“There is more to life than you ever knew, than you ever dreamed,”
Sheffield feels the right place for Flowers for Mrs Harris to come into bloom, its delicately understated charm and musicality making this a world away from the brash, cut-throat commercialism of West End musicals. That’s not to say I wouldn’t love to see this show come down to the capital, for it does deserve such wider attention, but rather to celebrate the creation and nurturing of musical theatre from all parts of the country, a recognition of a theatrical ecology that thrives far beyond the M25.
Daniel Evans’ artistic directorship of Sheffield Theatres, which ends with this production, has been a key part of that over the last few years and it is pleasing to see that his presence in the overall picture will continue as he departs for Chichester Festival Theatre. As for now, we get a gorgeous piece of unmistakably British musical theatre that is as heart-warming and tear-jerking as they come, a tenderly sentimental exploration of far-fetched dreams and earthily real friendships. Continue reading “Review: Flowers for Mrs Harris, Crucible”
“As a child I went wild when a band played
How I ran to the man when his hand swayed”
How else would you start December but with two theatrical productions of White Christmas in quick succession… But where London has a more predictable, traditional take on the hoary old classic with the well-established touring production faithfully replicated, Leeds has a reimagined and reinvigorated version which makes it altogether a more intriguing proposition in the hands of esteemed director Nikolai Foster (whose forthcoming artistic directorship of the Curve in Leicester looks to be most promising indeed) (PS he’s no relation).
I left the Dominion Theatre in London quite well inclined to the show as it does tick all the boxes, perhaps in a somewhat perfunctory manner but with dollops of old-school charm. But freed from those constrictions, Foster is able to give us a fresh new take which is retro rather than old-fashioned, taking its cues from 50s Americana in Matthew Wright’s glorious revolving design. And with arrangements refreshed with a real musical intimacy and integrity by orchestrator Jason Carr and choreography revitalised by Nick Winston, this is a creative team firing on all cylinders. Continue reading “Review: White Christmas, West Yorkshire Playhouse”
“Laugh to scorn the power of men”
Who’d’ve thought 2013 would turn out to be the year of the impressive Malcolm? After Alexander Vlahos’ strongly defined interpretation of a fast-maturing young man for the MIF’s Macbeth in the summer, so now Philip Cumbus makes his own successful stab at the character for the Globe’s take on the Scottish Play, making him an unmistakeable stateman from the off even if he hides it well. The production is most notable for marking the directorial debut of that product-of-a-star-dancing Eve Best and a striking one it is too – whereas Lucy Bailey went all-out Dante back in 2010, Best treats it with a much lighter, even comedic, touch.
It’s a bold choice and one that is just so different that in the trickier moments, it was hard to tell whether I felt it was genuinely unsuccessful or rather that it was just so unexpected. Generally speaking, the vein of black comedy that was teased out was stronger than the broader strokes that often appear in Globe comedies, but the sound of so much laughter in the play did feel at odds with its increasingly darkening horizons, the creeping sense of horror never really materialises as the tonal balance of the production makes it hard for the actors to shift modes and carry the audience with them. Continue reading “Review: Macbeth, Shakespeare’s Globe”