It’s behind you. The Turbine lunges for the adult panto market with the brief if raucous fun of Cinderella – The Socially Distanced Ball
“Are you ready for some good old-fashioned family fun?
Well you’re in the wrong fucking place”
Just a quickie for this as you pretty much already know whether you like pantomime or not and heaven knows, Cinderella – The Socially Distanced Ball isn’t the show that is going to change your mind about that. There’s been a rise in these adult pantos which in some ways are a no brainer, catering to a festive audience who want to drink merrily without children running in the aisles, but there’s a real skill to the best panto writing that locates a sweet spot of humour that can hit home for both adults and kids.
This Cinderella, penned by Jodie Prenger and Neil Hurst, makes no pretence at finding such a balance, it is proudly full-on smut from the word go and the highly game company, directed by Lizzy Connolly, throw themselves whole-heartedly into the filthy frolics and profane prose. Cut down to just over an hour and six characters, there’s barely time for the show to outstay its welcome and a nifty song and dance or two offers ample opportunity for the players to shine, particularly Scott Paige and Oscar Conlon-Morrey’s wonderfully vile Ugly Sisters.
The Almeida has announce their new programme of socially-distanced theatre for Christmas 2020 and into 2021:
Nine Lessons And Carols: stories for a long winter, a new production created by Associate Director Rebecca Frecknall, Chris Bush and a company of six actors – Naana Agyei-Ampadu, Katie Brayben, Toheeb Jimoh, Elliot Levey, Maimuna Memon and Luke Thallon.
The Maladies, performed by the Almeida Young Company (18-25), written by Carmen Nasr.
Hymn, a new play by Lolita Chakrabarti, featuring Adrian Lester and Danny Sapani. Continue reading “News: Almeida and Turbine reopen, Oleanna cast”
It’s like the Superbowl, but for fans of musical theatre. Book your tickets at the Turbine Theatre here.
Jet Set Go! (3rd-5th February)
This show about a transatlantic cabin crew has been bopping around since 2008 so its interesting to see how it gets refreshed more than a decade late. Appearing in it this time round will be Siubhan Harrison, Lizzy Connolly, Michael Mather, Tyrone Huntley and Simon Bailey.
Jet Set Go! is directed by & Juliet’s Luke Sheppard with music, book and lyrics by Adrian Mole’s Pippa Cleary and Jake Brunger. Continue reading “News: casting for MTFestUK 2020”
Nowhere near enough charm in this Sweet Charity for my liking. Josie Rourke’s farewell to the Donmar Warehouse is grey rather than silver
“I’m always looking for an emotional experience”
When the light lands just right on Robert Jones’ set for Sweet Charity at the Donmar Warehouse, it sparkles like silver; the rest of the time, it is rather grey. Sadly, that’s pretty much rather true as a whole for Josie Rourke’s production here, her farewell as Artistic Director here.
Those bright spots are dazzling. Debbie Kurup and Lizzie Connolly are superb as Charity’s pals and co-workers Helene and Nickie, dreaming their dreams with real circumspection. Martin Marquez’s velvety smoothness is charm personified as movie star Vittorio Vidal. Continue reading “Review: Sweet Charity, Donmar Warehouse”
“We’re not looking for a needle in a haystack but for an alien in a diner”
There’s a scene in the second half of The Twilight Zone which is almost unbearably, poignantly astute on the subject of race relations in the US. Never mind that it was written in the 60s, it says so much about the America of today that it can’t help but chill the bone about the predictability of the baser notes of human nature. It is though, the only moment in this theatrical adaptation of the classic TV show that registered any real impact with me.
Anne Washburn (she of the extraordinary Mr Burns) has fashioned this play out of eight of the stories told by The Twilight Zone and presents them as if shuffling a pack of cards. Some stories broken up and interwoven with each other, some told in toto, all seeking to disrupt and disturb with shocks and scares and no little amount of wry humour too. It makes for a strangely suitable piece of counter-intuitive festive programming but ultimately felt insubstantial to me. Continue reading “Review: The Twilight Zone, Almeida Theatre”
The Almeida have revealed the cast for their forthcoming Christmas show The Twilight Zone which promises a different take on seasonal fare! Directed by Richard Jones and adapted by Anne Washburn, responsible for the brilliant mindfuck that was Mr Burns, I reckon this will be one to look out for.
