With so much uncertainty still blighting the West End, Frozen the Musicalhas announced that it is taking tickets offsale and postponing its premiere until a new timetable can be confirmed. But to sweeten the pill, they’ve also revealed the final members of their company.
Chris Fung and Kerry Spark will join the already announced cast, led by Samantha Barks (Elsa) and Stephanie McKeon (Anna), as well as Obioma Ugoala (Kristoff),Craig Gallivan (Olaf), Oliver Ormson (Hans), Richard Frame (Weselton), and alternating the role of Sven, Mikayla Jade and Ashley Birchall.Continue reading “News: updates for Frozen in the West End.”
Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!)
Extraordinary Public Acts for a National Theatre
The establishment of the Public Acts programme at the National Theatre offered up something sensational in Pericles, an initiative designed to connect grassroot community organisations with major theatres, resulting in a production that swept over 200 non-professional performers onto the stage of the Olivier to create something that moved me more than 99% of professional productions. A truly joyous and momentous occasion.
The theatrical production of London Road was a major success for the National Theatre, the opening run first extending in the Cottesloe and then being rewarded with a later transfer to the much larger Olivier – I was first blownaway by its originality and then later comforted by its message in the aftermath of the 2011 riots. So the news that director Rufus Norris was making a film adaptation was received with apprehensive anticipation, could this strikingly experimental piece of theatre possibly work on screen.
Writer Alecky Blythe uses a technique whereby she records interviews with people which are then edited into a play but spoken verbatim by the actors, complete with all the ums and aahs and repetitions of natural speech. And in 2006, she went to Ipswich to interview a community rocked by a series of murders, of five women in total, all sex workers, and set about telling a story not of salacious deaths but of a community learning to cleave together in trying times. Oh, and it’s all set to the most innovative of musical scores by Adam Cork, elevating ordinary speech into something quite extraordinary.
The material has been considerably reshaped for the screen – Moira Buffini assisting as script consultant – resulting in a much more straight-forward narrative through-line than was seen on stage. This linear development is reflected in Danny Cohen’s cinematography which tracks the wintry gloom of the beginning into the verdant bloom of the climax with a real visual grace. Straightening out the storytelling reduces the theatricality of the presentation too, making this feel much more like a piece of documentary realism.
Where the stage show had a cast of eleven each playing a resident and multiple other roles, each character is played by someone different here, meaning the focus is teased out a little from the tight circle of the London Road residents and their outrage about their street turning into a red light district, to give a more fully realised sense of the wider community. They consequently get more of their own voice heard – the nervy teenagers suspecting everyone around them, the sex workers shaken up by the attacks on their own, the journalists tiptoeing around the sensitivity of the issue whilst always on the lookout for a scoop.
The experience of the residents does remain central to the film though, Blythe digging back into her archive of interviews to find ways of ensuring at least of them appears in every scene and Cork rejigging the score where necessary too. And this is where the writing is at its strongest, in always showing the complexity of the collective response. Though the story moves towards a happy(ish) ending with the London Road in Bloom street party as the culmination of their efforts, there’s no pretence that a solution to the inherent problems has been found, they’ve just been moved away from their doorstep.
This ambiguity comes across particularly well in characters like Olivia Colman’s Julie and Nick Holder’s Ron, barely apologetic in their unspeakable thoughts yet rooted in small-town authenticity. Paul Thornley’s inscrutable Dodge, Linzi Hateley’s pragmatic Helen and Clare Burt’s dithering Sue remain a delight, Anita Dobson is daffily wonderful as June, Michael Shaeffer and Rosalie Craig’s journalists both stand out and the original Julie, Kate Fleetwood, plays the new role of Vicky, a haunting figure representing the spirit and presence of the working girls, both alive and dead.
And delving a little deeper, clever little touches abound in the production. The two schoolgirls singing ‘It Could Be Him’ (see clip below) are the daughters of Burt (Eloise Laurence) and Hateley (Meg Hateley Suddaby); Blythe and Cork both get cameos as a newsreader and a pianist respectively; and the final street party mixes real residents of both the real London Road in Ipswich and the fictional one in Bexley in with an ensemble that folds in any number of faces that seasoned theatregoers might recognise.
