Hampstead Theatre has announced its remaining Main Stage productions for 2021. Stockard Channing and Rebecca Night will perform in the Pulitzer Prize-winning ‘night, Mother by Marsha Norman.This astonishing play, which had its UK premiere at Hampstead Theatre in 1985, will be directed by the theatre’s Artistic Director, Roxana Silbert. ‘night, Mother will run from 22 October until 4 December 2021.
Tamsin Greig will perform in Alan Plater’s raucously funny Peggy For You. Richard Wilson will direct this Olivier-nominated play, which had its world premiere at Hampstead Theatre in 1999. Peggy For You will run from 10 December until 29 January 2022. Continue reading “Round-up of August theatre news”
As a comedian, impressionist, game show host, reality TV star, soap, screen and stage actor, Les Dennis returns to the West End in the multi-award-winning smash hit musical Hairspray the Musical as Wilbur Turnblad having previously performed the role on tour. He stars alongside Michael Ball, who returns to his legendary, Olivier Award–winning role of Edna Turnblad. Lizzie Bea will star in the iconic role of Tracy Turnblad. Acclaimed West End star Marisha Wallace will take the role of Motormouth. Rita Simons (Eastenders’ Roxy Mitchell) and Jonny Amies (Granchester on ITV; Sex Education on Netflix/Eleven Film) will also join the cast as Velma Von Tussle and Link Larkin respectively.
The full company includes Georgia Anderson, Kimani Arthur, Dermot Canavan, Lori Haley Fox, Mari McGinlay, Ashley Samuels, Michael Vinsen and Imogen Bailey, Pearce Barron, Jordan Benjamin, Joel Cooper, Luke George, Christopher Gopaul, Bradley Judge, Winny Herbert, Lily Laight, Madeleine Lawton, Holly Liburd, Will Luckett, Mireia Mambo, Kody Mortimer, Robyn Rose, Tinovimbanashe Sibanda, Amy West and Natalie Woods. Continue reading “News: 4 West End shows announce their casts”
Stick it in your fam’ly album”
With Half A Sixpence due to close in the West End in exactly one month, I thought now was as good a time as any to give the Original Cast Recording a listen. The show has built up quite the devoted following in its lifespan but for me, in both its original Chichester production and the subsequent transfer to the Noël Coward, it was a musical that I liked rather than loved, the balance not quite right with all the magic in the second half.
And listening to the show simply reminded me of how I felt. Stripped of its extraordinary physicality, Charlie Stemp’s chirpy chappy routine is surprisingly quite wearisome to listen to from the outset. The sentiment of the opening title track proving cloying and the lack of any killer new tunes from Stiles and Drewe before the interval leave the score sounding solid rather than spectacular, I still can’t hum you a single track save ‘Half A Sixpence’ itself. Continue reading “Album Review: Half A Sixpence (2016 London Cast Recording)”
“I’d let him strum my banjo”
It was no surprise to discover that Half A Sixpence would be transferring into the West End – its run at Chichester Festival Theatre was a huge success (you can read my review here) and with Cameron Mackintosh on producing duties, it was always going to be a case of when rather than if. It’s a slow-burner of a show, the second act really is the business thanks to Andrew Wright’s choreography and as it opened at the Noël Coward Theatre last night, you can now read my 4 star review for the transfer over at Cheap Theatre Tickets here.
Running time: 2 hours 45 minutes (with interval)
Booking until 11th February
“Don’t forget your banjo”
Take a deep breath… the 1963 musical Half A Sixpence by Beverley Cross and David Heneker, based on the HG Wells novel Kipps: The Story of a Simple Soul, has been adapted anew for Chichester audiences with Julian Fellowes writing a fresh book and George Stiles and Anthony Drewe adding new music and lyrics to Heneker’s original songs. And because Cameron Mackintosh is Cameron Mackintosh, he gets a co-creator credit.
Originally written as a star vehicle for Tommy Steele, Half A Sixpence is the story of Arthur Kipps, an orphan who dreams of a better life whilst earning a pittance as a draper’s assistant in Shalford’s Bazaar, Folkestone. An unexpected bequest thrusts a fortune into his hands but his meteoric rise in society leaves him conflicted about his place in life as his heart is pulled between two very different young women (and a banjo). Continue reading “Review: Half A Sixpence, Chichester Festival Theatre”
“You can’t fix an egg when it ain’t quite good”
It’s funny where the gaps are for someone who was brought up on many a musical – I was obsessed with the film version of The Pirates of Penzance and so was nearly word-perfect on it from a small age, yet I never once saw or listened to South Pacific. Indeed, the first and only time I’ve seen it was from the gods at the Barbican back in 2011, an experience that did not leave me rushing to explore the show further. So it was with a little interest that I put on this 2001 TV film version, directed by Richard Pearce and executively produced by, among others, Glenn Close, who also took on the role of Nellie Forbush.
