Category Archives: theatre

Fiddler on the Roof (Menier Chocolate Factory)

A welcome revival for Jerry Bock and Sheldon Harnick’s musical about a Jewish village where tradition still reigns while the world slowly and malevolently changes; specifically for the family of Tevye (Andy Nyman) who sells dairy goods to his neighbours, his wife Golde (Judy Kuhn) who he may love after 25 years, and their five daughters: Tzietel (Molly Osborne), Hodel (Harriet Bunton), Chava (Kirsty MacLaren), Shprintze (Lia Cohen) and Bielke (Lottie Casserley).

Andy Nyman as Tevye.
Andy Nyman as Tevye.

The elder three daughters are all of marriageable age, but as the children of a poor dairyman they have to rely on the local matchmaker, Yente (Louise Gold) to find them a husband their papa will approve of. But times are changing, and first one daughter, then another, and another, make their own choices, rather than letting their fates be dictated for them.

Against this background the musical comes to life in a clever use of the small space in the Menier, a big of scene setting at one end of the stage, and open floor for dancing and big musical numbers. The most well-known titles, “If I Were A Rich Man”, “Matchmaker, Matchmaker”, “Sunrise, Sunset”, work well, but the sequence where the Russians and the Jews uneasily spar together in the local tavern is a triumph of male bravado and dance athleticism (“To Life”) which utilises the original choreography of Jerome Robbins.

Judy Kuhn, Andy Nyman and company.
Judy Kuhn, Andy Nyman and company.

Nyman, Kuhn, Osborne, Bunton and MacLaren all have their chance to shine as the story progresses, as do Joshua Gannon as Motel the tailor, Stewart Clarke as student Perchik, Matt Corner as soldier Fyedka, Dermot Canavan as Lazar Wolf the butcher, and gossipy Gold. From the sublime “Now I Have Everything” to the ridiculous “Tevye’s Dream”, the company never mis-step, and in the sequences which require a chorus effect to the songs all the cast members are shown to be gifted singers and actors.

The company of Fiddler on the Roof in rehearsal.
The company of Fiddler on the Roof in rehearsal.

Nyman’s Tevye is a pragmatic man, who thinks nothing of asking his God for help in a crafty prayer, or admonishing him if something goes wrong, and his love for his daughters finally outweighs his “Tradition”. Even with the downbeat ending, you feel there is hope for this resilent man and his family, wherever they find themselves across the globe.

Trevor Nunn directs this warm, engrossing and accomplished revival, which runs until the 9th March 2019.


Six (Arts Theatre)

In what has already been termed a triumphant return to the London stage (the current run has literally just started and has been given a year-long extension), Six comes back to the Arts Theatre with new actresses in the parts of Henry VIII’s six wives (“Divorced, Beheaded, Died, Divorced, Beheaded, Survived”).

Toby Marlow and Lucy Moss created this show as a student production at Cambridge, and later wowed audiences at the Edinburgh Fringe. Their mission, as stated in the programme, is not just to rehabilitate the six Queens, but to anchor their stories in the modern world, and to let the women tell their stories without being “too earnest or sincere”.

Jane, Anne Boleyn, Anne of Cleves, Catherine of Aragon, Katharine Howard, Catherine Parr. Photo by Colin Penn
Jane, Anne Boleyn, Anne of Cleves, Catherine of Aragon, Katharine Howard, Catherine Parr. Photo by Colin Penn

With a backing band of four, (“Ladies in Waiting” – Arlene McNaught, Alice Angliss, Amy Shaw, Terri De Marco), the six take their places with an opening ensemble number to confirm which is which, before entering into a contest to see who suffered the most, by telling their personal stories in catchy song.

The ensuing concert – Divorced, Beheaded, Live! – allows each Queen to come to the forefront with the others performing back-up functions; sometimes in high-energy dance format, sometimes in ballad form.

It’s hard to single out a song, or a performance. Some are stronger earworms, but some are stronger stories. The current six – Jarneia Richard-Noel, Millie O’Connell, Natalie Paris, Alexia McIntosh, Aimie Atkinson and Maiya Quansah-Breed – are all terrific, hard-working, likeable performers.

