A strong lead performance from Bart Lambert impresses in this streaming Oscar Wilde adaptation, but Dorian A Rock Musical lacks a real sense of identity
“Music is what I want now”
In a development that may well have made Oscar Wilde chuckle, daptations of The Picture of Dorian Gray are never too far from our stages and screens. We’ve had a streamed reinterpretation already this year but as its name might suggest, Dorian A Rock Musical also modernises the text but puts a musical spin onto the tale.
In some ways, Dorian A Rock Musical is a bit of a misnomer, Joe Evans’ score draws its influences from a much wider musical palette than solely rock and that’s probably to its advantage. Although undoubtedly gothic to its very soul, there’s an appealing openness to much of the music here with its plentiful harmonies, which marries well with lyrics that wittily incorporate the occasional Wildean bon mot. Continue reading “Review: Dorian A Rock Musical, stream.theatre”
Photo © Pip
Fionn Whitehead, star of Dunkirk and Black Mirror: Bandersnatch, will take on the titular role in an upcoming contemporary digital adaptation of the Oscar Wilde classic, The Picture of Dorian Gray.
The Picture of Dorian Gray, from the team behind the celebrated digital production of What a Carve Up!, is set to push the theatrical form like its predecessor; utilising elements found in radio plays, films, documentaries as well as traditional theatrical techniques.
Set in a profile pic-obsessed, filter-fixated world where online and reality blur, influencer Dorian Gray makes a deal. For his social star never to fade. For the perfect self he broadcasts to the world to always remain. But as his mental health starts to decline, as corruption and murderous depravity start to creep into his world, the true and horrific cost of his deal will soon need to be met.
The Picture of Dorian Gray, which runs for two weeks from 16-31 March, will reunite Henry Filloux-Bennett, writing the new adaptation, and director Tamara Harvey. Continue reading “Assorted January news”
All change on the Strand for Dreamgirls and Kinky Boots post closing notices at the Savoy Theatre and Adelphi Theatre respectively, and I revisit both.
“Never let ‘em tell you who you ought to be
Come mid-January, the Strand will look a fair bit different for theatregoers as both Kinky Boots and Dreamgirls have posted advance closing notices, leaving the Adelphi and the Savoy respectively on the same date, Saturday 12th January. As sad as it is to see any show close though, both of these musicals have had a fairly decent run (Kinky Boots opened in August 2015, making it nearly 3 and a half years; Dreamgirls in November 2016, reaching two) and given how merciless the commercial market can be, I think both productions can hold their head up high with their West End runs.
And getting ahead of the game with those closing notices means that people still have many the opportunity to catch either or both of these shows before the final curtain. (I should add too, that both shows have announced that they will be touring the UK going into 2019.) I’ve paid both a revisit relatively recently and am happy to report that they both remain well worth seeing, due to some mighty fine performance. Oliver Tompsett has only just stepped into the role of Charlie Price but he is nigh-on perfect casting and his majestic voice suits Cyndi Lauper’s score down to a T and he’s clearly getting on well with Simon-Anthony Rhoden’s impressive Lola. Continue reading “Re-review: All change on the Strand for Dreamgirls and Kinky Boots”
“I am freedom, I’m constriction
A potpourri of contradiction”
A cheeky trip back to Kinky Boots (my third time) – here’s my review from last time. I’ll just say Matt Henry continues to be fiercely amazing, the wholesome David Hunter is perfectly (re)cast as ol’ Charlie boy, and Elena Skye manages the not-inconsiderable feat of stepping into Amy Lennox’s shoes as the hilarious Lauren. It’s still a lovely, lovely show and I’m really pleased that it appears to still be doing really well. Now put the nose on the Charlie!
“I am freedom, I’m constriction
A potpourri of contradiction”
With rather serendipitous timing, the West End cast recording for Cyndi Lauper’s score for Kinky Boots is released just in time for the show’s Best New Musical victory at this year’s Olivier awards. And it is particularly good news for fans of the show as up until now, we’ve had to make do with the Broadway cast recording and their, challenging shall we say, approach to the requisite British accents.
Recorded live at the Adelphi with the original West End cast (including Best Actor in a Musical winner Matt Henry and nominees Killian Donnelly and Amy Lennox), it’s a welcome addition to playlists and CD collections everywhere.
The live recording is be a double-edged sword – there can be more raw energy than one might expect from a recording booth and that comes in the form of an audible audience. I quite like to hear their laughter, especially when it is from something familiar as in the comic genius of Lennox’s performance of ‘The History of Wrong Guys’ here, but the applause at the end of each track is jarring when listening to the album as a whole. And I’m not 100% certain but I’m pretty sure there’s someone coughing a couple of times which is a shame (though perfectly replicates sitting through pretty much any show!). Continue reading “Album Review: Kinky Boots (Original West End Cast Recording)”
“Funk it up till it’s ostentatious
Dress it up, it feels contagious”
Now extended through to May next year, the signs for Kinky Boots look cautiously positive though nothing is certain in the cut-throat world of new musicals and on this second viewing, it really does feel like a well-deserved success. Jerry Mitchell’s production is a ray of tightly choreographed, dragged-up sunshine but what I loved about going back was finding that several of the tunes from Cyndi Lauper’s accomplished score have successfully navigated earworm territory to become properly memorable.
‘Everybody Say Yeah’ and ‘Raise You Up/Just Be’ end the show’s two acts in brilliantly rousing fashion, ‘Sex is in the Heel’ and ‘What A Woman Wants’ give Matt Henry’s Lola ample opportunity to fill the stage with exuberant personality and Amy Lennox continues to pretty much steal the show, not least in ‘The History of Wrong Guys’. And Killian Donnelly effortlessly smooths over some of Charlie’s more dubious character flaws (poor Nicola…) by scorching through hits like ‘Soul of a Man’. Continue reading “Re-review: Kinky Boots, Adelphi Theatre”
“Drag queens are mainstream. Just this morning I was offered a gig singing at a nursing home. A nursing home, Charlie. In Clacton.”
It’s taken its time to get here but Kinky Boots has now arrived in some style at the Adelphi Theatre and you can read my 5 star review for Cheap Theatre Tickets right here.
Running time: 2 hours 30 minutes (with interval)
Booking until 6th February