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Review: Anything Goes, Barbican

Sutton Foster soars in this superlative revival of Anything Goes which almost justifies the ticket prices at the Barbican

“If love affairs you like
With young bears you like,
Why nobody will oppose”

There are several things that can take your breath away in this simply fantastic production of Anything Goes, whether the jaw-dropping rendition of the title track that closes the first act or ticket prices that top out at £175 (the Barbican’s seats may be comfortable but that is pushing it…). Fortunately, the rest of the house isn’t quite as eye-wincingly steep (though full disclosure, I was treated by the kindest aunt 😉) and the joyous swells of Kathleen Marshall’s production mean you’ll find it hard to feel short-changed.

Like many a show of its time, the plot is an entire trifle – Timothy Crouse & John Weidman fashioning a new book from PG Wodehouse & Guy Bolton and Howard Lindsay & Russel Crouse’s original – suffice to say it covers any manner of madcap antics on an ocean liner. Those antics are mainly there as a framework on which to hang some of the best songs ever written as we delve deep into the Cole Porter songbook for some musical heaven. Throw in a Broadway production that has already won multiple Tonys and also snag its leading lady who won of those, and job’s a good’un. Continue reading “Review: Anything Goes, Barbican”

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Review: Disenchanted

Musical revue Disenchanted takes a deeper look at the lives of Disney princesses and whether happy ever after is all that

“One more once upon a time and I swear I’ll go insane”

Revisiting fairytale endings and reclaiming female historical narratives will be familiar to fans of Into the Woods and SIX but Dennis T Giacino’s Disenchanted attempts to tackle both in an ambitious if patchy musical comedy. Returning to some of the characters so familiar from our storybooks, the show gives them new voice to explain what life as a ‘princess’ is really and how the stories we’ve been told don’t necessarily reflect ‘reality’.

In some ways, this is powerfully effective. You can’t help but hear echoes of Thandiwe Newton’s recent decision in Badroulbadour’s story of how her name and ethnicity were changed in order to become a secondary character in Aladdin. Or nod at Mulan’s recognition that the reason she’s one of the only princesses not to end up with a partner is because she’s a lesbian. Throw in commentary on typical cup size and waist measurements and you see how much social conditioning has gone on through this mode of storytelling. Continue reading “Review: Disenchanted”

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Musical news aplenty

Following its opening at the Watermill Theatre, a critically acclaimed sell-out tour in 2019, a highly successful Christmas season at The Other Palace in 2019, a Grammy nomination and 3 Olivier Award nominations, Amélie The Musical arrives in the heart of the West End this summer. Following the government roadmap announcement, tickets are on sale now for a socially distanced audience at the Criterion Theatre from Thursday 20 May. Olivier-nominee Audrey Brisson (The Elephantom, Pinocchio and Pericles (National Theatre), The Flying Lovers of Vitebsk (Kneehigh), and The Grinning Man
(Bristol Old Vic)), will return to the role of ‘Amélie’.

The five–time Oscar®-nominated film will be brought to life once again by a cast of actor-musicians and set to a critically acclaimed re-orchestrated score. With music by Hem’s Daniel Messé, lyrics by Nathan Tysen and Daniel Messé and book by Craig Lucas, Amélie The Musical is directed by Michael Fentiman. The full cast includes Sioned Saunders as Gina, Flora Spencer-Longhurst as Georgette, Rachel Dawson as Amandine/Philomene, Oliver Grant as Lucien/Mysterious Man, Chris Jared as Nino Quincampoix, Caolan McCarthy as Hippolito/Elton John, Samuel Morgan-Grahame as Joseph/Fluffy, Kate Robson-Stuart as Suzanne, Jack Quarton as Blind Beggar, Jez Unwin as Raphael/Bretodeau and Johnson Willis as Collignon/Dufayel. Nuwan Hugh Perera, Miiya Alexandra, Robyn Sinclair and Matthew James Hinchliffe complete the ensemble. Continue reading “Musical news aplenty”

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News: A Song For Our Time winner is announced

After the announcement of the search for ‘A Song For Our Time’, an original song to be written in response the the effect of the global pandemic and the following lockdown, organisers Danielle Tarento and Paul Wilkins are delighted to unveil the chosen song, ‘Looking At The Moon’ by Amir Shoenfeld and Caitlyn Burt.

They said “We were absolutely overwhelmed at the response to this search, with over 260 submissions from across six continents. The standard was incredibly high, with new songs from world-class songwriters from all four corners of the globe. Narrowing them down to a shortlist of three was unbelievably difficult and we are so grateful to Tony Award-winning composer Jason Robert Brown for helping us to make the final decision. We are delighted with the chosen song, ‘Looking At The Moon’ and thank Amir and Caitlyn for sharing their message of hope with us.” Continue reading “News: A Song For Our Time winner is announced”

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Birthday treats – poetry and post-show talks

Been a bit quiet on the show front whilst I’ve celebrating a particular anniversary (I turned 29, for the 11th time if anyone’s counting…) but I was pleased to have been treated to a couple of special evenings out with Helen McCrory and Helena Bonham Carter reading poetry and a return visit to West Side Story

“Time to look, time to care, 
Some day”

Front row tickets to something with Helen McCrory? It’s the stuff birthday dreams are made of, and so I was delighted to get to go to Allie Esiri Presents Women Poets Through the Ages at the Bridge Theatre. And not only was there McCrory action, there was a reunion of evil Harry Potter sisters Narcissa Malfoy and Bellatrix Lestrange as Helena Bonham Carter was also on the bill.


