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.”
“Scrumptious as the breeze across the day”
Who knew that Leeds would be a musical theatre hotspot this December but between The Girls and this Music & Lyrics and West Yorkshire Playhouse production of Chitty Chitty Bang Bang, it’s been the place to be for big, warm-hearted musical fun. This is the first new version of Chitty Chitty… since its original 2002 West End production and its many regional tours but in James Brining’s clever and wondrous adaptation, it’s thoroughly revitalised and as lovely as any cherry peach parfait.
Ian Fleming’s novel was adapted by Jeremy Sams, via Roald Dahl and Ken Hughes’ own reshaping of the story for the cinema, and with a glorious score from the Sherman Brothers (as if they could do any other kind) beefed up with new songs by them as well, it captures much of the Disney noir feel of the film whilst bringing its own depths too. I’d forgotten how much sadness there was in the tale and that’s something Brining never lets us forget, even whilst delighting us with flying cars and fun. Continue reading “Review: Chitty Chitty Bang Bang, West Yorkshire Playhouse”
“’Cause just to sit still would be a sin”
For the longest time, I resisted the charms of Hairspray both on screen and on stage. It was only my niece and nephew falling in love with the 2007 film and making me watch it with them and made me realise how much fun it is and just how tuneful Marc Shaiman’s score manages to be. So having missed the boat with the West End version (and resisted the temptation to see its seemingly never-ending touring incarnation), I was most pleased to see that Paul Kerryson was creating his own interpretation for the Curve, especially given how successfully Chicago had been reinvented there over Christmas.
And it appears that lightning really can strike twice. Kerryson clearly has the knack for reconceiving large scale musicals for this Leicester stage and focusing on the qualities that make them so successful and here, in that respect, there’s an embarrassment of riches. Mark O’Donnell and Thomas Meehan’s book captures a crucial moment in US civil rights history but one with an enduringly powerful message in how societal pressure can result in lasting change when focused through the right media channel. And Lee Proud’s wonderfully expansive choreography educates as well as entertains, speaking volumes about the changing ways in which we interact. Continue reading “Review: Hairspray, Curve”
“I feel the room swayin’ for the band’s playin’ one of my old favourite songs from way back when”
There’s something about Dolly. When I first saw Jerry Herman’s Hello, Dolly! at the Open Air Theatre back in 2009, I’d’ve happily sat through the show again straightaway despite being incredibly cold and damp. And though struggling to shake off the effects of an annoying bug, the same feeling caught me as we got to the end of Paul Kerryson’s production of the show for Leicester’s Curve Theatre, it is just one of those shows. This was a matinée preview full of incident though. A woman taken ill just before the end of the show was dealt with efficiently by the theatre staff, though its timing was most unfortunate as it all took place right under my nose in the final moments of the show. And a wayward underskirt threatened to topple Janie Dee mid-performance but ever the consummate professional, she whipped it off mid-song and carried on regardless. It all added to the undoubted charm of a gorgeously mounted show that is full of great heart.
Dee’s Dolly Levi is a marvellous confection, making this professional matchmaker less of an overtly comic whirlwind than one might expect. Her performance is full of subtlety: a deep sincerity in her beliefs, a minor note of melancholy that creeps in every time she mentions her late lamented Ephraim, but also a wonderful wit which makes the glint in her eye all the more playful whether she’s teasing audience members or pulling the strings of her clients. And though not necessarily the strongest singer, the arrangements have been cleverly reworked to suit her rich contralto and there’s something touching in having these songs delivered with a modicum of vulnerability rather than being belted out in the manner one assumes Caroline O’Connor would have done, her being originally cast in the title role but later withdrawing. Continue reading “Review: Hello, Dolly!, Curve”
“What did you do it all for Mama?”
Gypsy is one of those shows that I’ve heard much about, it is extremely highly regarded in the US, but have had little real contact with. Bernadette Peters, Patti LuPone and Tyne Daly have taken on the iconic role of Mama Rose in recent years with very mixed results, but it is many years since anyone tried to bring it to the UK. Director Paul Kerryson has taken on the challenge though at the Curve in Leicester, with British/Australian chanteuse Caroline O’Connor in the lead role and so I took my first ever trip to Leicester to see what all the fuss was about.
The story takes its inspiration from the memoirs of burlesque dancer Gypsy Rose Lee which details the remorseless drive of her pushy stage mother from hell Mama Rose as she lived out her own dreams of being a performer by putting her two daughters onto the stage in a touring vaudeville act. Her relentless drive comes at great cost though, alienating one daughter who runs off, pushing the other into becoming a stripper and losing the man who has stood by her for so long. Continue reading “Review: Gypsy, Curve”
“So sweet and soft and gentle,
My favourite Oriental”
The Union Theatre have definitely identified their niche in London’s cluttered theatre landscape: small-scale revivals of musicals that might otherwise have languished in obscurity with productions that are big on ambition. The latest show to get the Union St treatment is Dames at Sea, a 1966 parody of 1930s musicals with book and lyrics by George Haimshon and Robin Miller and music by Jim Wise which much like The Drowsy Chaperone, grew from its beginnings as a short sketch into a full show.
Though it was entertaining enough, I couldn’t help but feel that this was the Union treading water rather than blowing our socks off with something great. The piece itself is a show about putting on a show – it feels like they all are at the moment! – the cast of a musical have to find a new venue as their theatre is being pulled down but the arrival of a ship full of sailors with connections to the chorus offers a solution. Stuffed full of clichés from the small-town girl arriving on Broadway with nothing but her dreams, the big diva who then feels threatened, the sailor who just happens to be an amazing songwriter, chance meetings with former partners a-plenty, the list goes on… Continue reading “Review: Dames at Sea, Union Theatre”