Sutton Foster soars in this superlative revival of Anything Goes which almost justifies the ticket prices at the Barbican
“If love affairs you like
With young bears you like,
Why nobody will oppose”
There are several things that can take your breath away in this simply fantastic production of Anything Goes, whether the jaw-dropping rendition of the title track that closes the first act or ticket prices that top out at £175 (the Barbican’s seats may be comfortable but that is pushing it…). Fortunately, the rest of the house isn’t quite as eye-wincingly steep (though full disclosure, I was treated by the kindest aunt 😉) and the joyous swells of Kathleen Marshall’s production mean you’ll find it hard to feel short-changed.
Like many a show of its time, the plot is an entire trifle – Timothy Crouse & John Weidman fashioning a new book from PG Wodehouse & Guy Bolton and Howard Lindsay & Russel Crouse’s original – suffice to say it covers any manner of madcap antics on an ocean liner. Those antics are mainly there as a framework on which to hang some of the best songs ever written as we delve deep into the Cole Porter songbook for some musical heaven. Throw in a Broadway production that has already won multiple Tonys and also snag its leading lady who won of those, and job’s a good’un. Continue reading “Review: Anything Goes, Barbican”
Full casting has been announced for the brand new stage adaptation of British comedy The Good Life which tours the UK this Autumn. The acclaimed cast will include actress and presenter Preeya Kalidas as ‘Margo Leadbetter’, Dominic Rowan as ‘Jerry Leadbetter’, and Sally Tatum as ‘Barbara Good’, joining the previously announced actor and comedian Rufus Hound as ‘Tom Good’. Also featured will be Nigel Betts and Tessa Churchard.
The new comedy by Jeremy Sams, is based on the classic television series by John Esmonde and Bob Larbey which entertained countless millions in the 1970s and which I have never seen an episode of. Directed by Jeremy Sams, this world premiere production will be the first time that the iconic characters of suburban neighbours the Goods and the Leadbetters will be seen on stage. The Good Life will open at Theatre Royal Bath on 7 October 2021, before dates at Cheltenham Everyman, Salford Lowry, Oxford Playhouse, Cambridge Arts Theatre, Malvern Theatres, Richmond Theatre and Chichester Festival Theatre. Continue reading “Early September theatre news”
I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw in July.
On Your Feet, aka the rhythm will get you, sometimes
the end of history…, aka how can you get cheese on toast so wrong
Equus, aka hell yes for Jessica Hung Han Yun’s lighting design
Games for Lovers, aka straight people be crazy
Captain Corelli’s Mandolin, aka the one that got my goat
The Girl on the Train, aka Philip McGinley in shorts
A Midsummer Night’s Dream, aka Another Dream? dream on
Uncle Vanya, aka I really need to stop booking for plays like this with casts like that
Jellyfish, aka justice for the second best play of last year
Sweat, aka Clare Perkins should always be on in the West End
Sue Townsend’s The Secret Diary of Adrian Mole Aged 13 3/4 The Musical, aka yay for lovely new musicals in the West End
The Light in the Piazza, aka Molly Lynch fricking nails it
Jesus Christ Superstar, aka was third time the charm?
Continue reading “July theatre round-up”
I might have taken a break from reviewing in June, but I didn’t stop going to the theatre – I had too many things already booked in. Here’s some brief thoughts on what I saw.
Betrayal, Harold Pinter
Shit-Faced Shakespeare – Hamlet, Barbican
The Knight of the Burning Pestle, Cheek By Jowl at the Barbican
Somnium, Sadler’s Wells
Les Damnés, Comédie-Française at the Barbican
Vanya and Sonia and Masha and Spike, Theatre Royal Bath
Blithe Spirit, Theatre Royal Bath
The Hunt, Almeida
Present Laughter, Old Vic
Europe, Donmar Warehouse
The Deep Blue Sea, Minerva
Plenty, Chichester Festival Theatre
Pictures of Dorian Gray, Jermyn Street
The Light in the Piazza, Royal Festival Hall
Hair of the Dog, Tristan Bates Continue reading “June theatre round-up”
Follies 2019 remains the show that I need right now
“I’m so glad I came”
Just a quickie for this revisit to Follies, which remains as perfect a piece of musical theatre as I could hope for. I loved it then but I really love it now, Joanna Riding is just heartbreakingly perfect as Sally, she really brings something to the role that somehow eluded Imelda Staunton (for me at least), Alexander Hanson is superb in tracing Ben’s tragic fall, and Janie Dee and Peter Forbes maintain their stellar work as Phyllis and Buddy (seriously, Dee is a proper showstopper).
And as is surely appropriate in Dominic Cooke’s production, ghosts of the past interplay with what we’re seeing from top to bottom. It was great to see Dame Felicity Lott as Heidi, a different but no less affecting proposition than Dame Josephine Barstow (there truly ain’t nothing like a…). And the young talents of Gemma Sutton, Ian McIntosh, Harry Hepple and Christine Tucker are eloquently elegant as the younger incarnations of the central quartet. Continue reading “Re-review: Follies 2019, National Theatre”
The Olivier Award-winning Follies returns to the National Theatre in richer, deeper, more resonant form and just blows me away
“It’s the cat’s pyjamas”
Like the ghosts of their younger selves that haunt the characters in Follies so beautifully in this production, for those who were lucky enough to catch its superlative Olivier Award-winning 2017 run, so too do our memories interplay with what we’re seeing, inducing some soul-shiveringly exceptional moments that are almost metatheatrical in the feelings they provoke.
