Looking for something to watch in festive limbo time? You can’t go far wrong than this Barbican Theatre smash hit production of musical classic Anything Goes which has been immortalised for our pleasure. There’s not much more to say about it that I didn’t cover in my original review and I’m so happy that I can now watch and rewatch the happiest 10 minutes of theatre I saw all year long over and over again (the amazing song and dance routine to the title track that closes Act 1 in case you were wondering).
Sutton Foster soars in this superlative revival of Anything Goes which almost justifies the ticket prices at the Barbican
“If love affairs you like
With young bears you like,
Why nobody will oppose”
There are several things that can take your breath away in this simply fantastic production of Anything Goes, whether the jaw-dropping rendition of the title track that closes the first act or ticket prices that top out at £175 (the Barbican’s seats may be comfortable but that is pushing it…). Fortunately, the rest of the house isn’t quite as eye-wincingly steep (though full disclosure, I was treated by the kindest aunt 😉) and the joyous swells of Kathleen Marshall’s production mean you’ll find it hard to feel short-changed.
Like many a show of its time, the plot is an entire trifle – Timothy Crouse & John Weidman fashioning a new book from PG Wodehouse & Guy Bolton and Howard Lindsay & Russel Crouse’s original – suffice to say it covers any manner of madcap antics on an ocean liner. Those antics are mainly there as a framework on which to hang some of the best songs ever written as we delve deep into the Cole Porter songbook for some musical heaven. Throw in a Broadway production that has already won multiple Tonys and also snag its leading lady who won of those, and job’s a good’un. Continue reading “Review: Anything Goes, Barbican”
Sasha Regan’s All Male The Pirates of Penzance proves a feast for ears and the eyes in a glorious but short at the Palace Theatre
“Here, in this our rocky den,
Far away from mortal men”
There’s a beautiful sense of homecoming to the return of Gilbert & Sullivan to the West End, even if its only for a weekend. The Palace Theatre was founded by Richard D’Oyly Carte as The Royal English Opera House in 1891 and opened with Sir Arthur Sullivan’s Ivanhoe so the arrival there of Sasha Regan’s All Male The Pirates of Penzance could hardly be more apposite and turned out to be a real festive treat.
We don’t see much operetta around these days but Regan’s commitment to the cause has been admirable. It’s over a decade now since she first reinvigorated the form with this production (previously reviewed here and here), and working her way through the G&S catalogue (for my money, Iolanthe is the best), transfers, national tours and even international tours are a testament both to the enduring quality of the material and the frisson that comes from this method of interpretation. Continue reading “Review: Sasha Regan’s All Male The Pirates of Penzance, Palace Theatre”
Sasha Regan’s All Male The Pirates of Penzance cast announced, plus second date in the West End confirmed
Nimax Theatres have added a second night for Sasha Regan’s all-male take on W. S. Gilbert and Arthur Sullivan’s The Pirates of Penzance at the Palace Theatre, Shaftesbury Avenue. The show will now run on Saturday 12th December and Sunday 13th December 2020 at 7:00pm.
The production was meant to open at Wilton’s Music Hall and then tour but those plans have had to be cancelled and postponed respectively. For the uninitiated, Regan’s reinvigoration of this classic is a corker, I’ve seen it a couple of times now over the years and it never fails to delight. Continue reading “Sasha Regan’s All Male ‘The Pirates of Penzance’ cast announced, plus second date in the West End”
150 musical performers from across the West End and Broadway have come together to perform a stellar version of “Make Them Here You” from Ragtime in support of Black Lives Matter and the Stopwatch campaign.
The video is raising funds for the StopWatch campaign, which combats the racist and disproportionate use of stop and search since 2010. You can donate here.
One of the joys of having this blog is the aide memoire aspect of it, the theatrical diary that it has become, allowing me to trace how my tastes have shifted. I say this in particular reference to Floyd Collins, a show I didn’t much enjoy the first time I saw it at its 2012 production at the Southwark Playhouse and yet which on this revisit, four years later, I adored.
