John Robinson and Phil Willmott’s musical adaptation of Lady Chatterley’s Lover is sadly uninspired and somewhat directionless
“Nothing will come between us”
Whether unfairly or not, Lady Chatterley’s Lover carries with it a degree of steamy notoriety which you might have thought would give it a leg up (or leg over) in the streaming market. But instead of taking a steer from what Sean Bean did to my teenage loins, John Robinson (music and lyrics) and Phil Willmott (book) have filleted out any hint of impropriety which rather flattens out this new musical into something a bit too dull.
Shifting the focus so fully onto the class struggles of the story, something hammered home a little too much on the nose with an undoubtedly effective split-level set from Andrew Exeter, robs it of all the emotional texture that comes from DH Lawrence’s exploration of love in its different forms. Neither book nor lyrics show any interest in the psychology of it all, instead ending up functional in the extreme and consequently not engaging enough. Continue reading “Review: Lady Chatterley’s Lover – stream.theatre”
In a co-production with The Old Vic, Emma Rice (Romantics Anonymous, Wise Children) and the Wise Children Company bring Percy and Eleonore Adlon’s iconic 1987 film Bagdad Cafe to The Old Vic stage with their signature playful, visual and emotional style. After a long year apart, we invite you to join us for a joyful celebration of togetherness, hope and friendship.
The cast for Bagdad Cafe has now been revealed and includes Nandi Bhebhe, Le Gateau Chocolat, Bettrys Jones, Patrycja Kujawska, Nadine Lee, Sandra Marvin, Kandaka Moore, Renell Shaw, Gareth Snook and Ewan Wardrop. Watch at the theatre: 17 Jul–21 Aug 2021 or watch from home: 25–28 Aug 2021.
Continue reading “News: musicals update for May 2021”
Auburn Jam Music are delighted to be releasing ‘You Will Be Found’ by #CheerUpCharlie & West End Friends, a fundraising charity single in aid of youth charity The Diana Award, on Sunday 15 November to tie in with the start of National Anti-Bullying Week (16-20 November).
The star-studded single is led by ten-year-old Charlie Kristensen from Wokingham, whose experience of being bullied started the viral #CheerUpCharlie campaign. Charlie is joined on the song by numerous stage and screen stars including Wendi Peters, Layton Williams and Michael Xavier, with Iain Armitage, Michael Ball, Rufus Hound, and Faye Tozer amongst many famous faces reading their supportive messages on the song’s video. The single is available to pre-save now on iTunes, Deezer, Spotify and Tidal at https://ditto.fm/you-will-be-found. Continue reading “News: You Will Be Found by #CheerUpCharlie & West End Friends to be released on 15th November”
A trio of cast album announcements from the last couple of weeks offers a different way to help support theatres in these trying times
Nicholas Lloyd Webber and James D. Reid have launched a crowdfunding campaign to raise £200,000 for a special recording of The Little Prince musical album and provide over 70 people in the theatre industry with jobs during the current COVID-19 pandemic
Richard E. Grant, Kevin McKidd, Sierra Boggess, Tracie Bennett, Amara Okereke and Lorna Want will all lend their support to the project by playing principal cast members. Emma Lindars, Emma Harris, Sarah Ryan, Alison Arnopp, Janet Mooney, T’Shan Williams, John Addison, Oliver Lidert, Michael Pickering, James Gant and David Durham will also be part of the cast.
Audiences can choose from a range of available rewards from the crowdfunding campaign whilst also creating essential jobs. The full list of awards can be found here: https://www.indiegogo.com/projects/the-little-prince-the-album Continue reading “News: cast albums for The Little Prince, HouseFire and Treason”
Jesus Christ Superstar takes to the “rock’n’roll” arena. It isn’t good.
“Why waste your breath moaning at the crowd?
Nothing can be done to stop the shouting.”
