Nobody’s on nobody’s side – an all-star cast can’t save this game of Chess from itself, for me at least
“From square one I’ll be watching all sixty-four”
It’s taken over 30 years for Chess to return to the West End (though it was seen at the Union in 2013) and though it has a huge amount of resource thrown at it in Laurence Connor’s production for English National Opera, it doesn’t necessarily feel worth the wait. An 80’s mega-musical through and through with an intermittently cracking score from ABBA’s Benny Andersson and Björn Ulvaeus, Richard Nelson’s book hasn’t aged particularly well and bears the hallmarks of the substantial tinkering it has had at every opportunity.
It’s not too hard to see why it has needed the tinkering. The mix of Cold War politics told through the prism of rival US and Soviet chess Grandmasters, love triangles and power ballads is a tricky one to get right and part of the problem seems to be just how seriously to take it all. On the one hand, the chess matches are backgrounded with montages of the real-life tensions of the 80s; on the other, scenes that take us through the various locations of the tournaments are a cringeworthy riot of cultural stereotyping that revel in their utter kitsch. Continue reading “Review: Chess, London Coliseum”
And whilst it remains impressive, it also remains elusive, caught between gig and theatre…
Meaning there wasn’t much to discover anew on second viewing (my review from last year).
Still worth a shot if you’ve not seen it though.
All photos © Johan Persson
Continue reading “Not-a-re-review: Jesus Christ Superstar, Open Air Theatre”
I’m not one for standing ovations really, a show has to be beyond superb and really move me before I get on my feet, so imagine my surprise as I found myself standing and cheering before Elena Roger had even finished her final note of ‘Je Ne Regrette Rien’! This is a truly amazing production of a show that I would bet the house on winning at least one Best Actress award for Ms Roger by the end of the year. Ladies and gentlemen, this is Piaf.
A reworking of Pam Gems’ 1978 play which sketches the tragic and tragically short life of French street singer Edith Piaf, it doesn’t actually feature too much by the way of biographical detail as it places the songs for which she is so rightly famous full square and centre. And this is why it is such a success. Continue reading “Review: Piaf, Donmar Warehouse”
Not much more to say about this as the production is largely the same as that which we saw at the National but enjoyed so much that I wanted to take my little sister who was visiting for the weekend. The major change was a sadly enforced one as one of the actors Denis Quilley died of cancer just before the transfer opened, but there’s also a few new faces in the ensemble.
I think I might even have preferred it this time round, it suits the ‘proper’ theatre building it is now housed in and knowing what to expect meant my anticipation levels were sky-high (and fortunately met). This is definitely the kind of theatre I love and hope to see much more of now I live in London: who knows, I might even try and sneak in another visit to this!