“Perhaps the greatest risk any of us will ever take is to be seen as we really are”
Who knew what the world needed was a live-action version of Cinderella directed by Kenneth Branagh. It oughtn’t be as good as it is but somehow the fusion of Disney magic and folktale wonder comes together most effectively, thoroughly traditional in its outlook yet somehow still feeling fresh. Chris Weitz’s screenplay is based on Charles Perrault’s Cendrillon but both he and Branagh take lots of inspiration from the Disney version of the story too and the resulting confection is really rather bibbity-bobbity-beguiling.
There’s a cleverness too about what it does in spinning new details like giving us a reason that her step-family don’t recognise her at the ball and weaving much humour into the magic spells that get her to said ball. Ella herself is well pitched by Lily James, not quite too perfect to be true but still hugely appealing. It’s no wonder Richard Madden’s Prince Charming tumbles instantly for her (and she for him, those breeches…those boots!) and their chemistry is palpable, one can see why Branagh has cast them as Juliet and Romeo in his upcoming theatre residency in London. Continue reading “DVD Review: Cinderella”
“I’ve a smile on my face”
As unlikely as it may seem, you could easily make the case that some of the best musical theatre happening in London right now is taking place above a pub in Highgate. John and Katie Plews’ Ovation Productions have a sterling record in small-scale smash-hit musicals at the Upstairs at the Gatehouse theatre and their festive shows are usually the pick of the bunch. This winter sees them take on the perennial classic Singin’ in the Rain and naturally, it is a gloriously resounding success. And yes, of course there is rain – you gotta go to see how they do it though.
The key to the Plews’ triumph lies in the uncanny ability to both distil and reimagine Broadway classics perfectly for this 120-or-so seat space and often in traverse. That means choreography (from Chris Whittaker) so audacious that audiences applaud mid-song, that means design (by Sarah June Mills) that hits all the key notes – a lamppost to lean on, steps to hop up and down on, seats to tip back – without cluttering the stage, that means musical direction (from Matt Ramplin, leading a band of six) unafraid to just exude Broadway pizzazz as it delivers the superbly evergreen score. Continue reading “Review: Singin’ in the Rain, Upstairs at the Gatehouse”
“Do you still remember, how we used to be…”
Producer Judy Craymer reinvigorated a whole new theatrical genre when she masterminded the ABBA jukebox hit Mamma Mia! to huge box-office success, and so proved the natural choice to steer a show featuring the back catalogue of the Spice Girls and a script by Jennifer Saunders into the West End. The resulting show – Viva Forever – is a story of a young woman who is forced to ditch her bandmates in pursuit of her reality show dreams, the mentor who is determined to exploit her in order to secure her own media career and her mother who is on hand to make sure she never forgets who she is. But it is one that doesn’t quite so much fill the Piccadilly Theatre with girl power as a sense of what might have been.
Crucially, the discography isn’t always sufficient for the task in hand of a jukebox musical. Delving into some of the lesser-known works of the Spice Girls isn’t as much as a problem (though front-loading them so is a curious choice as we have to wait a while for a stone-cold hit) as the way in which the lyrical content has to be shoehorned in, resulting in some awkward fits – ‘Say You’ll Be There’ suffers particularly here. But equally, there are moments that do work. The act 1 closer weaves together ‘Goodbye’, ‘Mama’ and ‘Headlines’ in a rather stirringly affecting manner as the three women reach crucial points in their journey; ‘Spice Up Your Life’ becomes a dazzling fiesta of a Spanish street festival; and the titular ‘Viva Forever’ is recast as a tenderly intimate acoustic ballad. Continue reading “Review: Viva Forever, Piccadilly Theatre”
“If I were you, I’d take a permanent vacation”
So part two of my West End Groupon deal and an interesting one for me as it was a long-running show that I can honestly say I would never have gotten round to going to see on my own behalf: Jersey Boys. The story of four guys, Frankie Castelluchio, Tommy DeVito, Nick Massi and Bob Gaudio who rose from their humble New Jersey beginnings to rise to the top of the charts as Frankie Valli and the Four Seasons.
Things did not get off to a good start with a rap version of ‘Oh! What A Night’ and being exhorted to clap along: it is just too early in the night to start with that business and it is not like it is the type of show where there is lots of audience participation so I found it an odd way to start. We then slid into the regular run of things with the story of how the group came together and then found success, being narrated in four quarters, or seasons (see it’s clever!) by each of the band members. The music, much of which was unfamiliar to me I have to admit, as by the band in their various performances and tours which I really liked, but then oddly, random songs became story devices. So, ‘Oh! What A Night’ became a tale of the group visiting a brothel and having his innocence plucked from him though with a premature ending (‘As I recall it ended much too soon’…!). It was a bizarre moment and one that didn’t work for me and I was glad to see the majority of the rest of the music being performance-based. Continue reading “Review: Jersey Boys, Prince Edward”