Despite some careful thinking and some glorious singing, the Open Air Theatre’s reimagined Carousel can’t stop this problematic musical from being, well, problematic
“Walk on through the wind Walk on through the rain”
There’s a glorious moment early in the second half of the Open Air Theatre’s production of Rodgers and Hammerstein’s Carousel when all its constituent concepts and parts coalesce together in perfect harmony. Joanna Riding delivering the haunting strains of ‘You’ll Never Walk Alone’ as the sparseness of Tom Scutt’s design reveals its haunting potential, cleverly contextualising Drew McOnie’s lyrical choreography with the bold brass of Tom Deering’s new orchestrations recasting this classic score with real vibrancy.
Around it though, the rest of this notoriously tricky musical doesn’t quite stick the landing in the same way, despite the work that director Timothy Sheader and his company have put in to try and address its intrinsic issues. A soft relocation to somewhere in’t’north allows the cast to use a range of British accents but it is a certain truth that no British person has ever said the word clambake, particularly as often as it is said in this show. It may seem like a small point but it is an incongruency that rings out every single time someone says it. Continue reading “Review: Carousel, Open Air Theatre”
The thought of outdoors theatre was fine earlier this week, not so much right now! For the brave, Regent’s Park Open Air Theatre have confirmed full casting for Rodgers and Hammerstein’s Carousel, which plays 31 July – 25 September. Joining the already announced Carly Bawden (Julie Jordan), Declan Bennett (Billy Bigelow), John Pfumojena (Enoch Snow), Joanna Riding (Nettie Fowler) and Natasha May Thomas (Louise Bigelow) are Brendan Charleson (Mr Bascombe), Jo Eaton-Kent (Mrs Mullin), Sam Mackay (Jigger Craigin), Ediz Mahmut (Young Enoch) and Christina Modestou (Carrie Pipperidge).
The ensemble includes: Chanelle Anthony, Craig Armstrong, William Atkinson, Shay Barclay, Sarah Benbelaid, Madeline Charlemagne, Freya Field, Sebastian Goffin, Amie Hibbert, Tim Hodges, Lukas Hunt,Tessa Kadler, Lindsay McAllister, Matthew McKenna, Jack Mitchell, Charlotte Riby, Lisa Ritchie and Daisy West. Continue reading “News: West End musical castings confirmed”
All hail the return of Nicola Walker to the stage! Get your tickets for Camelot! Discover the Heart of Darkness! Get your exam in musical theatre singing with ABRSM!
London Musical Theatre Orchestra has announced casting for Saturday’s concert version of Camelotat the London Palladium and there’s still a few tickets going. Packed with some of musical theatre’s best songs, LMTO’s concert version with full orchestra will celebrate the centenary of Alan Jay Lerner’s birth.
The role of Arthur will be played by Olivier Award-winner David Thaxton (Passion / Les Misérables / Jesus Christ Superstar), Guenevere will be played by Savannah Stevenson (Wicked / Aspects of Love / Follies), and Lancelot will be played by internationally renowned opera star Charles Rice (Mozart’s Requiem / The Barber of Seville / Candide). Continue reading “Friday feeling – news aplenty”
“Musical comedy — the most glorious words in the English language!”
It may be in the English language but this production of42nd Street is in a French theatre, the glorious Théâtre du Châtelet in Paris which, under Jean-Luc Choplin’s artistic directorship, has arguably entirely reshaped the Parisian relationship with musical theatre. He’s brought Sondheim there for the first time in a big way (Sunday in the Park with George, Into the Woods) and has staged a number of classic Broadway musicals like An American in Paris (soon to open in London after its New York transfer) and last year’s Singin’ in the Rain.
42nd Street actually marks Choplin’s final show here, as the theatre will soon shutter for a couple of years to undergo major renovations, and Stephen Mear’s production certainly has the visual flair of a fitting finale. With a company of over 40, the tap-dancing routines are a absolute vision, a joyously heart-swelling parade of well-drilled precision, the likes of which we see so rarely these days even in the biggest shows. Combined with dazzling visual effects and gorgeous costumes courtesy of Peter McKintosh, the lavish aesthetic is an absolute treat. Continue reading “Review: 42nd Street, Théâtre du Châtelet”
“Has there ever been a moment
With so much to live for?”
Dammit – one of the key rationales behind my Broadway blowout last winter was seeing actors I didn’t think I’d otherwise have the chance to see in the West End, Glenn Close being chief among them and thus I forked out a pretty penny to see her in Edward Albee’s A Delicate Balance. So naturally her return to these shores was announced a few months later with a reprisal of her Tony Award-winning performance as Norma Desmond in Andrew Lloyd Webber’sSunset Boulevard.
And as with last year’s Sweeney Todd here at the Coliseum too, director Lonny Price and the ENO have returned to the semi-staged format which allows them to mount a bare-bones production and still charge full whack for tickets, prices thus go up to £150. I understand that money has to be made, especially for an organisation in as perilous a position as theirs and they say at least 400 tickets at every performance is available at £25 or under (altitude training not provided though…) Continue reading “Review: Sunset Boulevard, London Coliseum”
“You must admit that Elle Woods should join the chosen few”
Part of the fun of delving back into these soundtracks, so many of which I’ve had for a while, is challenging the preconceptions that I’ve allowed to build up in my mind. Sister Act the musical is the perfect example, mentally I didn’t rate it so hadn’t listened to it for an age but upon taking the time, I discovered it to be better than I remembered. That works both ways though and I’ve long rated the Legally Blonde the Musicalsoundtrack on this basis, even though it really stems from me having my favourite four tracks from it on my most listened to playlist.
So yes, ‘Omigod You Guys’ and ‘What You Want’ are two brilliant songs and I’ll fight anyone who says otherwise. Their glossy joie de vivre setting the scene perfectly for this camp-as-tits show and book-ended by the highly amusing ‘There, Right There!’ and the emotive title track which segues from its gorgeous ballad treatment into an energetic 11 o’clock number, there are some cracking musical moments in this show and with national-treasure-in-the-making Sheridan Smith at its helm as the determined Elle Woods, how could it be otherwise. Continue reading “Album Review: Legally Blonde (2010 Original London Cast)”