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”
Four cracking performances make [title of show] a musical highlight of the month at the Above the Stag Theatre, more than holding its own with the West End
“A musical about two guys writing a musical about two guys writing a musical”
In a month full of major West End musicals opening, [title of show] is a glorious example that bigger isn’t always better. In the studio at the Above the Stag Theatre, something special is on offer, perfectly suited to the intimacy of the space and highlighting some pretty serious musical theatre talent about which we should be shouting as loud as we do those with their faces on billboards on the Strand.
Hunter Bell (book) and Jeff Bowen’s (music and lyrics) meta-musical of musical theatre injokes as it depicts two guys called Hunter and Jeff responding to a call for submissions to the New York Musical Theatre Festival. And looking for inspiration, they decide to write a show about two guys called Hunter and Jeff responding to a call for submissions to the New York Musical Theatre Festival, using their own words verbatim and bringing two friends onboard as well. Continue reading “Review: [title of show], Above the Stag”
“A hero on the run
And a woman with a gun
And an ending with a twist
And a brother who is pissed”
What would you do for six million dollars? That’s the question underlying Lynn Ahrens (book and lyrics) and Stephen Flaherty’s (music) 1988 musical farce Lucky Stiff, based on the 1983 novel The Man Who Broke the Bank at Monte Carlo by Michael Butterworth. And being a farce, it’s not a story to examine too closely as a Home Counties shoe salesman, a Brooklyn dog home employee and an Atlantic City optometrist and his legally blind sister converge on the South of France in pursuit of the money.
Shoeshop Harry is the one with his nose in front – it is a bequest to him from his late uncle that kicks off all the shenanigans. A sizeable inheritance with an all-expenses-paid trip to the French Riviera to boot, with just the one catch – Harry has to take his uncle’s body with him on every step of the holiday. As several other interested parties get wind of the news, the scene is set for all sorts of supremely silly capers and your enjoyment of the show may well depend on your tolerance of daftness. Continue reading “Review: Lucky Stiff, Union Theatre”
“That’s what you get for all your trouble”
On the face of it, you could see why reviving Promises Promises would be an appealing prospect – written by Neil Simon from a Billy Wilder film and featuring a score by Burt Bacharach and Hal David. But digging even just a little deeper – a running time of nearly 3 hours and an antiquated set of gender politics made it a tough one to watch, and an even tougher one to excuse in today’s society.
If you were so inclined, you could argue that Billy Wilder and I.A.L Diamond’s original screenplay for the 1960 film The Apartment is “a triumph of 1960s sexual work-place politics” but quite what that has to say to audiences today is very unclear, (apart from gentlemen d’un certain âge craving the good old days natch). I have liked much of director Bronagh Lagan’s previous work but I can’t help pondering the choice here. Continue reading “Review: Promises Promises, Southwark Playhouse”
“Beyond this door, surprises in store”
Third time lucky for me and the great glass elevator! The first time I saw Charlie and the Chocolate Factory at the Theatre Royal Drury Lane, the climactic lift effect wasn’t ready, the second time it broke down before it even really started so if nothing else, it was great to finally get to see the sequence as it was intended. My main reason for revisiting the show though was the cast change, with favourites like Josefina Gabrielle and Richard Dempsey joining the company and Alex Jennings stepping into the role of Willy Wonka, replacing Douglas Hodge.
And rather unexpectedly, I absolutely loved it. It was a show I had previously liked rather than truly enjoyed but it really seems to have settled into its skin now, subtle alterations helping with the pace (although I am sad to see the animated prologue having been removed) and a generally sharper feel to the whole proceeding. For me though, the best aspect was Jennings’ reinterpretation of Wonka, a completely new take on the character that works brilliantly and feeds into the fabric of David Greig’s book, based on Roald Dahl’s writings of course, in a more instinctive and convincing manner. Continue reading “Re-review: Charlie and the Chocolate Factory, Theatre Royal Drury Lane”
“Here we live, here we love, this is the place for self-expression”
Providing a much needed, strong reminder that large-scale musical revivals can come from north of the Watford Gap as well as below, Wonderful Town marked a major collaboration between Manchester’s Royal Exchange Theatre, The Hallé Orchestra and The Lowry on this Leonard Bernstein show, which I have to admit to never having heard of before. As many a musical that has gone before and come after it, it is gossamer-light in plot but this is more than made up for with a richly evocative score, some nifty design and best of all, sparkling choreography from Andrew Wright who is now consistently making the case to be considered one of the best choreographers working in the country.
Connie Fisher and Lucy Van Gasse play Ruth and Eileen Sherwood, sisters from Ohio who are determined to escape their boring lives and move to New York City. Of course, on arriving in the Big Apple, following their dream ain’t quite as easy as it seems but in their quest for success, romance and a free meal or two, they meet and charm a wide range of colourful new friends and neighbours who help them through their trials. And matching the creative and production expertise on hand, director Braham Murray assembled a cracking ensemble which included particular favourites around these parts (albeit for different reasons) Michael Xavier and Tiffany Graves. Continue reading “Review: Wonderful Town, Milton Keynes Theatre”