The thought of outdoors theatre was fine earlier this week, not so much right now! For the brave, Regent’s Park Open Air Theatre have confirmed full casting for Rodgers and Hammerstein’s Carousel, which plays 31 July – 25 September. Joining the already announced Carly Bawden (Julie Jordan), Declan Bennett (Billy Bigelow), John Pfumojena (Enoch Snow), Joanna Riding (Nettie Fowler) and Natasha May Thomas (Louise Bigelow) are Brendan Charleson (Mr Bascombe), Jo Eaton-Kent (Mrs Mullin), Sam Mackay (Jigger Craigin), Ediz Mahmut (Young Enoch) and Christina Modestou (Carrie Pipperidge).
The ensemble includes: Chanelle Anthony, Craig Armstrong, William Atkinson, Shay Barclay, Sarah Benbelaid, Madeline Charlemagne, Freya Field, Sebastian Goffin, Amie Hibbert, Tim Hodges, Lukas Hunt,Tessa Kadler, Lindsay McAllister, Matthew McKenna, Jack Mitchell, Charlotte Riby, Lisa Ritchie and Daisy West. Continue reading “News: West End musical castings confirmed”
There’s something admirable in the Union Theatre’s admirable determination to work its way through the dustier, neglected end of the musical theatre canon to see if anything comes up roses. I liked what they did with Anyone Can Whistle, less so withMoby Dick, and now its the turn of the lesser-known Tim Rice musical Blondel(the first he wrote after his Andrew Lloyd Webber collaborations) to get the revival treatment.
Sometimes though, when polishing a pebble in the hope that it turns into a diamond in the rough, it remains a pebble. Sasha Regan’s high-spirited, fun-loving production has a wonderfully playful energy about it, and the cast are clearly having a whale of a time, but it isn’t too hard to see why the show has rather languished in obscurity. Daftness can only take you so far (believe me, I know!) and Blondel (over-)runs at 2 hours 30 minutes. Continue reading “Review: Blondel, Union Theatre”
If you have seen one of Sasha Regan’s all-male productions of Gilbert and Sullivan, then you know exactly what you’re getting withHMS Pinafore; if you haven’t, then there’s many a pleasant surprise in store. This production of the evergreen show has been seen before, at the Union in 2013 and on tour in 2014 but is being reprised here for another UK tour stretching from Yorkshire to Cornwall and it remains as refreshing as a Fisherman’s Friend.
Regan’s approach sees Sullivan’s score stripped back to solo piano, musical director Richard Bates doing sterling work from the keys, and Gilbert’s book performed by a set of 16 strapping sailors, the conceit here being performance as a way of passing the time, to lift spirits flagging a little after receiving letters from their loved ones. It’s a canny framing device and one which works effectively with hardly any tinkering with the plot at all. Continue reading “Review: Sasha Regan’s All Male HMS Pinafore, Hackney Empire”
Gilbert and Sullivan’s titular buccaneers may struggle with a lack of a ruthless edge but Sasha Regan’s sharp eye means that piracy definitely pays as her all-male interpretation of The Pirates of Penzanceenters a fifth year of swashbuckling success. From its initial run at the Union Theatre in 2009 and subsequent transfer to Wilton’s Music Hall, it has toured Australia, played the Hackney Empire and now returns for a UK tour which runs through to the end of June.
And getting to gaily tread the measure one more time was indeed an especial pleasure once again. In the august surroundings of Richmond’s Victorian theatre, the set design may look a little spare but once the stage is filled with heaving bodies – whether preening with piratical glee, gambolling in corsets or patrolling a policeman’s lot, or indeed all three at the same time, the musical spectacle of these eighteen lads, plus pianist, is quite something to behold. Continue reading “Review: The Pirates of Penzance, Richmond Theatre”