musical – Page 15 – Theatre Things

Theatre round-up: 22 Nov 2015

Published on November 22, 2015 by Liz4 Comments

Sometimes you just have to see a show more than once (or should that be four times). This week had a couple of repeats, but since both were brilliant, I’m not complaining… So here’s what I’ve been enjoying this week:

Harlequinade / All On Her Own

I was lucky enough to be at the first preview of Harlequinade, one of the plays in the Branagh season at the Garrick Theatre. And when I was invited to see it again this week, I jumped at the chance. The double bill by Terence Rattigan begins with Zoë Wanamaker in All On Her Own, a short but incredibly intense piece about a woman who finds herself talking to her dead husband late at night after one too many whiskies.

It’s followed, in a swift change of pace, by Harlequinade, a comedy about a theatre company rehearsing Romeo and Juliet and The Winter’s Tale. The brilliant cast is led by Kenneth Branagh and Miranda Raison as the company’s lead actors, the Gosports – but for me, the star of the show is undoubtedly Tom Bateman as their overworked manager, Jack Wakefield. It’s a very funny play, and I only wish it had been a bit longer; there are so many actors that some of them get very limited stage time. Overall, though, it’s a lot of fun and I’d recommend it, especially if you’re not sure about Shakespeare – this play might just change your mind.

Review for London Theatre Direct to follow.

Miss Saigon

My fourth trip to see Miss Saigon and I love it a little bit more every time. This particular outing was booked in response to the announcement that the show will be closing in February (news that still outrages me). There’s not a lot to say that I haven’t said before – I love the tragic love story between Kim, a Vietnamese girl, and Chris, an American GI; I love the music by Boublil and Schönberg; I love the helicopter, which still gives me a little thrill every time; I love the brilliant cast, especially Jon Jon Briones as the Engineer and the incredible Eva Noblezada as Kim (and a quick shout out to Richard Carson, who was a fantastic Chris on Friday evening); and I love how it makes me cry like a baby every time.

Basically, I love it.

Review for London Theatre Direct (written in February – after visit no.3 – so some cast members have changed)

This week’s theatre

Bit of a quiet one – lots of other things going on – so just the one show coming up this week:

The Illusionists, Shaftesbury Theatre

Review: Blood Brothers at the Marlowe Theatre

Published on September 19, 2015February 7, 2016 by Liz1 Comment

As musicals go, this one probably needs little introduction. Willy Russell’s Blood Brothers began life as a school play, and opened in the West End in 1983, before running for 24 years from 1988. I still remember it as the only show that’s ever caused me to openly sob throughout the curtain call, and I’m sad that I only got to see it once before it closed in 2012.

But hurrah! Blood Brothers is back, and embarking on a national tour, which kicked off at Wimbledon last week, before transferring to the Marlowe in Canterbury. Directed by Bob Tomson, it stars Marti Pellow (who old folk like me remember from his Wet Wet Wet days) as the narrator and Maureen Nolan as Mrs Johnstone, a struggling single mother who agrees to give one of her newborn twins away to her wealthy employer. The two boys grow up in very different surroundings, but somehow keep finding each other, with ultimately heartbreaking consequences.

But in case you think that all sounds a bit depressing, never fear, because Blood Brothers is also one of the funniest shows I’ve seen in ages. It’s set in Liverpool, with a cheeky Scouse personality, and doesn’t take itself too seriously – the script is happy to acknowledge the fact that the same actors are playing more than one part. But perhaps the most enjoyable aspect of Blood Brothers is the way it has adult actors playing the characters throughout their lives, beginning at age 7 (nearly 8). It sounds like it shouldn’t work, but it totally does – the cast capture brilliantly all the mannerisms of children, and after a while you completely forget they’re grown ups in kids’ clothes. And then when they do grow up, and graduate from toy guns to real ones, you find you really care what happens to them.

Blood Brothers is an unusual musical, in that it only actually has a few songs, which are repeated throughout the show, with slight variations. Each character has one or two themes – Mrs Johnstone tells the story of her family through the recurring Marilyn Monroe, while the Narrator warns the characters of their impending doom with The Devil’s Got Your Number, and the twins, Mickey and Eddie, wish themselves into each other’s shoes with That Guy. However, that said, there are a few standalone numbers – Eddie’s wistful love song to Linda, I’m Not Saying a Word, is particularly poignant, especially given what happens next.

I was intrigued to see Marti Pellow on stage, having heard mixed reviews of his recent performance in Evita. His Narrator prowls the stage with intense eyes and moments of almost violent aggression as he reminds the two mothers of what they’ve done. Compared to some of the other characters, the Narrator doesn’t have a huge amount to do vocally, but this is a character who’s all about presence, and Pellow certainly delivers on that front. Meanwhile Maureen Nolan reprises her role as Mrs Johnstone, which I always think must be one of the most emotionally demanding parts to play, calling as it does for extremes of happiness and devastation. Like Niki Evans, who I saw in this role before, Nolan looks shattered at the curtain call, as well she might; her closing scene is one of the most powerful in musical theatre.

