say that I truly loved it, it felt a 24 carat production of a gold-plate show. But upon revisiting, to celebrate Bonnie Langford’s arrival in the company for its final furlong before closing in the New Year, some kind of magic seems to have happened at the Theatre Royal Drury Lane (or maybe I was just less grumpy tonight!) as it has now matured into something spectacular.
The only major difference is Langford’s presence as Dorothy Brock, but there’s just something about her that shimmers with star quality and it is contagious. So even as she’s trying to dampen it down a bit as this particular fading star, her comic timing makes her scenes crackle with electricity, her singing is on point and she’s just a dream to watch. It’s a perfect role for her – who needs stunt casting when you have the right casting? And as for her surprise appearance in the finale? SWOON!
I also felt Clare Halse has really settled into the role of Peggy Sawyer. It’s a curious role in that she grows to become the leading lady of this musical as the understudy-come-good, but is given precious little time in which to do so and most of that is taken up with dance. Such amazing dance though, she really is effortless in her every graceful move, and she’s acting more through every movement too as her self-belief slowly blooms into the incandescent life of the finale. Continue reading “Re-review: 42nd Street, Theatre Royal Drury Lane”
A trio of West End cast recordings (well, one’s off-West-End…) show that it is sometimes hard to recapture the stage magic
Starting off with the best of this bunch, the Southwark Playhouse’s production of Working might not have seemed like the obvious choice for a cast recording but maybe the lure of a couple of new Lin-Manuel Miranda tracks was a real sweetener.
Truth is, it is the quality of the cast’s performances that make this a fantastic addition to the list of albums you need to hear. From Siubhan Harrison’s impassioned ‘Millwork’ to Dean Chisnall’s gleeful ‘Brother Trucker’, and the highly charismatic Liam Tamne nails both of Miranda’s contributions – the wilful ‘Delivery’ and a corking duet (with Harrison) on ‘A Very Good Day’.
Experience pays though, as Gillian Bevan and Peter Polycarpou take the honours with some scintillating work. The latter’s ‘Joe’ is beautifully judged, as is the former’s ‘Nobody Tells Me How’, both demonstrating the uncertainty that can come at the end of a long career, when retirement doesn’t necessarily hold the joyful promise it once did. Highly recommended. Continue reading “Album reviews: Working / Bat out of Hell / 42nd Street”
“You’re going out a youngster, but you’ve got to come back a star”
In the rush to dole out the five star reviews that seem de rigueur for any big musical these days (22 for An American in Paris so their new poster shouts proudly), there appears to be a willingness to overlook storytelling for spectacle. As at the Dominion, the newly opened 42nd Street is a massive dance show which is undoubtedly hugely, well, spectacular. And it also suffers from not being particularly dramatically interesting, Michael Stewart and Mark Bramble’s book contains hardly any dramatic tension at all – will the show-within-the-show be alright on the night? What do you think?!
I start with this line of thought because as much as I was impressed by 42nd Street, it rarely moved me in the way that Golden Age musical theatre (my favourite genre of all, surprising no-one) at its best does. Based on a novel from the 1930s, the book here – as directed by Bramble – sacrifices any hint of suspense or meaningful character development for the headlong rush from production number to production number. And it just about gets away with it due to the sheer scale of what is being mounted here. 40+ bodies tap-dancing in unison in bucket-loads of sequins – bawdy and gaudy indeed.
“Where the underworld can meet the elite… Naughty Bawdy Gaudy Sporty Forty-Second Street!”
I was lucky enough to be invited to the first preview of 42nd Street at the Theatre Royal Drury Lane and whilst any official opinions about the show are under embargo until press night, I thought I’d give you all some hints and teasers and a little sneak preview (assisted by these beautiful photographs courtesy of Brinkhoff & Moegenburg) through these 42 reasons to see 42nd Street.
It is becoming increasingly clear that a show isn’t a show if a Strallen isn’t involved, even as an usher, and it is now the turn of Zizi to ascend to the role of leading lady, taking the title role in a mammoth UK tour of Mary Poppinswhich has started at the Curve in Leicester and which is already booking through to this time next year. And it isn’t too hard to see why such confidence has been invested in the future of the show when it is as stupendously good a piece of musical theatre as this.
I never got round to seeing the show in the West End – Julian Fellowes’ book building on P.L. Travers’ original books as well as the Disney film and composing duo Stiles + Drewe adding to the iconic score by the Sherman Brothers – and it’s an age since I saw the film so it really did have all the glorious impact of being a fresh new show for me but even if you did manage to see it, the lure of this fresh new production ought to tempt you along to one of the cities where it is playing to relive the joy. Continue reading “Review: Mary Poppins, Curve”