“A hundred thousand things to see”
Say Aladdin to most people across the world, and Disney would hope that the first thing that comes to mind is their 1992 animated film. In the UK though, the title is indelibly linked to pantomime and so it feels a little incongruous to have a major musical production of it opening in the middle of June. And whilst Casey Nicholaw’s production hasn’t stimped in any conceivable way when it comes to the look of the show (striking design from Bob Crowley), there’s still a faintly hollow ring to the whole proceeding.
A big hit on Broadway, Aladdin has been pretty much replicated and transplanted into the Prince Edward. Which is good in terms of the undeniable quality of the Disney brand – the family-friendly ethos, the slickness of the design, the unexpected self-referential dips into other Disney musicals. And in the knowing performance of American Trevor Dion Nicholas as the Genie, there’s a respectful homage to the character that Robin Williams brought to life so memorably on screen, which still carves its own identity too. Continue reading “Review: Aladdin, Prince Edward Theatre”
If Dr Seuss stories are what makes you tick,
Then this Christmastime you should hit the Old Vic.
The Lorax adapted by scribe David Greig
is so damn delightful for tickets you’ll beg.
Director Max Webster has served up a treat
with such charm no panto could ever compete.
A show for all ages, it’s also a musical,
I had my doubts but it’s something quite beautiful. Continue reading “Review: The Lorax, Old Vic”
“How long have you wanted to be a singer?
‘Since I was a kid’”
I don’t think even now I really believe that the kids in the film of Bugsy Malone aren’t actually singing – like with Father Christmas and the future for Wigan Athletic, I choose to believe. Fortunately, there’s no such doubt in Sean Holmes’ production of the show, written by Alan Parker with music and lyrics by Paul Williams, a mammoth run of which has been chosen to inaugurate the newly refurbished Lyric Hammersmith. It’s the first professional production in over a decade of this inimitable Chicago gangster classic and Holmes and children’s casting director Jessica Ronane have pulled together a group of exceptionally talented youngsters who sing live, dance, act and fire splurge guns aplenty
Having seen the show twice now, it is remarkable how different the energy was between the two sets of child performers I got to see, they’ve clearly been encouraged to establish their own mark on their roles and it’s a joy to behold. Max Gill’s Fat Sam is an absolute scene-stealing delight, absolutely nailing the comic timing and slapdash slapstick of this hapless boss whereas Sasha Gray captured more of the attention as a supremely confident Bugsy in his group; Thea Lamb’s achingly soulful voice fills her Blousey full of longing, compared to a perkier turn from Zoe Brough; and I couldn’t pick between Asanda Jezile and Samantha Allison as Tallulah, both shining as this most sardonic of songstresses. Continue reading “Review Bugsy Malone, Lyric Hammersmith”
I realise I’m just adding (belatedly) to the plethora of 2015 features already published but so many of them trod the boringly familiar ground of forthcoming West End shows (and in the Evening Standard’s case, managed to recommend booking for three shows already sold out from their list of six). So I’ve cast my net a little wider and chosen a few random categories for just some of the shows I’m recommending and looking forward to in 2015.
Continue reading “Looking ahead to 2015”
“If I were a watch I’d start popping my springs!”
From the opening moments of an overture that demands the attention, it is clear that Chichester’s revival of the Broadway classic Guys and Dolls is going to be a scorcher. Director Gordon Greenberg utilises not only Carlos Acosta as choreographer but also Andrew Wright as a co-choreographer and the combination of the two is simply explosive – these are no two-bit routines that people are shuffling around, this is proper dance and it is thrilling to behold.
It helps of course to be connected to Jo Swerling and Abe Burrows’ amiable book, based on Damon Runyon’s characters, about the travails of a bunch of New York gamblers, and Frank Loesser’s evergreen music and lyrics which churns out classic after classic after classic. Greenberg wisely doesn’t interfere much at all with the material, just cultivating warmth from all of his performers and particularly his two leading couples, making them utterly adorable. Continue reading “Review: Guys and Dolls, Chichester Festival Theatre”