musical – Page 14 – Theatre Things

Review: Mrs Henderson Presents

Published on February 20, 2016 by LizLeave a comment

The Windmill Theatre in Soho is a little piece of London’s history, for two main reasons: its proud slogan, ‘We Never Closed’, and – probably even more famously – its naked ladies. Mrs Henderson Presents, originally a movie starring Judi Dench and Bob Hoskins, tells the story of the Windmill, its girls and its eccentric owner in a feel-good, high-energy spectacular that makes you feel proud to be British.

It’s hard to top Dame Judi in pretty much anything, obviously, but Tracie Bennett’s Mrs Henderson is a delight: her prim exterior hides a dry wit and occasional coarseness that’s all the more brilliant for its unexpected appearances. And she can belt out a tune as well, but then we knew that already. The relationship between Mrs Henderson and her manager, Vivian Van Damm (Ian Bartholomew), is lovely to watch – though they drive each other crazy, they also develop a strong and loyal friendship, and it’s not surprising to learn that she left the theatre to him when she died in 1944.

Mrs Henderson Presents — Photo credit: Paul Coltas

Now, let’s talk naked ladies. The Windmill Girls were known for their nude tableaux vivants, which had to be motionless to get around the Lord Chamberlain and his aversion to wobbly bits (I suspect it may have been a little more complex than that in reality, but let’s move on). Even so, the brave ladies in Terry Johnson’s production are on full display – albeit very tastefully presented – and you have to admire their nerve, particularly since in the one scene where the men get their kit off, they all have music stands or pianos to hide behind. Laura Williams gives a particularly classy performance as Maureen, whose rapid transition from shy, clumsy tea girl to glamorous star of the show is a forgivable stretch of the imagination. Despite the title of the show, this is really Maureen’s story (after the opening scenes, Mrs Henderson’s appearances are few and far between), and Williams steps into the role of leading lady with great dignity.

Though the show certainly leaves you smiling, with infectious tunes by George Fenton and Simon Chamberlain and dazzling choreography from Andrew Wright, it’s not all ‘Keep Calm and Carry On’. Though we see little of the war itself (and a few of the characters have a worryingly relaxed attitude about sitting on the roof at the height of the Blitz), there’s no getting away from the fact that it’s a horrible thing, and fortunately the show doesn’t try to. There’s a particularly moving moment when Dutchman Vivian Van Damm, after hearing that his country’s been invaded, sings Living in a Dream World, a song that could just as easily be about our attitude to events happening in the world right now. But through it all, our spirits are bolstered by comedian Jamie Foreman’s terrible (and terribly un-PC) jokes and the general air of defiance; it’s only when this dips briefly in act 2 that the energy of the show does likewise.

Mrs Henderson Presents has a lot more to recommend it than just naked ladies, as attractive as those ladies undoubtedly are. It sums up the Blitz spirit in one glorious image – Maureen, completely naked, giving Hitler the finger and telling him to go back where he came from. It’s a touching love story (featuring possibly the world’s greatest chat-up line) – but not quite the one we might expect. And, most importantly, it’s a lot of fun, and leaves you feeling uplifted and patriotic. You can’t ask for more than that.

Big thanks to LondonTheatre1.com for the opportunity to review the show!

Review: The Memory Show at Drayton Arms Theatre

Published on February 17, 2016January 6, 2018 by Liz1 Comment

The Memory Show began life in 2008 as a thesis project for Sara Cooper and Zach Redler, both of whom had their own memories of seeing a loved one go through Alzheimer’s. And that may well be why watching this heartbreaking musical feels uncomfortably like intruding on a very private and intimate moment, between a mother diagnosed with early onset Alzheimer’s and her daughter who reluctantly returns home to care for her. As their already tense relationship is put under ever greater strain, we’re presented with an unflinchingly honest view of the emotional and practical repercussions of caring for someone with this devastating condition, along with an exploration of the unpredictable nature of memory itself.