Elements of choreography by Javier De Frutos are used sparingly but most effectively to sprinkle pathos or humour into sequences as required, David Shrubsole’s sharp musical direction keeps the singing (nearly all done live) on point, and Norris’ direction constantly takes on inventive new directions to expertly but sensitively reshape the material for this new medium. I can’t imagine what it would be like to come to this film without prior experience of the show (and I’d be fascinated to hear from you if that’s you) but as a fan, it is undoubtedly a beautiful extension to one of the most innovative musical theatre experiences of the last decade.
Full cast list
Julie – Olivia Colman
Sue – Clare Burt
Kelly McCormack – Rosalie Craig
June – Anita Dobson
Seb – James Doherty
Vicky – Kate Fleetwood
David Crabtree – Hal Fowler
Helen – Linzi Hateley
Tim – Paul Hilton
Ron – Nick Holder
Councillor Carole – Claire Moore
Simon Newton – Michael Shaeffer
Rosemary – Nicola Sloane
Dodge – Paul Thornley
Terry – Howard Ward
Gordon – Duncan Wisbey
Mark – Tom Hardy
Hayley – Rosie Hilal
Natalie – Amy Griffiths
Colette McBeth – Gillian Bevan
Jessica – Anna Hale
Schoolgirl 1 – Eloise Laurence
Schoolgirl 2 – Meg Hateley Suddaby
Kath – Angela Bain
Margaret – Jenny Galloway
Alan – Sean Kingsley
Imelda – Jayne McKenna
Jason – Richard Frame
BBC Newsreader – Alecky Blythe
Grahame Cooper – Mark Lockyer
Harry – Barry McCarthy
Shop Assistant – Abigail Rose
Evening Star Girl – Maggie Service
Radio Techy – Alexia Khadime
Radio DJ – Dean Nolan
Stephanie – Ruby Holder
Alec – Calvin Demba
Stella – Helena Lymbery
Wayne – Mark Sheals
Graeme – Morgan Walters
Ivy – Janet Henfrey
Steve Cameraman – Jonathan Glew
Chris Eakin – Jason Barnett
Policeman – Andrew Frame
Anglia Newsreader – Rae Baker
Abby Rose Bryant, Adam Dutton, Adam Vaughan, Alan Vicary, Alicia Woodhouse, Alistair Parker, Amanda Minihan, Ameer Choudrie, Andrew Spillett, Andy Couchman, Anita Booth, Annette Yeo, Audrey Ardington, Barnaby Griffin, Basienka Blakes, Bob Harms, Carl Patrick, Carly Blackburn, Carol Been, Cassandra Foster, Charlotte Broom, Chloe Bingham, Chris Akrill, Clare Humphrey, Clemmie Sveaas, Connor Dowling, Coral Messam, Corinna Powlesland, Cornelia Colman, Courtney Crawford, Cris Penfold, Cris Snelson, Cydney Uffindell-Phillips, Daisy Maywood, Daniella Bowen, David Birch, David Stroller, Debra Baker, Don Gallagher, Edward Baruwa, Elaine Kennedy, Eleanor Clark, Ella Vale, Ellis Rose Rother, Emily Bull, Emma Brunton, Eva Lamb, Faye Stoeser, Frank Stone, Gary Forbes, Graham Hoadly, Haruka Kuroda, Hayley Gallivan, Helen Colby, Hendrick January, Ian Conningham, Ilana Johnston, Ilse Johnston, Ira Mandela Siobhan, Jack Edwards, Jackie Marks, James Ballanger, Jess Ellen, John Brannoch, Johnathan Fee, Jon Ponting, Joshua Lacey, Judith Paris, Julie Armstrong, Karianne Andreassen, Kayleigh Clayton, Laura Cubitt, Leah Ellis, Leah Georges, Leanna Wiggington, Lee Nicholas Harris, Linda Lewcock, Louis Fonseca, Louise Lee, Lucinda Shaw, Luke Fetherston, Lynne Wilmot, Marc Antolin, Margarita Reeve, Melanie La Barrie, Michael Fox, Michelle Wen Lee, Miles Mlambo, Miroslav Zaruba, Morgan Crowley, Natalie Victoria Dungan, Nathan Amzi, Nathan Harmer, Nathan Rigg, Nicholas Marshall, Oliver Roll, Paul Blackwell, Paul Bullion, Paul Shea, Perry Moore, Pete Meads, Philip Howard, Rachel Ann Davies, Rajesh Kalhan, Rebecca Scarott, Rebecca Sutherland, Rebecca Thomas, Reuben Williams, Rob Smithson, Sarah Heyward, Sarah Stanley, Sidney Livingstone, Simon Fee, Simon Humphrey, Stephanie Natufe, Stephen Webb, Steve Carroll, Steve Elias, Stuart Angell, Susan Fay, Susan Lawson-Reynolds, Tim Coldron, Tom Lyle Severn, Tomos James, Tony Pankhurst, Tony Timberlake, William Rossiter, Yinka Williams, Zoe Uffindell
