Since it is the season of goodwill to all men, I’m not going to belabour the point that it is a shame that ‘musicals’ have been lumped together as a category here, whereas the likes of Pinter and Kane got their own specials, whither Sondheim, Herman and Tesori. Still, it’s lovely as ever to stretch back over years of musical theatre productions to see some of Tristram Kenton’s most iconic shots for the Guardian:
Photos: Tristram Kenton
I’m loving this deep dive that the Guardian is doing into Tristram Kenton’s archive, this time taking a turn into the many Open Air Theatre productions he has been witness to. Highly recommended:
Photos: Tristram Kenton
The reliable charms of White Christmas reappear at the Dominion Theatre
“When what’s left of you gets around to what’s left to be gotten, what’s left to be gotten won’t be worth getting, whatever it is you’ve got left.”
White Christmas is a show that keeps returning and consistently attracts casts that I can’t quite resist. I’ve seen it in Manchester, Leeds and in this very theatre five years ago. So NIkolai Foster’s production holds little surprise for me now, insomuch as any production of White Christmas can surprise. Instead the feeling is more of cocoa-warm comfort, a reliability underscored by fun performances from leads Danny Mac, Dan Burton, Danielle Hope and Clare Halse. Read my 4 star review for Official Theatre here.
Running time: 2 hours 30 minutes (with interval)
Booking until 4th January
Opera North’s production does nothing to address the inherent problems of Kiss Me, Kate and thus feels like a relic of the past
“The overture is about to start,
You cross your fingers and hold your heart”
Revivals speak a lot to where an organisation sees itself. With its heady combination of Shakespearean drama and Cole Porter’s musical wit, Kiss Me, Kate has all the air of a sure bet about it and indeed, Jo Davies first mounted this production for Opera North in 2015, this revival of that revival being directed here by Ed Goggin as it opens here at the Coliseum.
But for all its familiarity, and that inherent bankability, it feels a problematic choice to stage. In a contemporary Britain, in a society switched onto #MeToo, even the sexual politics of something as notionally fatuous as Love Island are being newly parsed and much of what has long been considered acceptable, or tolerated due to ‘classic’ status, is rightly being reassessed. Continue reading “Review: Kiss Me, Kate, London Coliseum”
“Musical comedy — the most glorious words in the English language!”
It may be in the English language but this production of 42nd Street is in a French theatre, the glorious Théâtre du Châtelet in Paris which, under Jean-Luc Choplin’s artistic directorship, has arguably entirely reshaped the Parisian relationship with musical theatre. He’s brought Sondheim there for the first time in a big way (Sunday in the Park with George, Into the Woods) and has staged a number of classic Broadway musicals like An American in Paris (soon to open in London after its New York transfer) and last year’s Singin’ in the Rain.
42nd Street actually marks Choplin’s final show here, as the theatre will soon shutter for a couple of years to undergo major renovations, and Stephen Mear’s production certainly has the visual flair of a fitting finale. With a company of over 40, the tap-dancing routines are a absolute vision, a joyously heart-swelling parade of well-drilled precision, the likes of which we see so rarely these days even in the biggest shows. Combined with dazzling visual effects and gorgeous costumes courtesy of Peter McKintosh, the lavish aesthetic is an absolute treat. Continue reading “Review: 42nd Street, Théâtre du Châtelet”
“That’s just the fallout people”
Atomic bombs derive their destructive power from nuclear fission, when atoms split after being bombarded with other particles, and there’s a certain sense of random elements being thrown together in Miss Atomic Bomb, in the hope of reaching some kind of critical mass. Comedy gangsters, tap-dancing routines, comedy bank managers, dead sheep, comedy zucchini, pigs in clothes, comedy transvestites, hoedowns, comedy rabbi costumes, a Strallen and a character with a ridiculous surname because you can get a song out of it. Put them altogether and what do you get? A show that’s either a bomb or a blast.