And so there’s a song about cleaning the toilet, and another listing all the things that need to be done before the mother passes away. The daughter, forced to be endlessly patient with a parent who’s more like a child, doesn’t hold back about her complicated mix of emotions; she loves her mother, and despises her at the same time for all she’s had to give up. She wants it all to be over, but wishes that it could be possible afterwards to call her mother for a chat. Often speaking directly out to the audience as her only other human contact in an increasingly claustrophobic situation, she explains about difficulties with doctors, and confesses her fears about whether she’s doing the right thing.

But as hard as this blunt honesty is to watch, there are also some lovely, tender moments – as they sit together on the sofa looking at potential matches on a dating website, they could be any mother and daughter, rather than a patient and her carer. And the final scene is bittersweet, because we know that whether or not the two can mend their relationship, it’s still going to be too late.

The relationship between Ruth Redman and Carolyn Maitland as the nameless mother and daughter is utterly convincing – the ups and downs, the bickering, the reminiscing – and both show flashes of the same feistiness. As they reflect on their difficult history together, one topic keeps recurring: Ira, late husband and father, who seems to be remembered very differently by the two women. One of them is remembering him wrong… but not necessarily the one we might expect – and the continued references to a ‘secret’ hold us in suspense until the truth is finally revealed.

The simply staged production, directed by Alex Howarth, finds the characters and audience confined within the pair’s living room, with a string of lights above their heads that illuminate during the mother’s brief, and increasingly rare, moments of clarity. Behind them, meanwhile, a white sheet provides a backdrop for flickering images from home movies, a haunting reminder of the life and happiness that’s slowly fading away.

The Memory Show paints a brutal picture of the horror that is Alzheimer’s, but it also leaves a powerful impression for those without direct experience of the disease. It’s a story of two people who learn how to love each other only when it’s too late, and encourages us to reflect on our own relationships, and the power of memory to make or break them. A heartbreaking show to watch, true, but still one that should be seen.

Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉

Review: Footloose at the Orchard Theatre

Published on February 10, 2016February 11, 2016 by LizLeave a comment

Footloose, as most people above a certain age will know, was the 1984 movie starring a young Kevin Bacon as teenager Ren McCormack. Forced to leave Chicago and move to the small town of Bomont, Ren discovers that dancing’s been banned by the town council, and immediately sets about trying to change their minds. It’s based on a true story about Elmore City, Oklahoma, and touches on issues of religion, loss, prejudice and gender roles.

Now adapted for the stage by the movie’s original creator Dean Pitchford, and directed by Racky Plews, Footloose is a toe-tapping triumph of a show in which the multi-talented cast are also the band; they may not always be allowed to dance but they can still express themselves through music, playing everything from the electric guitar to the oboe. This gives the show a very collaborative feel, reminiscent of the brilliant Once (although in every other respect the two couldn’t be more different).

Luke Baker as Ren and the cast of Footloose. Photo Credit Matt Martin — Photo credit: Matt Martin

It might surprise some people to learn that the show’s big name star, Gareth Gates, doesn’t play the central role of Ren. That honour goes to Luke Baker, who gives an impressive, layered performance as the tortured teen. Gates, meanwhile, plays Ren’s friend Willard, in what turns out to be a perfect piece of casting. He’s a bit awkward, nervous around girls and far too attached to his mama, but with a twinkly charm and impeccable comic timing that’s guaranteed to win over anyone who still thinks of him as just that guy from Pop Idol. And his performance is memorable for another reason… but I won’t ruin the surprise.

Maureen Nolan – no stranger to emotional roles after recently reprising her role as Mrs Johnstone in Blood Brothers – plays Vi Moore, the preacher’s wife torn between loyalty to her husband (Nigel Lister) and concern about the rebellious behaviour of their daughter, Ariel (Hannah Price, who makes her professional debut in style). But it would be wrong to single out any one cast member; this is very much a team effort, and a fantastic one at that.

Choreographer Matthew Cole has captured the freedom of dance that’s so key to the story; though it may not all be particularly elegant, it’s full of energy and an irresistible joy to watch. The cast also make the line dancing routines look very easy, which I know from brutal experience they really aren’t. (I went to a line dancing class the other day. Let’s move on.)