Additional Choral ADR Group
Bethan Nash, Callum McIntyre, Daisy Maywood, Edward MacArthur, George Ikediashi, Hannah Genesius, Patrick Tolan, Perry Moore, Steve Rostance, Toby Webster,
I was mildly disappointed by the second instalment of The Hollow Crown, Henry IV Part I and so it was pretty much a given that I’d feel more or less the same about Henry IV Part II and so it came to pass. In some ways, little changed: Walters and Russell Beale continued to be themselves, Heffernan continued to be neglected as a simple serving boy, the women continued to get a raw deal of it only this time Niamh Cusack got in on the action with a mere handful of lines as Lady Northumberland (and admittedly Maxine Peake rightly got a bit more screentime as Doll Tearsheet), Hiddleston and Irons continued to be epically good and it all felt a bit too theatrical for my liking.
I did like that we got more Dominc Rowan in this one, though his hair still caused me consternation, Iain Glen and Pip Carter were great additions to the cast as Warwick and Gower respectively – Glen was particularly sonorous when speaking – and everyone has got to love a scene that looks like it could have been set in a gay sauna 😉 And though they lacked a certain something, the rural scenes with David Bamber and Tim McMullan as Shallow and Silence, were largely well-played. Continue reading “TV Review: The Hollow Crown, Henry IV Part II”
RevisitingThe Comedy of Errors, one of the Propeller shows currently residing at the Hampstead Theatre proved to be even more fun than seeing Richard III again as I found myself enjoying it more on second viewing. I actually trekked up to Sheffield to see this at the beginning of their tour and my review of the show from then still stands as there really is little more to add and i’m running out of superlatives with which to describe the guys: “anarchic panache” and “reverentially irreverent” are my personal favourites.
I can’t help but feel, that more so with this than RIII, that this is about as definitive an interpretation of the play as I will ever see. RIII has its absolutely delicious moments to be sure but I have seen and can still see other ways of doing the play that would work (if not quite as well) but in terms of getting the laughs out of a Shakespearean comedy, this is in my experience unequalled. Hardly a joke misfires or an eyebrow raises as it is all so finely tuned and carefully interpreted to extract the maximum enjoyment that I can’t see why anyone wouldn’t love this. Continue reading “Re-review: The Comedy of Errors, Propeller at Hampstead Theatre”
It seems only natural that Edward Hall would bring Propeller’s touring double bill ofRichard III and The Comedy of Errors to the Hampstead Theatre, he is after all the Artistic Director for both the all-male Shakespeare company and the Swiss Cottage venue, but when the shows were first announced, there was no mention of London in the tour. Keen to have my first Propeller experience, trips were made to Guildford and Sheffield to see the shows and then as sod’s law would have it of course, a short residency in London was announced. Still, I am glad that I got to see the shows earlier, way back in November in the case of Richard III, as it has meant I was able to see them, love them, recommend them to all and sundry as they toured the country and finally get to revisit both shows as I’m pretty sure this is about as good as interpretations of Shakespeare can get.
