Lockdown theatre review: Curtains

The curtains are lifted once again for Curtains as it is available to watch online again

“I’m sorry but this theatre is in quarantine”

I enjoyed the Kander & Ebb musical Curtains when it made its long-awaited West End debut over the festive period, and was saddened when its ambitious UK tour had to be curtailed once lockdown was enforced. The producers had filmed a performance from early in the run though for their archive and have generously made it available to watch through their website here. And for the completist in me, it has turned out well as it meant I have the opportunity now to see Ore Oduba in the role that Andy Coxon covered for the West End stint.

Paul Foster’s production is great fun, full of wryly comic performances (Samuel Holmes is a standout here), stunning dance (Alan Burkitt – swoon!) and musical theatre gloriousness (you’ll wonder how Rebecca Lock isn’t a bigger name). And I don’t know about other people, but I’ve been craving escapist entertainment much more than anything too serious and Curtains certainly fits the bill (it’s all the more impressive considering it was indeed early in the run for them). Move quickly and watch it tonight!

Review: Curtains, Wyndham’s Theatre

A Kander & Ebb premiere in the West End you say? Curtains makes its bow at the Wyndham’s Theatre and I had an arrestingly good time with it

“Shall we all observe a moment of silence…
to match the audience’s response to Jessica’s first number”

There’s no denying that theatre loves shows about theatre and on the Charing Cross Road right now, you’ve got a play within a play at the Garrick right next to a musical about a musical at the Wyndham’s. Curtains ups the ante though by throwing in a murder mystery as well for good measure and the result is a something of a good old-fashioned romp, blessed with that rarest of things, a barely-known Kander & Ebb score. Having only received a few drama school productions (I saw it at Arts Ed

The show dates back to 2006 but had a tricky road to completion as original book writer Peter Stone died before finishing it, Rupert Holmes stepping in to rewrite, and Fred Ebb also passed away a year later, with Kander and Holmes completing the lyrical content. Curtains managed a relatively successful run on Broadway but for whatever reason, it never made the leap across the Atlantic (into the West End at least) until now, as Paul Foster’s touring production steps neatly into a scheduling gap to provide an alternative cup of Christmas cheer. Continue reading “Review: Curtains, Wyndham’s Theatre”

Re-review: 42nd Street, Theatre Royal Drury Lane

42nd Street is signing off at the Theatre Royal Drury Lane in quite some style as a perfectly-cast Bonnie Langford joins the company

“Musical comedy – the most glorious words in the English language”

I liked 42nd Street when I saw it last year but I can’t say that I truly loved it, it felt a 24 carat production of a gold-plate show. But upon revisiting, to celebrate Bonnie Langford’s arrival in the company for its final furlong before closing in the New Year, some kind of magic seems to have happened at the Theatre Royal Drury Lane (or maybe I was just less grumpy tonight!) as it has now matured into something spectacular.

The only major difference is Langford’s presence as Dorothy Brock, but there’s just something about her that shimmers with star quality and it is contagious. So even as she’s trying to dampen it down a bit as this particular fading star, her comic timing makes her scenes crackle with electricity, her singing is on point and she’s just a dream to watch. It’s a perfect role for her – who needs stunt casting when you have the right casting? And as for her surprise appearance in the finale? SWOON!

I also felt Clare Halse has really settled into the role of Peggy Sawyer. It’s a curious role in that she grows to become the leading lady of this musical as the understudy-come-good, but is given precious little time in which to do so and most of that is taken up with dance. Such amazing dance though, she really is effortless in her every graceful move, and she’s acting more through every movement too as her self-belief slowly blooms into the incandescent life of the finale.    Continue reading “Re-review: 42nd Street, Theatre Royal Drury Lane”