“When you’re feeling certain feelings that just don’t seem right”
This is going to be less of a review than a jumbled thought piece coming out from the marketing campaign for The Book of Mormon which has seen unprecedented levels of saturation across London. The publicity for the show started way back, adverts on buses and in tube stations have been appearing for months now but the week leading up to last Thursday’s press night saw an absolute deluge of coverage which meant it was even harder to escape. Lengthy preview features which all but reviewed the show were printed in newspapers; the #LoveMormon twitter campaign went into overdrive, using many of those tweets as quotes in adverts which, following the gala opening night, included an incredible four page ad just featuring tweets from celebrities.
One might have imagined such levels of hype would be hard to live up to but by all accounts, it has worked as a press release arrived yesterday trumpeting that The Book of Mormon had broken the record for the biggest single day of sales the previous day, taking in an astonishing £2,107,972 and this from a show which had already pretty much sold out until the summer. Of course, one could point to the ticket prices to explain some of the maths – the majority of the tickets are retailing at £74.50 and £127, £39.50 is as far as the cheap seats go (day lottery aside) – but nonetheless, the achievement shouldn’t be underestimated. Continue reading “Review: The Book of Mormon, Prince of Wales”
“Never again will I doubt it when my mummy says I’m a miracle!”
More so than with straight plays, I find musicals tend to benefit from re-views (as opposed to reviews!). There’s just more to take in with book, music and lyrics all demanding the attention, especially if they’re richly detailed, staging and choreography offering much inventive potential and by no means least, a wide range of performances, which altogether offers a lot to soak in on a single viewing. Returning to a show also offers the opportunity to reassess one’s initial reactions to it, and so it was with the RSC’s Matilda, the Musical which has now made its long-awaited transfer from Stratford to the West End.
I saw the show at the beginning of the year, fairly late in the run, so had been unable to avoid the effusive praise coming from all angles and the sense of anticipation that came along with it. So predictably, whilst loving the show, there was a nagging sense of a slight disappointment too, which mainly stemmed from it not matching up with my childhood memories of the book and how I thought the show would go. It was still a strong 4 star show for me though, just not quite the saviour of musicals it was being acclaimed as, and so though I was pleased it gained the transfer it deserved, I felt little need to revisit the show. Continue reading “Re-review: Matilda, the Musical – Cambridge Theatre”
“Our state fair is a great state fair, don’t miss it, don’t even be late”
Originally produced at the Finborough last summer in what was incredibly its UK stage premiere, Rodgers & Hammerstein’s State Fair makes a transfer to the small basement theatre of Trafalgar Studios. Partly recast and given a design refresh, it extended its run by a couple of weeks due to demand, meaning I finally got round to seeing it, having been on holiday for most of its run, both this year and last.
In the grand scheme of things, State Fair is a fairly simple play, it revolves around the Frakes, a rural farming family who journey to the three day Iowa State Fair to compete with their livestock and their condiments, and have a little fun too. It started life as a film with five Rodgers & Hammerstein songs in it, ‘It Might As Well Be Spring’ won them their only Oscar, but as it was developed into a musical in the late 90s, the score was substantially beefed up by the incorporation of a number of songs most of which had been cut from other R&H shows such as Oklahoma! and Pipe Dream. Continue reading “Review: State Fair, Trafalgar Studios 2”