Nobody’s on nobody’s side – an all-star cast can’t save this game of Chess from itself, for me at least
“From square one I’ll be watching all sixty-four”
It’s taken over 30 years for Chess to return to the West End (though it was seen at the Union in 2013) and though it has a huge amount of resource thrown at it in Laurence Connor’s production for English National Opera, it doesn’t necessarily feel worth the wait. An 80’s mega-musical through and through with an intermittently cracking score from ABBA’s Benny Andersson and Björn Ulvaeus, Richard Nelson’s book hasn’t aged particularly well and bears the hallmarks of the substantial tinkering it has had at every opportunity.
It’s not too hard to see why it has needed the tinkering. The mix of Cold War politics told through the prism of rival US and Soviet chess Grandmasters, love triangles and power ballads is a tricky one to get right and part of the problem seems to be just how seriously to take it all. On the one hand, the chess matches are backgrounded with montages of the real-life tensions of the 80s; on the other, scenes that take us through the various locations of the tournaments are a cringeworthy riot of cultural stereotyping that revel in their utter kitsch. Continue reading “Review: Chess, London Coliseum”
“Who could ask for anything more”
True to its name, An American in Paris premiered in 2014 at the Théâtre du Châtelet in the French capital to ecstatic reviews before transferring to the Palace Theatre on Broadway for another well-received (and Tony-winning) run there. It now rocks up at the newly refurbished Dominion Theatre, just ahead of another huge dance-heavy Broadway musical in 42nd Street, producers clearly banking on audiences wanting distraction from the realities of the outside world.
And that it certainly provides – director and choreographer Christopher Wheeldon’s reinvention of the 1951 film (new book by Craig Lucas) is an absolute feast for the eyes and ears. George and Ira Gershwin’s score is beyond classic (‘I Got Rhythm’, ”S Wonderful’, ‘They Can’t Take That Away from Me’ et al) and sounds luscious in Rob Fisher’s new arrangements musically directed by John Rigby, and Bob Crowley’s set and costumes look divine in all their old-school charm. Continue reading “Review: An American in Paris, Dominion”
“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”
“Has there ever been a moment
With so much to live for?”
Dammit – one of the key rationales behind my Broadway blowout last winter was seeing actors I didn’t think I’d otherwise have the chance to see in the West End, Glenn Close being chief among them and thus I forked out a pretty penny to see her in Edward Albee’s A Delicate Balance. So naturally her return to these shores was announced a few months later with a reprisal of her Tony Award-winning performance as Norma Desmond in Andrew Lloyd Webber’s Sunset Boulevard.
And as with last year’s Sweeney Todd here at the Coliseum too, director Lonny Price and the ENO have returned to the semi-staged format which allows them to mount a bare-bones production and still charge full whack for tickets, prices thus go up to £150. I understand that money has to be made, especially for an organisation in as perilous a position as theirs and they say at least 400 tickets at every performance is available at £25 or under (altitude training not provided though…) Continue reading “Review: Sunset Boulevard, London Coliseum”
“Never had to have a chaperone…”
There’s most likely financial reasons for opening White Christmas in early November but it certainly gave many a critic the excuse to get their Scrooge on early. Likewise, there’s reasons of integrity for treating this show like any other in terms of theatrical criticism. But it is hard not to feel that this piece of festive window dressing perhaps deserves something of a free pass as it arguably falls under the bracket of high-class panto rather than fully-fledged musical theatre (even if the ticket prices err towards the latter).
Which is basically code for saying it is undemanding good fun and you pretty much know what you’re going to get in advance – people in search of punchy narrative drive and incisive characterisation are advised to look elsewhere. I actually saw this production in an earlier incarnation on one of its Christmas trips to the Lowry back in 2012 and whilst not being blown away by it, it hit the mark in terms of festive frippery. David Ives and Paul Blake’s book lightly adapts the 1954 classic film but the real star of Morgan Young’s production here of course is Irving Berlin’s evergreen music and lyrics. Continue reading “Review: White Christmas, Dominion Theatre”
“But when the thermometer goes right up, and the weather is sizzling hot…”
So confident in their run of successful summer musicals is Chichester Festival Theatre that the transfer for Kiss Me, Kate (it will play at co-producers London’s Old Vic from 20th November to 2nd March) was announced before it had even opened at its native theatre. But with experienced hands Trevor Nunn directing and Stephen Mears choreographing, Cole Porter’s ever-spry music and a cast headed up by leading light of the British musical theatre scene Hannah Waddingham, it was a reasonably safe bet.
And unsurprisingly, it is one that has paid off. The show follows a theatre company putting on a musical version of Shakespeare’s The Taming of the Shrew, where the feisty relationship between Petruchio and Katherine is echoed by the conflict between director and leading man Fred and his ex-wife Lilli who is playing opposite him. As the offstage drama threatens to overwhelm the onstage, some shenanigans from another member of the company in a gambling room throws matters further into disarray. Continue reading “Review: Kiss Me, Kate, Chichester Festival Theatre”