Cast includes: Oliver Alvin-Wilson, Franc Ashman, Adrianna Bertola, Lizzy Connolly, Amy Griffiths, Neil Haigh, Cosmo Jarvis, John Marquez, Matthew Needham, and Sam Swainsbury,
Best Actor in a New Production of a Musical
Andrew Polec, Bat Out of Hell, London Coliseum
John McCrea, Everybody’s Talking About Jamie, Sheffield Crucible
John Partridge, La Cage Aux Folles, UK Tour
Jon Robyns, The Wedding Singer, UK Tour
Michael C. Hall, Lazarus, King’s Cross Theatre
Robert Fairchild, An American in Paris, Dominion Theatre
Best Actor in a New Production of a Play
Andrew Scott, Hamlet, Almeida Theatre
Arinzé Kene, One Night in Miami…, Donmar Warehouse
Brendan Cowell, Life of Galileo, Young Vic
Conleth Hill, Who’s Afraid of Virginia Woolf?, Harold Pinter Theatre
Lucian Msamati, Amadeus, National Theatre
Nicholas Woodeson, Death of a Salesman, UK Tour Continue reading “2017 BroadwayWorld UK Awards Shortlist”
“Just when the fun is starting,
Comes the time for parting”
Fred Haig must have thought that this was his year after landing starring roles in two of the big musicals of the summer but during Monday evening’s performance, he sustained an injury to his foot which has now been confirmed as a fracture. Sadly, this means that he has had to withdraw from On The Town at the Open Air Theatre in Regent’s Park (the second actor to do so after Jeremy Taylor withdrew during rehearsals due to injury) and will be replaced by his understudy Jacob Maynard. We’ll have to wait and see if he recuperates in time to play Young Buddy in Follies at the National.
It is a real shame for Haig as I was at the show on Monday, scarcely believing that we actually had lovely weather for the first musical this year at the Open Air. And Haig’s appealingly charismatic Chip, along with Lizzy Connolly’s vibrant Hildy, was among the highlights of Drew McOnie’s production and he seemed to be very much on top of the choreography. It is a dance-heavy show, and in McOnie’s hands doubly so and as so many in this venue, it is one that benefits from being seen as night falls, to behold the full beauty of Howard Hudson’s lighting which is gorgeously conceived. Continue reading “Get well soon Fred Haig aka Not-A-Review: On The Town, Open Air Theatre”
Over in Canary Wharf, The Space Theatre might not necessarily be one that is on the radar of many London theatregoers but the announcement of their summer season ought to tempt the theatrically curious out East as it is full of goodies, not least a revival of Mike Bartlett’s excellent Contractions.
Find a selection of some of productions that have caught my eye below
Continue reading “Round-up of news and treats and other interesting things”
“Blame it on the gin”
There’s no doubting the visual flair that choreographer Drew McOnie is able to conjure in his work – In The Heights and Jesus Christ Superstar being just two recent examples – and so it is no coincidence that his move into directing has begun with dance-heavy pieces. Strictly Ballroom lit up the stage at the West Yorkshire Playhouse before Christmas and now The Wild Party opens up the programming at The Other Palace, Andrew Lloyd Webber’s rebranded St James Theatre.
Michael John LaChiusa’s musical version is not the first adaptation of Joseph Moncure March’s epic poem to hit London this year – that title goes to the Hope Theatre’s two hander from last month. But it does have its own tunes presented as a vaudeville, a real mish-mash of every 1920s style you can think of and more, which makes for a bold and brash evening – especially as performed by this lavishly assembled ensemble – but ultimately, one of little staying power. Continue reading “Review: The Wild Party, The Other Palace”