Anne Boleyn, Jane, Anne of Cleves, Katharine Howard. Photo by Colin Penn
Anne Boleyn, Jane, Anne of Cleves, Katharine Howard. Photo by Colin Penn

Catherine of Aragon’s “no way” when jettisoned to a nunnery and exile following 25 years of marriage and 5 miscarriages has the power you would expect from the woman who put up with so much for so long, shipped from her home country to marry first one brother then another when the first one died.

Anne Boleyn’s Essex girl “sorry/not sorry” is a girl power rant for the Netflix generation with liberal usage of text speak, but showing the exploited young girl underneath. History shows that Anne was playing a game with the King which led to his obsession and her imprisonment, and it is no wonder she may have got bored, used purely as a young baby farm.

Jane Seymour shows herself to be a devoted wife and mother, who doesn’t talk back, and who’s only regret is that she didn’t live to see her son (that sickly son, remember, who didn’t rule for long and was overshadowed by the sisters his father had disinherited). Jane, who had served her predecessor Queen and who stood with Henry waiting for the signal that her head had gone, freeing her to be wife number three.

Anne of Cleves, often dismissed as dull and ugly, is badass and sexy (“you said I didn’t look like my profile picture”), and happy in her riches and her freedom. She reclaims herself from being the boring and the irrelevant one and gets the measure of her horny husband.

Katharine Howard is the pop tart exploited from teenage years, with men who pursue her and “all you want to do is touch me, squeeze me, can’t get enough, see”. She was married at seventeen and dead at nineteen, her crime having been abused by opportunistic men no different than her ageing husband. Even Thomas Culpeper, who is usually thought to be her true love, is shown to have exploited her and put them both in danger.

Catherine Parr, the survivor, who writes a letter she never sends to the man she truly loves, who wishes she had not caught the eye of the King who just needs a nursemaid to end his days. The contestant who is a “Prot-est-ant”, who claims “I don’t need your love” but marries four times because life for a Tudor woman dictates it, and eventually goes like Jane, dead in childbirth with the son of the man she had to give up for Henry.

Catherine of Aragon, Anne of Cleves, Katherine Howard, Catherine Parr. Photo by Colin Penn
Catherine of Aragon, Anne of Cleves, Katherine Howard, Catherine Parr. Photo by Colin Penn

The contest unravels when the Queens realise they can detach themselves from just being known as Henry’s wives, stop trying to outdo each other, and assert themselves in their own revised histories and reformation (“you can try but I’m unbreakable”), and we feel we have got to know these ladies just that little bit better.

This is a glittery, fun and feminist musical, full of puns, dance moves, and sass. Even for Tudor obsessives (and I’m one, having read and seen just about everything on the topic from straight history to television adaptation to romantic fiction) can find something new to ponder about.

And by the end, it is Henry who is invisible, as his wives re-identify themselves as Catherine, Anne, Jane, Anne, Katherine, and Cathy, rather than by their proximity to the throne.

Anne Boleyn, Jane, Anne of Cleves, Katherine Howard, Catherine Parr. Photo by Colin Penn
Anne Boleyn, Jane, Anne of Cleves, Katherine Howard, Catherine Parr. Photo by Colin Penn

At just eighty minutes without an interval, this show can easily be slotted in to your theatre-going, and I’d recommend it to musical fans, to those who love their history to be a bit irreverent, and to women who want to see good stories told.

Six continues at the Arts Theatre until January 2020.


Aspects of Love (Southwark Playhouse)

Andrew Lloyd Webber’s chamber piece is often overlooked alongside big hitters like Cats, Phantom of the Opera, and Evita, but it does include one of his finest scores, and so it is a pleasure to watch a new adaptation of this complex musical of love, direct from the Hope Mill Theatre in Manchester.

The majority of the cast have travelled south with this show, with the exception of Madelena Alberto, who joins as Giulietta, and Eleanor Jackson, who fulfils a number of peripheral roles throughout.

Felix Mosse and Kelly Price. Photo by Pamela Raith.
Felix Mosse and Kelly Price. Photo by Pamela Raith.