And as I have so little connection to the musical, it’s been hugely fascinating to read just how up in arms some people got about the choices made in this version of South Pacific, showing how easy it is to swept up in expectation and emotion when talking about shows that you love and particularly, the way that they ‘should’ be done. So some were up in arms about Close being too old to play Nellie, others concerned about Rade Šerbedžija not being an operatic singer for Emile, songs being cut and rearranged sent many into apoplectic fits, and the rejigging of some of the supporting characters was the final straw for yet more. Continue reading “DVD Review: South Pacific (2001)”
“Forget this gateau, this means war”
When is a new musical a new musical, especially when it has music by Irving Berlin? The Smallest Show on Earth manages it by adapting the 1957 film of the same name and then sprinkling it with a selection of Berlin hits, both well-known and the not-so-much, to create something really rather adorable. Writers Thom Southerland and Paul Alexander have tailored this raw material beautifully, dovetailing the gently bittersweet humour of the British film with the instinctive melodiousness of Berlin’s songwriting into a heart-warmingly lovely new musical comedy.
Struggling screenwriter Matthew Spenser and his new wife Jean are agog when they discovered a long-lost relative has bequeathed them the Bijou cinema but aghast when they discover it is a total flea-pit. In order to get a decent offer from the rivals at the Grand cinema across the way, they pretend to be doing it up to make it a going concern but as they restore and repaint and get to know the eccentric locals that work there, the couple soon find that the picturehouse offers more opportunities than just old movies and oddballs. Continue reading “Review: The Smallest Show on Earth, Mercury Theatre”
“I’m paid to make men believe what they want to believe”
‘Spectacular, spectacular!’ It’s donkey’s years since I’ve seen Baz Luhrmann’s 2001 hit film Moulin Rouge, I probably watched it too many times in a short period of time so I remember declaring myself over it but for a goodly while, I was very much under its spell. And giving it another spin now reminded me why. Its bold and brash vision is just as arresting today as it was over a decade ago and the sheer cinematic vision that it indulges in as sumptuous and inventive as any pastiche-jukebox musical (gotta love a Wikipedia descriptor!) made since, managing that rare feat for a musical of being nominated for best film at the Oscars.
From the fiercely romantic and indeed passionate love story between penniless writer Christian (a fresh-faced Ewan McGregor) and ailing star courtesan Satine (a luminous Nicole Kidman, to a soundtrack that iconoclastically cherry-picks musical snippets from the entire 20th century to create a fabuous collage of sonic invention, the film leaps from the screen with glitter and glee. The costume and production design (Angus Strathie, Catherine Martin and Brigitte Broch) is lavish beyond belief, the choreography recalls a marvelous sense of Parisian decadence and the whole thing constantly teeters on the brink of overwhelming. Continue reading “DVD Review: Moulin Rouge”
“Even with a turkey that you know will fold
You may be stranded out in the cold”
Blessed with one of the almighty scores of Broadway history, you’d think that productions of Annie Get Your Gun would be the simplest of gimmes but given that it is very much a piece of writing of its time, it’s not quite as easy as that (as I discovered recently in seeing Carousel for the first time). The gender politics therein are dubious at best and the treatment of Native Americans also speaks of severely outdated attitudes, so directors are faced with something of a conundrum. The Young Vic just went bizarre with it back in 2009 and now a major UK touring production by Ian Talbot opts for the ‘play within a play’ route, the framing device often used in The Taming of the Shrew to address similarly thorny issues.
Elements of the show have also been removed and tinkered to further redress the gender balance but in all honesty it feels like a step too far – applying both of these patches detracts from their intentions. If it is a bit of meta-theatre, then surely it can just be played as is, as we know not to take it seriously; or if we’re reinventing the story for 21st century eyes, then just rewrite it wholesale. Instead we’re left with something which never really achieves either aspect on a dramatic level, something exacerbated by the limitations of a touring set design. Fortunately, the production sounds like a dream with a superb orchestra though and has some cracking performances in it from a cast who deliver the utterly timeless score by Irving Berlin with all the panache it deserves. Continue reading “Review: Annie Get Your Gun, Churchill Bromley”