And finally there’s the music, some of which was written specially for the musical by Tom Snow – but the tunes that really get the audience bopping in their seats are the classic hits from the movie, which include I Need A Hero, Let’s Hear It For The Boy and, of course, the title track. It’s a perfect piece of 80s nostalgia, for those of us old enough to remember that far back; for everyone else it’s just great fun.

Footloose is at the Orchard Theatre, Dartford, until Saturday 13th February.

Review: Annie at the Orchard Theatre

Published on January 26, 2016February 7, 2016 by LizLeave a comment

We all need a little ray of sunshine from time to time, particularly on a dreary winter Monday. And they don’t come much sunnier than Annie, the orphan who refuses to look anywhere but the bright side, no matter how rubbish her life gets.

Annie’s a classic, a musical we all know at least bits of; there can’t be too many people who haven’t sung along to Tomorrow at some point in their lives (come on, be honest). But there’s a lot more to this story than just a relentlessly perky redhead and a few catchy tunes, which is why director Nikolai Foster originally chose to revive the show back in 2011. It’s set during a particularly turbulent time in U.S. history, when many people – including children – were living in poverty as a result of the Great Depression, and the show doesn’t hold back when it comes to placing blame. And though the more political bits might go over the heads of younger audience members, they give the story a depth that often gets forgotten.

Annie the Musical — Photo credit: Matt Crockett

The children in this touring production are phenomenal, particularly Madeleine Haynes as Annie. It’s not just the singing and dancing, both of which are spot on; she’s also got brilliant comic timing, and is able to convey both Annie’s sunny disposition and her vulnerability, reminding us that when she’s not teaching grown men valuable life lessons, she is after all just an eleven-year-old girl who wants to be loved.

Olivier Award nominee Alex Bourne is a charming and instantly likeable Daddy Warbucks, the man who sees his world transformed by Annie’s arrival, and Lesley Joseph puts in a great comedy turn as the gin-loving, child-hating Miss Hannigan (although it’s a bit of a stretch to believe she and the much younger Jonny Fines are brother and sister, despite her energetic dance moves). And then there’s Amber the dog, whose appearances as Sandy are brief but memorable, and who almost steals the show from her human co-stars.

Designer Colin Richmond has created an adaptable set that encompasses the dingy orphanage, the dangerous city streets, and – in complete contrast – the shiny luxury of Warbucks’ home. The jigsaw puzzle design, enhanced by Ben Cracknell’s colourful lighting, provides the backdrop for the production and is a nod to Annie’s desire to piece together her own personal history.

And of course there’s the music, written by Charles Strouse and Martin Charnin, a lot of which I confess I’d forgotten. Besides the toe-tapping classics like Tomorrow, Easy Street and Hard Knock Life, there are some quieter numbers like the wistful Maybe, which recurs throughout the show, and others that I don’t remember at all, like N.Y.C., a glittering, joyous celebration of the city, which contrasts with the misery of previous scenes.

All in all, Annie is a feel-good show for all ages, with a fantastic cast, catchy songs and an infectious cheerfulness that will definitely have you feeling better about tomorrow – which is, after all, only a day away.

Annie is at the Orchard Theatre until Saturday 30th January.

2015 theatre highlights

Published on December 31, 2015December 31, 2015 by Liz8 Comments

Yes, I’m officially jumping on the top 10 bandwagon. It had to be done. Like everyone else, I’ve thought long and hard about my choices – and given that I lost count a long time ago of the number of shows I’ve seen this year, it hasn’t been easy.

And here they are – but first, a quick disclaimer. These are ten shows that have meant a lot to me personally, for whatever reason. They might not be the biggest, or the best from a critic’s perspective… but that’s probably because I’m not a critic. I’m just a theatre fan who enjoys writing about it afterwards.

Oh, and they’re in no particular order. Just choosing ten was hard enough – if I had to put them in order too, we’d be here till 2017.

So here goes:

Beans on Toast (Patch of Blue)

My introduction to Patch of Blue came at the Wimbledon Illuminate Festival; I was sold instantly on the promise of lamplight and folk music, and I wasn’t disappointed. The story of a couple like any other couple is so totally human and relatable that the characters begin to feel like your friends, and you feel every up and down in their relationship along with them.

