“Sometimes being subtle doesn’t have the desired
‘Mirror mirror on the wall’, ‘the mirror crack’d from side to side’, ‘it’s like you’re my mirror’, there’s many a mirror that has gone down in fame but in its current form, new musical The Mirror Never Lies doesn’t look set to join them. Based on the Barbara Pym novel The Sweet Dove Died and a clear labour of love for bookwriter, lyricist and director Joseph – with music by Juan Iglesias – it is ill-served by this flimsy production.
The plot certainly has potential. Set in the swinging Sixties of Carnaby Street, girl-about-town Leonora is struggling to come to terms with the realities of middle age. When handsome young university student James drops into her life, she sets herself to making him hers, but she has stiff competition first in fellow student Phoebe and then in lascivious American Ned who brings out James’ bisexual side. Continue reading “Review: The Mirror Never Lies, Cockpit Theatre”
“There is joy in the air so begone with dull care”
There’s always something of a delicious pleasure in being able to revisit much loved productions and so it proved with Tête à Tête’s production of Salad Days which proved to be a slow-burning but considerable success at the Riverside Studios two winters ago. The Julian Slade and Dorothy Reynolds penned musical is a true old-school English classic, highly tuneful (even if you don’t know any of the songs before you go in, I guarantee you’ll be able to hum at least of three of them as you leave) and somewhat barmy in its daffy plotting which takes one of the most unexpected turns I think I’ve ever seen in a show.
But what makes it soar into musical theatre heaven is the entirely straight bat with which Bill Bankes-Jones directs the whole affair. There’s not a drop of cynicism to be found in this Hammersmith studio, from the cheery earnestness of Timothy and Jane, its leading couple who leave university to find love through a magic piano (I did say it was daffy) to Quinny Sacks’ wonderfully effervescent (and inclusive) choreography to the joy of hearing such a large ensemble singing entirely unmiked. It is simply just joyous. Continue reading “Review: Salad Days, Riverside Studios”
“It’s just relief to suspend my disbelief”
It feels a bit like I’m cursed when it comes to Ghost the Musical. I booked it at the beginning of the year to see the original cast before they went to Broadway and Sharon D Clarke injured herself so I missed her and this time round, eager to see Mark Evans’ acting and musical talent / damn fine abs *delete as appropriate, we arrived at the theatre to find his understudy was on. It is not the end of the world when that happens of course but it is sometimes a disappointment when one is looking forward to seeing a particular person (though it helps that there’s videos like this to fall back on) and as it turned out, when I saw the name of the understudy – Spencer O’Brien – I was actually quite pleased as he is someone I have great residual affection for as he was in the cast of the superlative Salad Days the Christmas before last.
And though my feelings about the show were decidedly mixed when I saw it last – review here – I’d listened to the soundtrack quite a bit since then and discovered that it really is a grower. I really like a good proportion of it and so was quite happy to revisit the show, with the bonus of a new cast and a companion that had not seen it before, and in the end I found that I actually enjoyed it much more. The key for me and the soundtrack helped immensely here, is to think of it as a chamber musical, a small intimate piece essentially for four characters, and let the rest simply glide by in a rush of neon light and slow-motion walking. Continue reading “Re-review: Ghost the musical, Piccadilly Theatre”
“An Ogre always hides, an Ogre’s fate is known, an Ogre always stays in the dark and all alone”
I hadn’t originally intended to go to Shrek The Musical, certainly not this early in the run, never having seen the films and having a somewhat mixed reaction to the lead casting. The Nigels, Lindsay and Harman, intrigued me but Amanda Holden (I’ve never seen Britain’s Got Talent either) and Richard Blackwood did not appeal. But when an offer appeared on the show’s Facebook page, for £40 tickets at the front of the Upper Circle at a ridiculously cheap price of £15, I snapped up a pair as a birthday treat.
A big-budget production of the show had a relatively short run of just over a year on Broadway but a much-revised version went out on tour across North America last year and it is a copy of this scaled-down production that is now previewing in the Theatre Royal Drury Lane, directed by Rob Ashford and Jason Moore. It has a book and lyrics by David Lindsay-Abaire (also writer of the harrowing Rabbit Hole – talk about diversity!) and music by Jeanine Tesori, and according to my lovely companion for the evening, it cleaves very closely indeed to the first film in the franchise, right down to the same jokes being repeated. This is a review of an early preview, indeed there’s about a month of preview performances, so do bear that in mind as I have. Continue reading “Review: Shrek The Musical, Theatre Royal Drury Lane”
“It’s true I’ve been led an amazing dance,
but why should I ever complain?
If I could be given a second chance,
I’d live it all over again”
One of the greatest pleasures of writing this blog has been being able to really champion the shows that really move me, the ones that I heartily recommend to everyone in my phonebook the moment I come out of the theatre and so it was in early December with this delightful musical. The ‘little show that could’, Salad Days has risen from fairly quiet beginnings to becoming one of the hottest tickets in town and their last few weeks have been playing to packed houses. Whether it was the snowy weather in December, or the length of time it took to persuade critics to visit Hammersmith I don’t know, but the press reviews took a long time to emerge and trickled out slowly from late December onwards. What impact this had I don’t know, but this has been, from my point of view, a genuinely huge word-of-mouth success which I think is testament to just how good a show it is.
It really is so very well put-together in all aspects: the book is genuinely funny which helps of course and delivered so cleanly and earnestly by all concerned, the songs are catchy and tuneful and the structure of the show with its plentiful brief reprises lends an air of familiarity with the music even on first listen, the costumes feel authentic and the design pitched just right. And as commented before, Tête-à-Tête’s casting has been spot-on in gathering an ensemble capable of singing beautifully, un-miked into the large auditorium whilst executing Quinny Sacks’ inspired choreography. Every single aspect of this production from the entrance to the breakfast eating sequence, the people walking through the park, the club scenes and Mark Inscoe’s interval patter, feels carefully thought through and perfectly judged. Continue reading “Re-review: Salad Days, Riverside Studios”
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).
Antonioni Project – Toneelgroep Amsterdam at the Barbican
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”
“We mustn’t say these are our happiest days, but our happiest days so far”
Despite leading with the tagline of ‘one of Britain’s best loved musicals’, I must admit to never having heard of Salad Days before this Riverside Studios and Tête à Tête production. Composed by Julian Slade and with book and lyrics by him and Dorothy Reynolds, it was apparently the longest-running musical in the West End until My Fair Lady so quite how it has passed me by until now I do not know, but I am ever so grateful that its cheery optimism is now in my life .
Set in 1954, Timothy and Jane have both just graduated from university and are facing pressure from their respective parents for him to find suitable employment through one of his influential uncles and for her to find an appropriately advantageous marriage. But anxious to make their own way in the world, they decide to get engaged to each other and to accept the first job that comes along, which just happens to be…looking after a mobile piano that when played, makes people dance uncontrollably. Predictably, the government in the form of the Minister of Pleasure and Pastime want to get their hands on this instrument of social disruption but in their efforts, the piano disappears and then events take an even more wonderfully insane turn. Continue reading “Review: Salad Days, Riverside Studios”