“How we miss his entertaining dreams”
An impromptu Easter treat came courtesy of a charity shop in Stratford-upon-Avon with this daft filmed version of Andrew Lloyd Webber and Tim Rice’s Joseph and the Amazing Technicolour Dreamcoat featuring Ken-doll-in-human-form Donny Osmond as the titular entitled brother. It’s a rather odd screen adaptation, using a school show conceit to pay tribute to its theatrical origins/get away with a micro-budget (delete as you see appropriate).
This approach does allow for one genius moment as we see Joan Collins’ music teacher indulging in some amazing fake piano playing as the production starts, and from then we go way way back and enter the land of Canaan in the stagey but safe hands of Maria Friedman’s Narrator. I like Friedman, I really do, but she is so hammy here that she makes sitting in the back row of the upper circle seem like a sensible option to avoid being blinded by its glare. Continue reading “Easter DVD Review: Joseph and the Amazing Technicolour Dreamcoat”
“Lock your door and hide your daughter”
After the extraordinary success that was In The Heights, the Southwark Playhouse have gone for another American musical theatre import in the shape of 2012’s Dogfight. But whilst expectations were high – something heightened by the auditorium being in the same configuration as for that previous show, the reality fell far short. Peter Duchan’s book, based on the 1991 film of the same name, follows a group of boisterous marines in San Francisco on the night before they’re due to fly out to Vietnam as they look to maintain the (dis)honourable tradition of holding a dogfight.
As we come to realise, their version of a dogfight is distinctly unpleasant, a cruel game played on unsuspecting women and though he is a part of this world of pent-up testosterone and hints of sexual violence, the young Eddie Birdlace soon comes to regret his choice of victim – a sweet waitress called Rose – and tries to make amends, though whether this is because he has fallen instantly in love with her or he has spotted an easy way to get laid on his last night is anyone’s guess. So what is trying to be a sweet love story is overlaid with this troubling sour note throughout. Continue reading “Review: Dogfight, Southwark Playhouse”
“If you’ve got no place to go, if you’re feeling down…”
Mamma Mia has been on my list of shows that I’ve never quite got round to seeing for ages now. I’d decided that I wanted to go in a large group, on a Friday night, after a fair few Hendricks and Fever Trees, but somehow it never quite happened. In the meantime, the show moved to the Novello to make way for those Mormon boys and then an expected Christmas present landed in my lap as a friend, tired of me saying ‘one day I’ll go’, bought me a ticket.
Though it wasn’t at all like I planned – a single ticket for a Monday evening with a bottle of Diet Coke – it actually proved to be a brilliant way to see the show and to restart my theatregoing for 2014. It was the evening after my first day back at work, I was sat front row centre and the huge geniality of a like-minded audience made it as genuinely pleasurable experience as one could expect from such a long-running stalwart of the West End. Continue reading “Review: Mamma Mia (and memories), Novello”
“A woman pretending to be a man pretending to be a woman? That’s preposterous.”
It is sad that the Southwark Playhouse will have to quit its current London Bridge premises as it has hit a vein of real good form allied to a growing understanding of how best to use the converted railway arches and particularly so with this creative team, who have made this the hot venue for musical theatre on the South Bank, challenging both the nearby Union and Menier Chocolate Factory. Following on from rapturously received productions of Parade and Mack and Mabel, director Thom Southerland has turned his hand to a new adaptation of musical comedy Victor/Victoria.
With a book written by Blake Edwards for his wife Julie Andrews, lyrics by Leslie Bricusse and music by Henry Mancini and posthumously completed by Frank Wildhorn, the show on paper isn’t necessarily that distinguished. In 1930s Paris, English soprano Victoria Grant is struggling to get a job but a chance encounter with Toddy, her instant gay best friend, thrusts her into the limelight as he hits on the idea of Victoria pretending to be a female impersonator and so Count Victor Grazinski is born, taking the cabaret scene by storm and causing all kinds of sexual confusion as men find themselves irresistibly drawn to this enthralling new performer. Continue reading “Review: Victor/Victoria, Southwark Playhouse”