But while these may be the ‘headline’ members of the cast, there are plenty of other standout performances: Paula Tappenden is brilliant as the well to do Mrs Lyons, descending into madness as a result of her own made-up superstition. And I doubt there was anyone in the theatre who didn’t leave a little bit in love with Sean Jones, who plays Mickey, the ultimate cheeky chappy. Joel Benedict and Danielle Corlass complete the trio of inseparable friends who ultimately – and perhaps predictably – find themselves embroiled in a love triangle.

If you’ve seen Blood Brothers before, you’ll know it’s brilliant. If you haven’t, I urge you to seize this second chance to catch it. It’s a story about family, and the enduring debate over nature versus nurture. And despite being written in the 1980s, it still feels very contemporary, with its questions about class and poverty. With great music and memorable characters, this is a show not to be missed.

Blood Brothers is at the Marlowe Theatre in Canterbury until 26th September.

Theatre round-up: 7 Sept 2015

Published on September 7, 2015September 7, 2015 by LizLeave a comment

In the week that London got kinky, here’s my theatre round-up:

Kinky boots

I went to a preview of Kinky Boots last week, and basically haven’t shut up about it since (apologies to my friends, family and Twitter followers). I haven’t seen the movie, so didn’t really know what I was letting myself in for – I figured it would be good fun, but wasn’t expecting to be so totally blown away. Kinky Boots is based on real events and tells the story of Charlie Price, who teams up with new friend Lola (a.k.a. Simon) to create a range of fabulous footwear for men. With star performances from Killian Donnelly, Amy Lennox and Matt Henry, and some truly sensational dance numbers, Kinky Boots is ridiculously good fun; you can’t help but leave the theatre smiling. I already want to see it again (and then again).

Kinky Boots review for London Theatre Direct

Thoroughly Modern Millie

A lively and high-spirited revival based on the 1967 movie, in the intimate setting of the Landor theatre. Thoroughly Modern Millie is the story of a Kansas girl who arrives in 1920s New York determined to make a new life for herself by getting a job and then marrying her boss. Simple, right? Ironically, a lot of the attitudes are actually not very modern at all (and the show also features a bizarre and very un-PC sub-plot about a woman pretending to be Chinese). But the show brings to life the spirit of the 1920s, particularly during the fantastic dance numbers, which are worthy of a much bigger production, and impeccably performed by the small, hard-working cast. Credit also to the brilliant five-piece band, who were great despite being a four-piece for half the show because their bass player got stuck on the Northern Line.

Thoroughly Modern Millie review for Carn’s Theatre Passion

The Man Who Had All the Luck

Arthur Miller’s first play to be produced is a fable about a man who seems to get everything he wants in love, business and life in general. But as his friends and family all lose out on the thing they want most in the world, he starts to wonder when his own luck will change. This revival by End of Moving Walkway, to coincide with the centenary of Miller’s birth, features a strong cast, with one actor playing no fewer than four parts, and a minimalist set with a hidden secret. Sometimes funny, sometimes heartbreaking, with characters the audience can really relate to, the play invites us to consider where our luck comes from, and the role of each individual in creating our own destiny.

The Man Who Had All The Luck review for Carn’s Theatre Passion

Next week’s theatre

Jane Eyre – National Theatre

The Christians – Gate Theatre

And Then Come The Nightjars – Theatre503

Review: Twelfth Night at Castle Cornet

Published on August 24, 2015February 7, 2016 by Liz1 Comment

Last summer, I was in Guernsey visiting a friend, and she took me along to an outdoor production of A Midsummer Night’s Dream in the appropriately magical setting of the historic Castle Cornet. The theatre company, Oddsocks, were new to me, but two things soon became clear – they’re brilliant, and they’re completely bonkers. Fortunately, when it comes to theatre, this is my favourite combination.

So when I arranged to visit Guernsey again last weekend, and my friend told me Oddsocks were back, I jumped at the chance to see what they’d made of Twelfth Night. I was fairly confident that the play’s love triangles, gender bending, mischievous pranks and general air of confusion would offer plenty of opportunities for mayhem – and I wasn’t disappointed. Despite the weather, which was dismal to say the least, a great night was had by all; Oddsocks productions go on come rain or shine, and it’s a testament to how enjoyable they are that nobody got up and left when the heavens opened in act 2.

Once again, the company’s take on the Bard’s work is fresh, unique and very, very funny. I never would have thought that I’d see two Shakespearean characters singing Let’s Get Ready to Rhumble… but now I can cross that particular goal off my bucket list. Because this is the Britpop musical version of Twelfth Night, and if you think that sounds mad – well, it is. But that doesn’t mean it’s not all kinds of amazing. Fans who enjoy conventional Shakespeare may object to Duke Orsino’s ‘if music be the food of love’ speech being replaced by Roxy Music; then again, those people are unlikely to be found at an Oddsocks play – or at least, not for long. (But do be prepared for the cast to heckle you on the way out.)