Alex (Felix Mosse), 17, sends flowers to the older actress Rose (Kelly Price), who is managed by the caring Marcel (Minal Patel). She goes away with Alex to a villa which turns out to be his uncle George’s (Jerome Pradon), who himself has a mistress in Venice (Alberto). George sees Rose in a dress his dead wife once wore and she leaves Alex for him.

She moves in, and Alex returns in a couple of years to find her installed as “Madame” at the villa. They get involved again, and George thinks Alex is best for her; she has other ideas. George goes broke, and Rose proposes. Giulietta is “best man”, and after a lingering kiss, it is implied the three live together in a menage a trois. Rose gives birth to a daughter, Jenny (Eleanor Walsh).

Then in Act Two, we have fast-forwarded a number of years, with Jenny on the brink of womanhood, Rose acting in films and having a lover, Hugo (Jason Kajdi), and George rapidly ageing. When Alex returns he finds himself attracted to Jenny, but Rose is also toying with him, and it can only end in disaster.

Finally, we go full circle to the funeral procession and wake which begins this show, marking the death of George, and Alex and Giulietta go off together, leaving Rose alone and desperate, and Jenny bereft.

Jerome Pradon and Madalena Alberto. Photo by Pamela Raith.
Jerome Pradon and Madalena Alberto. Photo by Pamela Raith.

The story, of course, is preposterous and as an advert for polygamy or polyamory, keeps things firmly in the family. The score is delicious, and beautifully performed, especially by Price, who completely nails the big number for Rose, “Anything But Lonely”, and Alberto, who shows her range in “There is More to Love” and “Hand Me The Wine and The Dice”.

Pradon convinces as the old lothario who parties with his women and then becomes frustrated with his own mortality, and his delivery of George’s big songs, “Other Pleasures” and “The First Man You Remember” (George sees his daughter in that dress and seems to slip into the past) is nicely judged, if a little forceful in places.

As Alex, Mosse acts well both as the petulant child-man and the embarrassed recipient of his young cousin’s affections, but he is the most selfish character on the page; showing no real redemption. It seems clear in his exchange with Guilietta that he will return to claim Jenny and cause more upset in due course. He’s perhaps not unlike his uncle in that, living for today, and damn us all.

Detail from the programme and poster for Aspects of Love

Walsh’s Jenny is a force of nature as a childish teenager, and a confused young woman: a role which is hard to get right. It’s a pity she has one of the worst vocal lines (“I saw what you were doing with your new Italian friend”). I’m not sure whether the line “No one said that Romeo was a monster” has gone, but if it has, I miss it just as much as the original setting for “She’d Be Far Better Off With You”, which has now become a quartet for George, Alex, Rose, and their maid (but retains the great lyric, “You’ve dined with Garbo … translated La Bo/heme”).

The set and staging is cleverly done for a small space, with lighting cues, dancing stage resets, and musical moments to evoke a change of scene and time. “Falling”, in particular, the quartet in which Rose, George, Alex and Jenny lament their emotional states, works well in the simplicity of a couple on each side of the stage, seated at the audience tables.

Those tables, incidentally, may cause problems for those of you in row B looking directly front of the stage, and be aware there are times where your view of the action will be restricted. Perhaps a lesson to be learnt in the future for the venue, although the idea of audience members getting a closer view of the action is to be applauded.

I have so many questions about a show I know so well (having seen several productions over the years):

  1. If George is Alex’s guardian, where has Alex been getting his income from and where has he been living?
  2. Why doesn’t George marry Guilietta?
  3. Why does Rose agree so quickly to go with Alex? The villa?
  4. Does Rose really love George?
  5. Does the telegram from Marcel which shortens Alex and Rose’s fortnight really come from George?
  6. If Alex suspects Rose has gone to George, why is he so surprised to see her as Madame of the house two years later?
  7. Why does George agree to marry Rose if he is broke and she has no money other than from her career?
  8. Why was Rose so quick to sleep with Alex again if she is so happy?
  9. If Rose needs to work to bring in money when does she stop to have a baby?
  10. When Alex visits Rose at the theatre in Act Two he hasn’t seen her for twelve years, but Jenny is thirteen?
  11. If George hasn’t kept track of Alex, how does Alex know about Jenny?
  12. Where has Alex been serving in the Army?
  13. If Alex stays chez George for two years, how come he never meets Guilietta?
  14. If the age of consent is 15 in France, why is everyone so protective about Jenny?
  15. Could Alex be Jenny’s father?
  16. Does George have a sexual obsession with his own daughter?
  17. Why has Rose taken up with Hugo?
  18. Why did Rose never get involved with Marcel?
  19. Why doesn’t Alex just leave if he wants to control his urges?
  20. Why doesn’t George ask him to leave if he is so worried?
  21. Once George has died, why don’t Rose and Guilietta set up home together?
  22. Why is Guilietta’s love life so complicated?
  23. Why does Alex push Rose away at the end of “Anything But Lonely”?
  24. Why does Alex end up with Guilietta?
  25. Will Alex go back for Jenny?

