“I know it’s difficult to imagine it now
Here in a world that’s going mad
But picture the two of us
On some lazy day
When bombs away
Is just a game kids play”
Not got too much more to say about the gorgeous Yank! A WWII Love Story that I didn’t already say in my rave review from the beginning of the run (but blimey how those lyrics up top resonate in a different way now!). It’s been great to see the show getting such good reviews and fantastic word of mouth, not the easiest of things for an original new musical to achieve, and I always knew that I’d be paying a second visit to the show before it finished. You’ve got a couple more opportunities yourself and as if you needed any more convincing – here’s a video of the lovely Andy Coxon singing one of the show’s more emotional numbers.
Running time: 2 hours 20 minutes (with interval)
Photo: Claire Bilyard
Booking until 19th August
“We’re in a battle we never planned”
Seeing Yank! A WWII Love Story on the day that the streets of London were thronged with people celebrating Pride made what was already a strong show into a properly special occasion. Joseph and David Zellnik’s 2005 musical was first seen in the UK at Manchester’s Hope Mill Theatre which, with its collaborations with Aria Entertainments, has fast become a real fringe powerhouse (their production of Hair also transfers to London later this year) and with James Baker’s assured direction and James Cleeve’s rapturous musical direction, it is easy to see the love happening here.
Yank! was written by the Zellniks as a deliberate homage to the musicals of the 1940s but it is a Second World War love story with a difference. Beginning as a rites of passage tale for the barely 18 year old Stu who finds himself drafted into the army in 1943, the story grows in stature as his first real taste of the outside world is accompanied by his tumbling head over heels for his handsome fellow conscript Mitch, the revelation that those feelings are reciprocated, and then the crushing realisation of the impossibility of living their lives as proud gay men, whether within the army or without. Continue reading “Review: Yank! A WWII Love Story, Charing Cross”
“I ought to be ashamed of myself”
So sings Andy Capp throughout his eponymous turn in Andy Capp The Musical, a knowing nod to thoroughly misogynistic nature of the character and its unremitting political incorrectness. And it is this that emerges as the strangest thing about making a musical out of him, rather than the fact that it is based on a feather-light comic strip by Reg Smythe that has long blessed the pages of the Daily Mirror. For the show emerges as something really rather charming, even whilst Capp remains thoroughly unreconstructed.
A workshy native of Hartlepool, where he’s managed over 30 years without a job, Capp chooses instead to rely on wife Flo’s earnings for his considerable beer money, lavishing more attention on his racing pigeons than her. With illustrated stories that are generally just three panels long, Trevor Peacock’s book thus has to open out the story to the friends and neighbours around them, counterpointing a flashpoint of marital strife with the forthcoming nuptials of Capp’s nephew Elvis and the lovely Raquel. And this it does well. Continue reading “Review: Andy Capp The Musical, Finborough Theatre”
“I’ve just got a feeling, tonight’s the night!”
Much of the attention on London fringe musicals goes to the pocket powerhouses south of the river like the Union and the Landor but some of the most exciting productions are to be found above a pub in Highgate. Under John and Katie Plews’ artistic directorship, they have regularly secured the rights to host the first London fringe productions of such massive shows like Buddy and Guys and Dolls and have done so to great acclaim. And they’ve done it once again by putting on the fringe premiere of Gershwin songbook musical Crazy For You, last seen here at the Open Air Theatre and then the West End.
Although based on the Gershwin production Girl Crazy, this is a relatively new show that was reconceived to feature more gems from the Gershwin back catalogue. Ken Ludwig’s book is a frothily light thing, a boy and a girl from different worlds fall for each other even though his family bank is about to close down her family business, including a theatre, and the only way to save the day and any chance of love is to put on a show. It’s silly but charming, wit and warmth are the order of the day and John Plews’ production never loses sight of that. Continue reading “Review: Crazy For You, Upstairs at the Gatehouse”