Full disclosure, I saw a preview and I’m given to believe that a lot of work has happened to the show in the last couple of days, which is only natural for a new musical. For me though, the show feels fundamentally flawed in really not knowing what it wants to be. Writers Adam Long, Gabriel Vick and Alex Jackson-Long throw together satire and slapstick uneasily as a desperate Las Vegas hotel manager arranges the Miss Atomic Bomb beauty pageant to drum up tourist trade as the US military test their atomic arsenal in the Nevada desert. Continue reading “Review: Miss Atomic Bomb, St James Theatre”
“Out of this wood do not desire to go”
As the first of Shakespeare’s works that I ever read and studied, I will always have a great affection for A Midsummer Night’s Dream and to this day, it has endured as probably my favourite of his plays. Something about its otherworldly (dream-like…) free-spiritedness really appeals to me, meaning there’s little of the suspension of disbelief often necessary to make the contrivances of his other comedies work, and it is a play robust enough to take many an interpretation, whether raucuous reinventions by Filter or Propeller, last year’s clever open air take by Iris Theatre or more classically inspired ones like the Rose Kingston’s Judi Dench-starring version from 2010. It is now the turn of Regent’s Park Open Air Theatre to revisit the show (though this was my first experience of it here) with a startlingly modern interpretation as it plays in rep with Ragtime, with which it shares much of its cast, over the summer.
First things first, this was a preview, the second I believe and due to the rain on Saturday, actually the first full run-through. Things begin with some pre-show business bustling about the trailer park set, reminiscent of the Dale Farm site with travellers squaring up to each other and to the encroaching building contractors, it sets the scene well but goes on a wee bit too long for too little effect in all honesty. But once the play proper starts with its arresting, punchy modernity, Matthew Dunster’s exceptionally well-balanced production clicks smoothly into gear, folding in classical references to this fresh new take and delving into some extremely dark places alongside the oft-times hilarious humour. Continue reading “Review: A Midsummer Night’s Dream, Open Air Theatre”
“Giving the nation a new syncopation”
Is there a greater opening number to a musical than the self-titled prologue to Ragtime? It surely has to be up there amongst the contenders as Stephen Flaherty’s music bursts open onto the stage at the Open Air Theatre in Regent’s Park in a blaze of syncopated rhythms and choreographic glory with one of those melodies destined to worm its way into your brain for days to come. It could be argued that the show never really reaches the same heights again, but it certainly tries hard.
Director Timothy Sheader’s high concept, supported by Jon Bausor’s eye-catching design, is of a contemporary society in the midst of the collapsed American Dream, looking back to its beginnings at the turn of the previous century in the stories taken from EL Doctorow’s novel and moulded into the book here by Terrence McNally. So in the ruins of an Obama-supporting billboard and the detritus of broken bits of Disney, McDonalds and Budweiser merchandise, the company enact the intertwining tales of 3 groups – African-Americans, WASPs and Latvian immigrants – at a moment in time where it seemed that great change was just on the horizon. Continue reading “Review: Ragtime, Open Air Theatre Regent’s Park”
“Ohmigod youguys! Ohmigod!”
So after an impromptu visit to see Legally Blonde a couple of weeks ago as a favour to a friend, my scheduled return to the show took place this weekend in order to see how the new cast members are settling in, with the first major cast change since the show opened. Since I saw it so recently (and I saw so much this week too…), I’m linking to my thoughts on seeing it again here instead of repeating them: this post will focus mainly on the newbies.
Simon Thomas has taken over as Wagner, which marks a change from casting a more famous name in this role as has been done previously despite it not really being a major role at all. I remember being surprised first time round at how little the character is featured in the show, given that Duncan James’ face was plastered all over the publicity. He does well in what is quite a thankless role really, but I did enjoy his performance and his handsomeness definitely helps! Carley Stenson did well as Margot with a more endearing and sweet take on this girl, having already developed a great chemistry with the other Delta Nu girls but Siobhan Dillon just exudes confidence as Vivienne, seeming as if she’s been in the ensemble for ages with a great performance both acting-wise and in her singing, especially that whopper of a note in the Legally Blonde Remix at the end. Continue reading “Review: Legally Blonde The Musical (cast change), Savoy Theatre”