“The years roll by and nothing changes”
I always find it fascinating to watch how the critical community deals with a play that becomes a big success. The overnight rush to acclaim genius, the enthusiasm with which some greet it, the scepticism that that inspires in others followed by the relief that comes when someone publishes a well-reasoned critique that allows them to say ‘well it isn’t that good, see’. All the while, the show is doing great business with a general public who are just excited to see a hot new play.
Which is all a long-winded introduction to me getting to see Jez Butterworth’s The Ferryman for a second time. I enjoyed the play, immensely so in places, when I first saw it in its initial run but it was a four star show for me rather than the full five – here’s my review from the Royal Court. And in its grander new home at the Gielgud, I have to say I pretty much felt the same way. It is a play that wields extraordinary power but it also one which struggles a tad with subtlety.
Continue reading “Re-review: The Ferryman, Gielgud Theatre”
“This family can take care of its own”
The hype around Jez Butterworth’s new play The Ferryman was so expertly managed that the show became the fastest-selling-ever for the Royal Court with a West End transfer already neatly positioned to meet the demand. And why not, Jerusalem conquered the country (if not me) and The River stretched all the way to Broadway, plus The Ferryman also has Sam Mendes making his Royal Court debut – it’s almost as if co-producer Sonia Friedman knows what she is doing!
The play’s the thing though and here, Butterworth has constructed a Northern Irish epic. Set at harvest-time in 1981, deep in County Armagh, the Carney clan are gathering for a humdinger of a do once the work in the field is done. And what a clan it is, Rob Howell’s farmhouse kitchen design really does disguise its hidden depths as family member after family member emerges from its nooks and crannies, and that’s before the cousins from Derry have turned up too. But as with any family drama worth its salt, it’s the guests you’re not expecting that you have to watch out for.
Continue reading “Review: The Ferryman, Royal Court”
“I’m a girl of few words
And I don’t make a fuss
But there’s something I’d like to discuss”
As with too many good musical theatre writers, transatlantic partnership Charles Miller and Kevin Hammonds may not be the best known, but their work deserves a wider recognition as evidenced on their CD It’s Just The Beginning – The Songs of Charles Miller and Kevin Hammonds. British musician Miller and New York lyricist Hammonds have something of an old-fashioned soul, their songs very much part of the long tradition of musical theatre rather than a genre-busting radical new approach and as such, represent an interesting future alongside the Jason Robert Browns of the world.
To musical theatre aficionados, some of this music won’t be unfamiliar. When Midnight Strikes was performed at the Upstairs at the Gatehouse theatre last year and is well represented here (the emotive ‘Never Learned To Type’ is probably the highlight, the divine Caroline O’Connor wistfully breaking our hearts with a beautiful vocal. And Julie Atherton’s debut album A Girl of Few Words showcased 12 of their songs, two of which are reprised here – the wonderfully striking title track and the powerful duet ‘Someone Find Me’ with good pal Paul Spicer. Continue reading “CD Review: It’s Just The Beginning – The Songs of Charles Miller and Kevin Hammonds”