Amidst the deluge of theatrical content emerging online, it can be quite hard to make decisions about what to actually watch. Andrew Lloyd Webber’s release of the 2012 live arena tour of Jesus Christ Superstar stood out for me as though I did go and see it at the O2, we were seated at the back of the cavernous space and so the opportunity to actually see what happened on the actors’ faces was enough to tempt me. Plus it’s Good Friday…
Pre-dating the Open Air Theatre’s revelatory restaging by three years, Laurence Connor’s restaging of ALW’s 1971 rock opera lays its contemporary allusions thickly (Occupy, Guantánamo, reality TV) but right from the start, you can see how superficial it is. A busy prologue full of kinetic energy references the Occupy movement strongly but as soon as the show proper starts, it’s as if it never happens, you could cut it and never know the difference.
Continue reading “Lockdown theatre review: Jesus Christ Superstar (2012 Arena Tour)”
I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw in August.
Joseph and the Amazing Technicolor Dreamcoat, aka the Sheridan Smith show
Queen of the Mist, aka the surprisingly affecting one
Appropriate, aka all hail Monica Dolan
Waitress, aka ZZZZZZZOMGGGGG STUNT CASTING oh wait, Joe Suggs hasn’t started yet
The Doctor, aka all hail Juliet Stevenson
A Very Expensive Poison, aka it was a preview so I shouldn’t say anything
Blues in the Night, aka all hail Broadway-bound Sharon D Clarke (and Debbie Kurup, and Clive Rowe too)
The Night of the Iguana, aka justice for Skyler Continue reading “August theatre round-up”
“Learning to let go”
Just a quickie for this one-off – a fundraiser for the Make A Difference Trust of this late 1980s song cycle inspired by the AIDS memorial quilt. The original London production of Elegies for Angels, Punks and Raging Queens actually transferred to the Criterion – where tonight’s show was – from the King’s Head but it’s a little difficult to see how this production with its nearly 50-strong company could ever have been scaled down to fit into that Islington pub theatre. But given how the show is made up of individual songs and monologues, each inspired by a different panel on the quilt representing the life of someone who has died from HIV/AIDS, its inherent flexibility shows how it can take whatever form is needed.
Here, Stephen Whitson’s production takes on a new 21st century version of the book by Bill Russell, the updating of which has mixed results. Contemporary references clang a little awkwardly but there’s more of a problem in that neither the fast-moving world of medical advancements nor the changing nature of the epidemic itself are really reflected – the show is already a period piece in so many ways that it perhaps would be better to leave it that way rather than trying to chase a relevance that would be better served by a completely separate part two. Continue reading “Review: Elegies for Angels, Punks and Raging Queens, Criterion Theatre”
“Tell the mob who sing your song that they are fools and they are wrong”
Having gone down the road of television casting once again for one of his shows and quite possibly killing off the genre at the same time, Andrew Lloyd-Webber’s much-touted revival of his 1971 rock opera Jesus Christ Superstar will hopefully have the same effect on staging theatrical productions in cavernous arenas like London’s O2. Director Laurence Connor’s concept has been to relocate the loose retelling of Jesus’ last week to a modern-day context, pulling out strong allusions to the Occupy movement, riots, Guantánamo Bay and reality television.
Tim Minchin’s Judas is the undoubted highlight of the show, a stirringly confident rock vocal of fierce conviction that near perfectly captures the essence of what Lloyd-Webber is trying to achieve but elsewhere there is much less strength. Ben Forster’s Jesus mauls Gethsemane almost beyond recognition but fares better elsewhere where his falsetto is more aptly deployed and his angst not so overplayed; Melanie Chisholm’s goth take on Mary Magdalene is anaemically thin and utterly forgettable; Chris Moyles’ highly gimmicky Jerry Springer-esque King Herod – he hosts a show called Hark! with Herod, a rare flash of genuine humour – is thankfully brief; Alex Hanson’s Pilate is a quality performance that stands out from a hard-working ensemble, but too often the wide lens of the show means that their efforts pass by unnoticed. Continue reading “Review: Jesus Christ Superstar, O2 Arena”