The tingle of anticipation is never far away but the show somehow feels richer, deeper, more resonant in the note of melancholy it strikes as it exposes nostalgia for the rose-tinted self-delusion it so often becomes. Janie Dee’s Phyllis somehow feels more desolate, especially in her bitterly brilliant ‘Could I Leave You’; Tracie Bennett scorches the roof once more in ‘I’m Still Here’ in what feels like a more internal performance now; we’re all at least a year older… Continue reading “Review: Follies 2019, National Theatre”
42nd Street is signing off at the Theatre Royal Drury Lane in quite some style as a perfectly-cast Bonnie Langford joins the company
“Musical comedy – the most glorious words in the English language”
I liked 42nd Street when I saw it last year but I can’t say that I truly loved it, it felt a 24 carat production of a gold-plate show. But upon revisiting, to celebrate Bonnie Langford’s arrival in the company for its final furlong before closing in the New Year, some kind of magic seems to have happened at the Theatre Royal Drury Lane (or maybe I was just less grumpy tonight!) as it has now matured into something spectacular.
The only major difference is Langford’s presence as Dorothy Brock, but there’s just something about her that shimmers with star quality and it is contagious. So even as she’s trying to dampen it down a bit as this particular fading star, her comic timing makes her scenes crackle with electricity, her singing is on point and she’s just a dream to watch. It’s a perfect role for her – who needs stunt casting when you have the right casting? And as for her surprise appearance in the finale? SWOON!
I also felt Clare Halse has really settled into the role of Peggy Sawyer. It’s a curious role in that she grows to become the leading lady of this musical as the understudy-come-good, but is given precious little time in which to do so and most of that is taken up with dance. Such amazing dance though, she really is effortless in her every graceful move, and she’s acting more through every movement too as her self-belief slowly blooms into the incandescent life of the finale. Continue reading “Re-review: 42nd Street, Theatre Royal Drury Lane”
“If love affairs you like
with young bears you like
why nobody will oppose”
Sheffield Theatre’s production of Anything Goes is launching on a simply mammoth tour of the UK – over 30 venues in 10 months – so it’s a pretty good job that it’s a largely excellent production. It’s rather amusing to note the number of reviews that mention that this classic show is over 80 years old yet still point out that the much revised book isn’t anything special at all but merely a framework on which to hang some of the most glorious songs of Cole Porter’s career. Given the average age of the audience, this will not come as a surprise to anyone, but there’s much here in Daniel Evans’ production to commend it to the young’uns too.
Alistair David’s choreography is a real delight, a constant breath of fresh air on which the show floats giddily, whether it’s the leads fooling about as if they’re Fred Astaire, sailors mooning over bathing beauties, or the whole company possessed with a spiritual glee. The eye is of course drawn to the stunning Act 1 finale set to the title track (which will always belong to Kate Capshaw’s bizarrely translated version in Indiana Jones and the Temple of Doom, my first experience thereof) which is a jaw-dropping, shoe-shuffling, tap-dancing dream, cleverly referencing classic moves but also firmly establishing its own identity by keeping Debbie Kurup’s sensational Reno Sweeney front and centre. Continue reading “Review: Anything Goes, New Wimbledon Theatre”
I realise I’m just adding (belatedly) to the plethora of 2015 features already published but so many of them trod the boringly familiar ground of forthcoming West End shows (and in the Evening Standard’s case, managed to recommend booking for three shows already sold out from their list of six). So I’ve cast my net a little wider and chosen a few random categories for just some of the shows I’m recommending and looking forward to in 2015.
Continue reading “Looking ahead to 2015”
“You’ll declare it’s simply topping to be there”
On the face of it, Top Hat should have been a rip-roaring extravaganza of a show that tapped and waltzed and strutted its way right into my affections, featuring some of my favourite things like a healthy selection of classic songs from the Irving Berlin back catalogue and the kind of choreography from Bill Deamer that genuinely makes me wonder if it isn’t too late to find my inner Billy Elliot (don’t worry, I know it is…). But at this Tuesday matinée, I found it was particularly topping to be there and I was sadly left a little underwhelmed by the whole shebang.
It seems perverse to comment on the plot of a musical being far-fetched, especially one based on an old-school Broadway film as this is, but the book here – adapted by director Matthew White and Howard Jacques – is criminally lame. The story is a whole lot of silliness, which is fine – girl complains about guy dancing in the room above her, guy flirts with girl, girl gets cold feet when she think s guy is married to her best friend. Oh, and the guy is a leading Broadway star about to open a show. Where the problem lies is in the incredibly dated humour, which one can just about explain away as a period piece, but which just sags and droops with lame joke after overblown stereotype which was lapped up all too easily by this audience, of whom I was the youngest member by quite some margin. Continue reading “Review: Top Hat, Aldwych Theatre”