Led by director, and born showman, Andy Barrow, the cast basically just get up on stage and have a good time, dealing with whatever happens to come their way, whether or not it’s in the script. I particularly enjoyed the drunken antics of Sirs Toby Belch and Andrew Aguecheek (Kevin Kemp and Gavin Harrison), who spend much of their time giggling and falling over, and at one point wander into the audience in search of booze. And I may never be able to forget Malvolio (Andy Barrow) and his yellow stockings – for all the wrong reasons.

It’s all so chaotic that at times it’s hard to tell what’s planned, and what’s been made up on the spot (although I’m pretty sure the pause to fix their dangerously sagging roof with a mop was a one-off). In fact, the whole production plays pretty fast and loose with Shakespeare’s original text, but given that the audience are all having such a great time, I’m going to bet he’d be willing to forgive that.

If I had to sum up an Oddsocks production, I’d probably describe it as ‘Shakespeare does panto’. You’ve got music, slapstick, audience participation (where else can you get up on stage and throw wet sponges at one of the actors?), a few pointed references to current affairs, and even a girl dressed as a boy. The only difference, really, is it’s way better than any panto I’ve ever been to.

Unfortunately the Oddsocks tours don’t tend to take in Kent or London, but they do seem to have become something of a fixture in Guernsey. So I guess I’ll be forced to head back that way next summer and do it all over again… It’s a tough old life.

Review: Dirty Dancing at the Marlowe Theatre

Published on August 9, 2015February 7, 2016 by Liz1 Comment

Sometimes you can’t beat a classic. As much fun as it is to see a brand new show, with little or no idea what emotions it’s going to make you feel… sometimes all you really want is to sit back, relax and enjoy a story that’s so familiar you can quote the script along with the actors.

There can’t be too many people of my generation who don’t at least have a rough idea what Dirty Dancing is all about. Boy meets girl, girl carries a watermelon, boy teaches girl to dance. Then they fall in love, boy gets fired but returns for a triumphant final scene which puts everything right with the world.

It’s a total cheese-fest, but that’s why we love it. The producers of Dirty Dancing were always on to a winner by reviving the stage production, because the movie has such a die-hard following that the theatres were bound to be full. Building on that popularity, director Sarah Tipple’s Dirty Dancing is almost an exact replica of the original version; the script, costumes, routines and even some of the actors appear to have been transported straight from Kellerman’s, in the summer of 1963. There are a few additions – references to the political situation of the time, freedom rides, Martin Luther King and the Cuban Missile Crisis – which add a little substance, and minor characters Tito and Mr Schumacher are both given a bigger role. Though none of these changes is a bad thing, the show would probably go down just as well without them; the audience is there for the story they know and love, as fluffy and insubstantial as it might be.

Stephen Brimson Lewis’ set uses video screens to recreate the camp in the Catskills, including the iconic lake scene, and a rotating turntable, which gives the show a multi-dimensional feel and allows different stories to unfold simultaneously. In between scenes, we’re given an insight into the wholesome family fun enjoyed at Kellerman’s – sack races, piggy backs and musical chairs – in direct contrast to the far from wholesome activity going on in Johnny’s bedroom.

Leads Jessie Hart and Lewis Kirk have great chemistry; her perkiness and his intensity make for a perfect combination. Unsurprisingly, Lewis Kirk is particularly popular with the female-dominated audience; he could probably have not said a word all night and we’d all still have loved him (and his hips). Carlie Milner steps seamlessly into her stand-in role as Penny, and Georgina Castle is brilliant; her wonderfully terrible performance of Lisa’s Hula is one of the highlights of the show. Meanwhile there’s more comic relief from Kane Verrall; his Neil is much more likeable than the original character, with dance moves that are memorable for all the wrong reasons.

Meanwhile, we get to enjoy all the classic music we love – the only song I missed was the full version of She’s Like the Wind. Unlike most musicals, the majority of the numbers are performed by the supporting cast – Natalie Winsor and Matthew Colthart in particular deserve recognition; their performance of the final and best-known number, (I’ve Had) the Time of My Life, is incredible, and more than holds its own alongside the attention-grabbing dance routine.

Dirty Dancing is the ultimate feel-good show; you can’t help but leave the theatre with a smile on your face and a skip in your step. It’s a production that’s aware of, and revels in, the imperfections of the story, faithfully reproducing the characters and events that the audience want to see, and not making any serious attempts to change anything. And if it all starts to feel a bit like a hen party at times – well, there’s nothing wrong with that. I’m not ashamed to say that I whooped along with everyone else when Johnny said, ‘Nobody puts Baby in a corner’.

And because I know you’re all waiting for me to say it – yes, I really did have the time of my life.