A substantial part of it comes with the musical complexity of Adam Guettel’s score, one I (still) think few people would fall in love with instantly, but also one which has repaid repeated listens and the breadth of performers yearning to sing his music (Audra McDonald, Kelli O’Hara…), incrementally convincing me of its worth and culminating in the gloriously revelatory sound of Tom Brady’s band tucked away in the balcony of Wilton’s Music Hall.
Continue reading “Review: Floyd Collins, Wilton’s Music Hall”
“At the top of the hole sit the privileged few”
And it is mostly the privileged few who’ll get to see this lavish English National Opera production of Sondheim’s oft-revived Sweeney Todd: The Demon Barber of Fleet Street as stalls seats will set you back an eye-watering £95, £125 or £155. Somewhat cheaper seats are available from the upper circle upwards but still…* Lonny Price’s semi-staged production (with its nifty fake-out of a beginning) was first seen in New York in March 2014 but unsurprisingly, given it featured Emma Thompson and Bryn Terfel as Mrs Lovett and the demon barber himself, it declared “there’s no place like London” and has now taken up residence in the Coliseum alongside a cast of nearly 40 musical theatre veterans (and Thompson’s daughter) and a lush-sounding orchestra of 60.
Thompson and Terfel may be the headline names but the real pleasure comes in the luxury casting that surrounds them. Philip Quast and John Owen-Jones bring a richness of vocal to Judge Turpin and Pirelli respectively, Alex Gaumond and Jack North both mine effectively Dickensian depths to Beadle and Toby and there’s something glorious about having the marvellous Rosalie Craig here, even in so relatively minor a role as the Beggar Woman as her quality shines through despite that wig. Matthew Seadon-Young and Katie Hall as Anthony and Johanna are both really impressive too, their voices marrying beautifully as they respond intuitively to the textures of David Charles Obell’s orchestra. Continue reading “Review: Sweeney Todd, London Coliseum”
“Angry men don’t write the rules and guns don’t right the wrongs”
The season to be jolly is fast approaching but if the idea of Christmas cheer in the theatre leaves you, well, less than cheerful, then the Menier Chocolate Factory’s festive offering this year may well be up your street. The highly prolific director Jamie Lloyd is taking on Stephen Sondheim’s Assassins, which sees Sondheim’s music and lyrics coiled around John Weidman’s book exploring the men and women who tried (whether successfully or not) to assassinate a President of the United States.
It’s hardly the most Christmassy of shows and I think that is pretty much the point. And Sondheim’s enduring popularity (especially at this venue) makes it a safe bet even before the luxurious quality of the cast and company comes into the equation. I saw the first preview on Friday, my booking radar having gone a little awry as I was away when the tickets were released, so instead of reviewing the production, I’m offering you 10 things to look forward to and look out for and if I get to see the show later in the run, I’ll review it ‘properly’ then. Here be mild production spoilers (all hidden behind links).
“Somebody gonna love you”
The Broadway production of the musical adaptation of Alice Walker’s novel The Color Purple was no great success and so it may seem an unusual choice for the Menier Chocolate Factory to bring to their Southwark home. Nor does the story of Celie, a young woman forced to bear two children by her violent stepfather who then sent them away and then married her off to a brutal partner, necessarily seem one ideal for this genre. But with the focus being on survival, on the road to self-actualisation against racial and sexual pressures, and a score blending many aspects of black music into a smooth melange, it is surprisingly effective.
There’s much potential for this to be a highly overwrought piece, but where John Doyle’s production comes into its own is in achieving a Zen-like state of calm for the show, a clean simplicity which permeates every aspect and focuses the intensity of the emotion. Doyle’s own design reconfigures the Menier to great effect, stripping it back to bleached wood and a collection of chairs; Ann Yee’s choreography finds huge elegance in as simple a movement as walking forwards and then back; and at the heart of it all, is a performance of immense grace from Cynthia Erivo as the much-maligned Celie. Continue reading “Review: The Color Purple, Menier Chocolate Factory”