“Not much survives of the old hills of Georgia
Jason Robert Brown and Alfred Uhry’s Parade is a brutally effective piece of musical theatre, based on a harrowing turn-of-the-century true story of racism and anti-Semitism, child-murder and mob mentality, set to a wide-ranging and often challenging score. Last seen in London at the Southwark Playhouse, Fulham’s London Theatre Workshop go for another small-scale staging, directed by Jody Tranter, the intimacy of which again plays to the strength of the piece.
Bringing a 13-strong company into such a small space is something of a challenge but a necessary one in order give the real sense of the full scope of a community at odds with each other. Tranter manages it well though with a fluid sense of pace swirling around Harry Johnson and Justin Williams’ inventive set design and ably assisted by some ingeniously conceived choreography from Adam Scown, bringing a real intricate power to the ensemble numbers. Continue reading “Review: Parade, London Theatre Workshop”
“And so poor Yarico for her love, lost her liberty”
When a show openly acknowledges that it is a work-in-progress, you could be forgiven a certain degree of scepticism but on entering the London Theatre Workshop – perched above a Fulham pub – and seeing the size of their marimba, there can be no doubting the seriousness of the intent behind Yarico. A musical treatment of the opera Inkle and Yarico, itself based on the historical writings of Richard Ligon in A True and Exact History of the Island of Barbados, it’s a fascinating look at an interesting time in a difficult piece of history.
For though the slave trade forms the backdrop for the story, the opera came at a time when anti-slavery sentiment was on the rise and this sense of being on the cusp of the abolition era adds an thought-provoking texture to the production. Yarico, a young Amerindian woman with a yen for Shakespeare, has her life turned upside down when English ne’er-do-well Thomas Inkle washes up onshore. The only one able to communicate with him due to her studies, she pleads for his life against her hostile fellow islanders and they soon fall in love – so far so happy. Continue reading “Review: Yarico, London Theatre Workshop”
“Wanna cry, wanna croon,
wanna laugh like a loon”
Suspension of disbelief is par for the course with musical theatre, especially the type of obscure revivals that the Union Theatre specialises in, and Finian’s Rainbow is no exception in that respect. A leprechaun who is slowly turning into a human, a twinkle-eyed Irishman determined to grow a forest of gold, a mute girl who communicates solely through the medium of dance…this is unabashed hokum of the top order, but the sincerity of Phil Willmott’s sterling production makes it a genuine delight.
For what it’s worth, the plot concerns the twinkle-eyed Irishman Finian McLonegan’s efforts to make his fortune in the Deep South having borrowed a crock of gold from a leprechaun and marry off his granddaughter Sharon in the process. The community of tobacco pickers where they end up welcome them and their money with open arms but a corrupt and racist senator has other plans for the land on which they toil, putting their future in peril. E.Y. Harburg and Fred Saidy’s book contains much more dry humour than you might expect though, jabs about immigration and bankers showing how little things have changed in many respects. Continue reading “Review: Finian’s Rainbow, Union Theatre”