Review: Joseph, Churchill Theatre Bromley

“All those things you saw in your pyjamas are a long-range forecast for your farmers”

I don’t really remember a time when theatre wasn’t in my life. I was lucky enough to have parents and aunts who took me to see shows from an early age (indeed I heard Blood Brothers from my mother’s womb!) and so I caught the bug early. And of those shows that I saw as a young’un, Andrew Lloyd Webber and Tim Rice’s Joseph and the Amazing Technicolour Dreamcoat is one that has recurred throughout my life whether watching Dad direct a school performance, being a part of my own primary school production, playing piano for both high school and drama group versions and of course going to see it multiple times at the theatre – I don’t actually recall if we saw Jason Donovan but I do remember Philip Schofield and Darren Day, whoop!

Andrew Lloyd Webber and Tim Rice’s Joseph and the Amazing Technicolour Dreamcoat has become something of a mainstay for touring theatres, it comes and goes from the West End yet Bill Kenwright’s tour has lasted for over 20 years due to its enduring appeal with audiences of all ages across the entire nation, not least this reviewer who remembers seeing both Philip Schofield and Darren Day. Latest to take the loincloth is Keith Jack who plays the biblical Joseph, a confident young man whose favourite status with his father does not go down well with his 11 brothers, especially after he receives the gift of a marvellous coat, and once banished from his homeland, only his dream interpretation skills can save him from a life of servitude. Continue reading “Review: Joseph, Churchill Theatre Bromley”

Re-review: Iolanthe, Wilton’s Music Hall

“I am not insensible to manly beauty”

Sasha Regan’s Iolanthe, as it has been billed, is the latest of the now regular all-male Gilbert & Sullivan productions that the Union Theatre has put on and following the cat-like-tread of Pirates of Penzance last year, this also makes the transfer to the glorious Wilton’s Music Hall, tucked away in East London. It ranked as my 20th best show last year, the 9th best musical and one of its performers, Matthew James Willis made it to second place in the Best Supporting Actor in a Musical category of the fosterIANs so it was no surprise that a return engagement would be made to the show.

My review of the original production can be read here and I won’t recap it as much of what I said then remains as applicable now in how wonderful this show is in capturing a gorgeously innocent feel, free of sneering or post-modern archness which is no mean feat given the number of men dressed up as fairies singing falsetto. There’s a deep sincerity to these interpretations that is maintained here so that whilst there may be other productions that are better sung technically, I doubt there are any which have the same reverential irreverence, in perfectly capturing what G&S is about whilst going about it in a radically different way. This post will concentrate mainly on the differences between the two productions, a compare and contrast exercise if you will, although I won’t be focusing on how few shuttlecocks there were here by comparison. Continue reading “Re-review: Iolanthe, Wilton’s Music Hall”

Review: Iolanthe, Union Theatre

“He’s a fairy down to the waist, but his legs are mortal”

Sasha Regan’s All-Male Iolanthe marks the third Gilbert and Sullivan show to receive the Union Theatre treatment in what is fast becoming an annual tradition of great quality. Last year’s Pirates of Penzance was hugely well-received transferring to both Wilton’s Music Hall and the Rose in Kingston so expectation was high for this lesser-known (by me at least!) show. What is it about? Well, the Lord Chancellor of England is in love with Phyllis, his shepherdess ward who loves Strephon, the half-fairy shepherd whose mother, Iolanthe, was condemned by the Fairy Queen to live at the bottom of a river for marrying a mortal, who is none other than the Lord Chancellor. Thus the House of Lords and the legal profession come in for a bit of a battering as the fairies wreak their mischievous havoc in order to ensure everyone gets their happy ending.

With such a convoluted plotline and a considerable number of characters in the ensemble, I can’t imagine there’s much room for manoeuvre in putting an effective, individual interpretation on the show but Sasha Regan really has done a fabulous job here in choosing a framework which neatly sidesteps a whole world of difficulties but provides its own emotional reference points, complemented beautifully by Stewart Charlesworth’s design . When the fairies first arrived, there was a collective intake of breath as we worked out whether it was OK to laugh or not but after just a couple of beats, as it suddenly becomes evident what the framing device is (look at what the costumes are made from…), everyone relaxed into the genial mood. Yes, the constant references to fairies and mentions of a midnight assignation in St James’ Park caused many a titter from the audience but the tone is always an affectionate one, it is silly but not too silly, it is camp but not too camp, above all it is rip-roaring great fun. Continue reading “Review: Iolanthe, Union Theatre”