Continue reading “Birthday treats – poetry and post-show talks”

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Review: West Side Story, Royal Exchange

Aletta Collins’ new choreography is just one of the highlights of a most successful West Side Story at the Royal Exchange

“Sleep well and when you dream
Dream of me”

For an undoubted classic of the musical theatre, West Side Story really isn’t revived all that often but 2019 seems determined to rectify that. The Curve have announced it as their Christmas show, Ivo van Hove is reimagining it on Broadway, and Steven Spielberg is remaking the film for good measure. But getting the (beautifully balletic) jump on all of them is Manchester’s Royal Exchange, whose revival is the first to be performed with new choreography replacing the iconic moves of original director and choreographer Jerome Robbins.

And only naturally, Sarah Frankcom’s production soars when it puts Aletta Collins’ new moves front and centre. They are certainly recognisably inspired by Robbins but there’s an unmistakeable freshness that is just beautiful to watch and there’s something great about the fact they’re all doing it in Converse. The repeated ronds de jambe are iconic in their own way, an emotional grace is suffused throughout, and hints of contemporary nod to the physicality of two warring gangs, coiled bodies poised on Anna Fleischle’s climbing frame design. Fleischle has also maximised the floor space of the Exchange to great effect, the aesthetic is pure dance and it works. Continue reading “Review: West Side Story, Royal Exchange”

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Re-review: A singalong Bat out of Hell, Dominion

We go back to the singalong Bat out of Hell at the Dominion Theatre but find diminishing returns

“Can’t you hear the choir now?
Listen to the animals sing”

Just a quickie for this repeat visit to Bat out of Hell, as the allure of the singalong performance was once again too strong. I don’t know if Tuesday night was the best choice though, as the Dominion Theatre was lacking in bodies and in atmosphere, at least in our part of the stalls, which kind of detracted from the communal spirit which was so enjoyable last time around.

I wonder too if the news of the show’s closure has dampened some of the enthusiasm. As D-day (5th January) draws closer, some of that intensity might return but for me, the performance level was weaker than I’ve previously seen. Rob Fowler and Sharon Sexton carry the show even more now and that means you only feel their absence all the more when they’re not on stage. Nothing really rocks, nothing really rolls…

Running time: 2 hours 45 minutes (with interval)
Photo: Specular
Bat out of Hell is booking at the Dominion Theatre until 5th January, one more singalong performance is scheduled for 31st December 

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Review: A singalong Bat out of Hell, Dominion

Baby baby BABY! For better or worse, Bat out of Hell introduces the singalong musical into the West End 

“You got the kind of lips that do more than drink
You got the kind of mind that does less than think”

Although it might feel like every night is singalong night at some musicals (cough Motown cough), Bat out of Hell have gone the extra step and made one night a month an actual sing-along performance. So if you get down to the Dominion Theatre on these selected dates, then you can live your dream of singing in a West End theatre, just, you know, not on the actual stage…!

If you’re pondering whether this is a good idea, I’ve answered a few questions below.

“I know you’re lookin’ for a ruby in a mountain of rocks
But there ain’t no Coupe de Ville hidin’ at the bottom of a Cracker Jack box”

1. What if I don’t know all the words?

Never fear – there are screens dotted around the theatre, and above the stage, which show the lyrics. And it’s not every song we’re invited to sing along to, which I was particularly gutted for for “What Part of My Body Hurts the Most”. Seeing the lyrics like this has the additional amusing bonus of showing how batshit crazy some of them are…! Continue reading “Review: A singalong Bat out of Hell, Dominion”

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Album reviews: Working / Bat out of Hell / 42nd Street

A trio of West End cast recordings (well, one’s off-West-End…) show that it is sometimes hard to recapture the stage magic 

© Robert Workman

Starting off with the best of this bunch, the Southwark Playhouse’s production of Working might not have seemed like the obvious choice for a cast recording but maybe the lure of a couple of new Lin-Manuel Miranda tracks was a real sweetener.

Truth is, it is the quality of the cast’s performances that make this a fantastic addition to the list of albums you need to hear. From Siubhan Harrison’s impassioned ‘Millwork’ to Dean Chisnall’s gleeful ‘Brother Trucker’, and the highly charismatic Liam Tamne nails both of Miranda’s contributions – the wilful ‘Delivery’ and a corking duet (with Harrison) on ‘A Very Good Day’.

Experience pays though, as Gillian Bevan and Peter Polycarpou take the honours with some scintillating work. The latter’s ‘Joe’ is beautifully judged, as is the former’s ‘Nobody Tells Me How’, both demonstrating the uncertainty that can come at the end of a long career, when retirement doesn’t necessarily hold the joyful promise it once did. Highly recommended.  Continue reading “Album reviews: Working / Bat out of Hell / 42nd Street”

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Review: Bat Out of Hell, Dominion

Serving up more Meatloaf, Bat Out of Hell returns to London at the Dominion with a new-found subtlety…

“Some nights you’re like nothing I’ve ever seen before or will again”

I jest of course – there ain’t nothing subtle about Bat Out of Hell, apart from the slight price rises on the merchandise stall. Newly installed at the Dominion Theatre, after runs in Manchester, Toronto and at the Coliseum last year, it has lost little of the bizarre, baffling energy that saw it find a very devoted audience.

And they’ll be pleased that leads Andrew Polec and Christina Bennington return, the new cast members slot in effortlessly, and the inimitable vocal prowess of all is still ear-splittingly breathtaking, under Michael Reed’s musical supervision. Rob Fowler and Sharon Sexton remain the show’s secret weapon, stealing the thunder like a punked-up Jack and Karen. Continue reading “Review: Bat Out of Hell, Dominion”