The Limit is a hugely impressive new musical from Freya Smith and Jack Williams at the VAULT Festival
“One spark is all you need”
Ooh, a real treat this. The world of new musical theatre can be a little unforgiving but on the evidence of The Limit, Freya Smith and Jack Williams’ Bottle Cap Theatre are marking themselves as ones to watch out for. Their musical celebrates the unsung life and unheralded achievements of French mathematician Sophie Germain and it does so with real spirit and success.
The DNA of shows like Hamilton and Six are certainly palpable here, in a refreshingly contemporary approach to its historical subject and to be frank, these are fantastic influences to be drawing from. It instantly imbues the relationships and happenings with a relatability that speaks just as much truth (if not more) than any rendition of ‘historical accuracy’ could hope for. Continue reading “Review: The Limit, VAULT Festival”
“Laugh at the king or he’ll make you cry“
The ever-modest Sondheim considers Anyone Can Whistle ‘a laudable attempt to present something off-centre in mainstream musical theatre’, whilst trying to contextualise his first ever commercial failure. But be that as it may, it remains one of his lesser performed works for a reason (it was seen most recently in London directed by Tom Littler at the Jermyn Street in 2010 I think) as Arthur Laurents’ book strains so hard to be zany that it hasn’t noticed how fatally confused it is.
Corrupt Mayor Cora Hooper Hoover and her cronies plot to save their town from going bankrupt by faking a miracle, which attracts tourists aplenty and a bus load of patients from the local asylum who soon escape and mingle into an indistinguishable crowd. Then a fake psychiatrist turns up, who falls in love with a fake miracle verifier from Lourdes…concentrate too hard on this lot and you’ll end up in the asylum with them. Director Phil Willmott thus wisely focuses on the manifold strengths that his production brings to the table. Continue reading “Review: Anyone Can Whistle, Union Theatre”