Beans on Toast review for London Theatre 1

Kinky Boots

I haven’t seen the movie of Kinky Boots, and didn’t really know anything about it apart from it had drag queens in it – but I soon fell head over heels for this irresistible, feel-good musical with some catchy tunes from Cyndi Lauper. It might not be highbrow but it is ridiculously good fun, and sometimes that’s really all you need from a night at the theatre.

Kinky Boots review for London Theatre Direct

In The Heights

Lively, colourful and so full of energy it’s a wonder the roof stays on. In The Heights follows the hopes, fears, loves and losses of a close-knit Hispanic community in Washington Heights over three scorching summer days. With a great story, memorable characters and some spectacular dance numbers, In The Heights is an irresistible joy to watch.

In The Heights review for Carn’s Theatre Passion

Skin in Flames (stonecrabs theatre)

The best-known work by Spanish playwright Guillem Clua, this incredibly tense political thriller sees a photojournalist returning for the first time to the war-torn country where he took his most famous picture. It’s an ingeniously crafted piece and a gripping drama, but also leaves the audience with some serious questions about moral responsibility.

Also, Skin in Flames was the first time I saw a quote from my review on the wall, so it will always be special to me for that reason 🙂

Skin in Flames review for London Theatre 1

Consolation (Théâtre volière)

An unexpected delight, about two lost souls who find consolation in their mutual friendship. Nothing about this play is predictable; set in France, it tells the unlikely story of a woman convinced she was a Cathar heretic in a former life, and a young re-enactor at the local museum. As they both try to make sense of their lives, the results are at times funny, at others moving, but always fascinating to watch.

Consolation review for London Theatre 1

The Scottsboro Boys (Garrick Theatre)

The Scottsboro Boys, a musical by Kander and Ebb, is based on the true story of nine black teenagers convicted of rape in 1930s Alabama. The show starts out fun and light-hearted, but soon takes a more sinister turn as the boys’ situation worsens. This deeply moving and chilling tale of injustice is one that stays with you long after you’ve left the theatre.

The Scottsboro Boys review for London Theatre Direct

And Then Come The Nightjars (Theatre503)

Set during Britain’s foot and mouth crisis of 2001, Bea Roberts’ rural drama is a touching exploration of the friendship between a gruff Devon farmer and the local vet. It might not sound like a laugh a minute, but the chalk and cheese relationship between the two is unexpectedly funny and uplifting, with some truly moving performances.

And Then Come The Nightjars review

The Nether

Note to self: make sure you know what a play’s about before you go and see it… The Nether is a very disturbing story that messes with your head, set in a not-too-distant future, in which humans can live in a completely virtual world. The play poses some difficult questions – most notably, if you do something bad in the Nether but not in the real world, are you still guilty? Not one for the faint-hearted, but worth seeing for Es Devlin’s spectacular set alone.

The Nether review for London Theatre Direct

To Kill a Mockingbird

I missed this production at Regents Park Open Air Theatre, so when it transferred to the Barbican after a nationwide tour, I jumped at the chance to see it. Starring Robert Sean Leonard as Atticus Finch, and some of the best child actors I’ve ever seen, this play is a loving homage to the novel that inspired it; I’m so glad I got a second chance to see it.

To Kill a Mockingbird review

The Forbidden (Doll’s Eye Theatre)

This play still makes me shudder a little bit; it’s that unsettling. The Forbidden is a gripping story about four former school friends with a dark secret, which takes great delight in wrong-footing its audience with its twists and turns. But it’s also a startlingly accurate depiction of the way teenage girls interact… and it also ruined 5ive for me forever. But that’s okay.

The Forbidden review for London Theatre 1

A few honourable mentions, because I can’t help myself: Cyprus Sunsets, So It Goes, Blood Brothers, Rotterdam, The Railway Children, Proof and The State vs John Hayes. I’d better stop there or this bit could go on all day…

What were your theatre highlights this year?

Happy New Year – here’s to more great theatre in 2016!