Talking Gods sees Arrows & Traps move online with a creative hybrid of theatre and film hoiking Ancient Greek mythology into the modern age
“Do you know what comes up first when you type Zeus into Google?”
The world of Greek mythology has long proved fruitful fodder for playwrights and it is to here that Ross McGregor has turned for his season of modern Greek myths – Talking Gods. And whilst the titles of these five digital plays might resonate – Persephone, Orpheus, Pygmalion, Aphrodite and Icarus – the approach that McGregor’s writing takes means that these characters are refracted in sometimes significantly different ways. It’s a wise move, which proves something of a commentary on the act of myth-making as well, an acknowledgement that to remain relevant one needs must adapt whether celestial or commonplace.
So the art that bewitches Pygmalion so becomes an online avatar in the video game he is creating (a superb performance from Edward Spence), Ares may be the god of war but not even he can outrun PTSD here (edgy brilliance from Buck Braithwaite), Icarus is worried less about wings than the family secrets that are pouring out following the death of his father. Recasting the stories this way also allows a more direct way for the plays to speak to contemporary issues – family atomisation, climate change, identity struggles and isolation in so many different forms. Continue reading “Review: Talking Gods, Arrows & Traps online”
A trio of cast recording reviews covers musicals Amélie The Musical, Cases and After You – each one a winner in its own way
“I have always thought I’d see the world”
True story, listening to the cast recording of Amélie The Musical for the first time last summer caused the biggest eruption of tears I’d had all pandemic long. It’s a show I’ve loved from the Watermill Theatre, to its UK tour and thence to The Other Palace, and none of its charm has been lost onto its move onto record here (it has been released on CD as of 1st April). Daniel Messé’s score and his lyrics with Nathan Tysen are charmant in the extreme, embracing the quirkiness of the central character but rooting her in a deep emotional truth of social awkwardness. Audrey Brisson was deservedly nominated for an Olivier and leads the ensemble beautifully, Chris Jared and Caolan McCarthy taking moments to shine too. And I swaer, if there’s another 79 seconds that is as achingly gorgeous as ‘How To Tell Time’, I will manger mon béret. Continue reading “Album Reviews: Amélie The Musical / Cases / After You”
The five–time Oscar®-nominated film will be brought to life once again by a cast of actor-musicians and set to a critically acclaimed re-orchestrated score. With music by Hem’s Daniel Messé, lyrics by Nathan Tysen and Daniel Messé and book by Craig Lucas, Amélie The Musical is directed by Michael Fentiman. The full cast includes Sioned Saunders as Gina, Flora Spencer-Longhurst as Georgette, Rachel Dawson as Amandine/Philomene, Oliver Grantas Lucien/Mysterious Man, Chris Jared as Nino Quincampoix, Caolan McCarthy as Hippolito/Elton John, Samuel Morgan-Grahame as Joseph/Fluffy, Kate Robson-Stuart as Suzanne, Jack Quarton as Blind Beggar, Jez Unwin as Raphael/Bretodeau and Johnson Willis as Collignon/Dufayel. Nuwan Hugh Perera,Miiya Alexandra,Robyn Sinclair and Matthew James Hinchliffe complete the ensemble. Continue reading “Musical news aplenty”
This spring, Arrows & Traps presents Talking Gods, a digital season of five reimagined Greek myths. These moving reworkings of classic Greek tales present snapshots of the modern world filled with pathos and comedy, music and love and tragedy and loss. During the week-long digital festival, one play will premiere every night, and each play will be followed by a live Q&A on Zoom and then remain online for free.
The Greek myths have been a cornerstone of Western culture for millennia, telling stories of gods and monsters but conveying deep wisdom about the human condition. Writer Ross McGregor uses them to examine vital contemporary issues, some of which have become heightened during the pandemic, in his five new plays. Continue reading “News: Arrows & Traps presents Talking Gods”
First off, it feels great to finally see The Other Palace fulfilling the actual need that exists in London theatre but one which is rarely met, in providing a mid-size home for touring musicals, allowing them to establish a foothold here without the pressures of filling a West End house just yet. It helps that Michael Fentiman’s production of Amélie the Musical was originally conceived en bijou but this just feels like the right home for it, right now. Continue reading “Review: Amélie the Musical, The Other Palace”
As sweet-sharp as a diabolo grenadine, the touring version of Amélie the Musical impresses me at the New Wimbledon Theatre
“Will there troubles? I don’t know Will there be sweet things? I hope so”
As sweet-sharp as a diabolo grenadine, Amélie the Musical has lost none of its inimitable charm as it gears up for a considerable UK tour. I adored it at the Watermill but the intimacy there left me wondering how the show would fare in the significantly larger houses to which it will be touring. Turns out I need not have worried.
Michael Fentiman’s production has expanded perfectly to fill the space. A few more ensemble members here, a tweak to Madeleine Girling’s canny set design there, and the show has lost nothing of itself or its kooky Parisian whirl. If anything the actor-muso ensemble’s reinterpretation of Daniel Messé’s score sounds even better than before under George Francis’ musical direction. Continue reading “Review: Amélie the Musical, New Wimbledon Theatre”
A sensational adaptation of the film, Amélie the Musical completely captures my heart – see it now at the Watermill Theatre and then touring across the UK
“Maybe she’s just different”
In a week marked by the heartbreaking sight of Notre Dame aflame, the decidedly Gallic charms of Amélie the Musicalarrive to offer a soothing balm. The show – music by Daniel Messé, lyrics by Messé and Nathan Tysen and a book by Craig Lucas – didn’t fare so well on Broadway in 2017 but the creatives, along with director Michael Fentiman, have substantially reworked the material to great effect.
The result is something which cleaves much closer to Jean-Pierre Jeunet’s original film Le Fabuleux Destin d’Amélie Poulain in every inch of its spirit. From singing goldfish to licking stage blood off fingers, Elton John cameos to intimidating figs, there’s a wonderful weirdness to the world created here. It’s no wonder that the introverted Amélie struggles at first to find her place in this hyper-real version of Paris. Continue reading “Review: Amélie the Musical, Watermill Theatre”
Fun, laughs and yes, a good time. You’ll sure get a tingle in your feet for this Sweet Charity at the Watermill Theatre, Newbury
“I don’t pop my cork for every guy I see”
You can never have too much charity it would seem, and as Rebecca Trehearn prepares to take on the role of Charity Hope Valentine in Nottingham next month, Gemma Sutton tackles it here at the beautiful Watermill Theatre in Newbury. Sweet Charity, the 1966 musical by Cy Coleman, Dorothy Fields and Neil Simon is a curious choice for the constant revival it receives. Its sexual politics are askew, its dialogue cheesily dated, and these are issues that Paul Hart’s modernised take has to occasionally battle to address.
Setting it in contemporary New York has its pros and cons. Notions of metropolitan isolation and the trials of working in a gig economy are more resonant than ever. But without lyrical updating, ideas of female aspiration remain rooted in the last century – you win some, you lose some. The casting of Sutton (so very good recently in The Rink) is a definite win though, a bright splash of colour in a mostly monochrome world and it is nigh on impossible not to be enchanted by her determination to find love in a cruel world. Continue reading “Review: Sweet Charity, Watermill Theatre”