It is not often that I start off reviews with a negative comment but it must be said that Ed Hall and his Propeller company are naughty, naughty boys. When they announced their tour of their new productions, London was not among the cities and towns being visited so schedules were looked at, train timetables checked and we duly booked trips to Guildford to see Richard IIIand to Sheffield to see The Comedy of Errors. They then of course announced a short stop at the Hampstead Theatre which would have cut down on my travelling time somewhat. But, they don’t play there until the end of June and having seen both these shows now, I don’t think I could have coped with the anticipation waiting that long as they are sensationally good.
Ephesus has been re-imagined as a Costa del Sol type resort in Michael Pavelka’s design, full of football-shirt wearing blokes, geezers selling fake watches and flirtatious policemen and the air is filled with music, played live by the company who frequently break out into song, mostly snippets of cheesy 80s tunes which are brilliantly done and never outstay their welcome. Most of the ensemble remain onstage throughout, slipping out of their main role and into this group to provide a raft of sound effects straight out of a cartoon which are ridiculously funny and creating amusing moments in group scenes. Continue reading “Review: The Comedy of Errors, Propeller at Sheffield Lyceum”
My intention is, honestly, to see less theatre this year and try and regain some semblance of a normal life again on the odd evening. But the curse of advance booking and grabbing cheap(er) tickets whilst you can has meant that there’s already an awful lot of theatre booked for 2011. Some have been booked without a huge deal of enthusiasm, but others have a dangerous amount of anticipation attached to them…and so I present to you, the shows I am most excited about seeing this year (so far).
The Roman Tragedies was hands down one of the most exhilarating and refreshing theatrical experiences of 2009 and possibly my life, I’m even headed to Amsterdam in May to see a surtitled production of their Angels in America. So when I heard that the same Dutch theatre company were returning to the Barbican in February, tickets were booked instantly and I am feverishly over-excited for this now! Continue reading “Shows I am looking forward to in 2011”
I have not been lucky enough to catch Propeller, Edward Hall’s all-male Shakespeare company, in my theatregoing thus far and it was only the perseverance of a new friend at Boycotting Trends that convinced me to make the trip (also my first) to the Yvonne Arnaud Theatre in Guildford in order to catch Richard III, the first of their two plays that they will be touring for the next several months in rep with The Comedy of Errors. And boy am I glad that he did, for this reimagining of the history play into a post-modern gothic Victoriana-fest is pretty close to being unmissable.
The story of Richard, Duke of Gloucester, youngest son of his Plantagenet family yet possessed of a burning ambition to be King and utterly ruthless in his bloodthirsty, backstabbing, blackmailing and brutal climb to the throne, is one of Shakespeare’s longest plays but Edward Hall along with Roger Warren has adapted and re-edited the text into something more dramatically compelling than I remember this play ever being, mainly through incorporating an outrageously comic, even vaudevillian approach to the dastardly deeds that are carried out. Continue reading “Review: Richard III, Propeller at Yvonne Arnaud Theatre”
“I didn’t imagine I’d ever find the countryside so amusing”
Dion Boucicault’s 1844 play, London Assurance, the latest National Theatre production is a rip-roaring, farcical romp of a show that should leave even the most depressed Phantom of the Opera fan with a smile on their face. With a quality all-star ensemble: Simon Russell Beale, Fiona Shaw, Richard Briers, Michelle Terry, Paul Ready, all hamming it up for all they are worth, I can’t recommend this highly enough.
Sir Harcourt Courtly, a London socialite travels up to Gloucestershire, determined to procure himself a much younger wife-to-be, heiress Grace Harkaway, yet once there his head is turned by her cousin, Lady Gay Spanker, a forthright horse-riding fox-hunting Amazon of a woman. To further complicate matters, Sir Harcourt’s son Charles is also there, in disguise hiding from his creditors, and has fallen for Grace. Sensing the opportunity for merriment, Charles’ friend Richard Dazzle then colludes with Lady Gay to toy with the bumptious Sir Harcourt and lead him astray. Continue reading “Review: London Assurance, National Theatre”