Nothing in the show resolves any of this, but despite the plot holes and clear confusion, this remains an excellent musical which deserves reappraisal. Welcome back, Aspects. Don’t stay away so long again.


Welcome to loureviews.blog!

About this blog

I started this blog in 2011 to report back on events I have attended, mainly theatre but also some concerts and sporting events.

It has also become a vehicle for some film, television (current and archive), book reviews, and some more personal pieces.

About me

On a professional level I worked for many years as a librarian, and also am a published writer and spent five years editing a journal for a major publisher. If you would like to know more, see my LinkedIn profile.

As of 2019 writing and editing has become my main job, and I am very keen to engage with productions, outlets, and arts organisations to expand my coverage and my reviews.

Social media channels

Please feel free to browse through my work on here or via my Twitter feed (@loureviewsblog). I am also developing my YouTube channel and will be launching a sibling blog to this one to concentrate on DVD releases during 2019.

Contact me

If you feel you have some news or events which would be a good fit for loureviews.blog, or would like me to review your show or product, please let me know.

You can contact me at louise@loureviews.blog and I will respond to you as soon as I can.


Matilda the Musical (Cambridge Theatre)

The set of Matilda.
The set of Matilda, by Rob Howell.

Tim Minchin’s musical version of the celebrated Roald Dahl book, Matilda, has now run in the West End since 2011, and shows no signs of slowing down, having found success in several other countries. It recently started its first UK and Ireland tour.

The School Song.
The School Song. Screengrab from YouTube.

Undoubtedly aimed at younger audiences familiar with the book, this show benefits from a dazzling and clever set by Rob Howell which adapts to a variety of locations (school, home, library, dance hall) and centres letters and books at the forefront of the young Matilda’s life. One routine to the “School Song” utilises the alphabet to move on the plot on the first day at school, and impresses.

Kitty Peterkin as Matilda. Photo by Manuel Harlan.
Kitty Peterkin as Matilda. Photo by Manuel Harlan.

The clever five-year-old (played at this performance by Kitty Peterkin) is a whizz with both words and figures, but is a disappointment to her self-centred parents, who refer to her as a “creep” and lavish love instead on their ridiculously stupid son, who slumps in his seat and can only speak in an occasional echo of his even more stupid father.

When Matilda is sent to the school run by the Olympic gold medallist in hammer throwing, the scary Miss Trunchbull (Hayden Tee, finding humour in the grotesque), she finds an ally in the sweet Miss Honey (Gina Beck) who sees her potential and eventually helps her to find happiness. The kindly librarian Miss Phelps (Malinda Parris) provides comedy relief and reaction to Matilda’s tall tales.

Gina Beck as Miss Honey, Hayden Tee as Miss Trunchbull. Photo by Manuel Harlan.
Gina Beck as Miss Honey, Hayden Tee as Miss Trunchbull. Photo by Manuel Harlan.

The songs are not really that memorable, other than “Naughty”, which is a good solo for Peterkin, and “The Smell of Rebellion”, for Tee and company. There is a sparking of magic in the second half, but I would have welcomed more of this and a lot less of Matilda’s horrendous parents (Rob Compton and Holly Dale Spencer), and Spencer’s braindead dance partner Rudolpho (Callum Train).

The child cast are excellent, with Bruce (Jacob Bland at this performance) especially due a nod. I’m glad I’ve seen this, but hand on heart I can’t put in into the top twenty of shows I have seen, and think that if you took Matilda, Trunchbull and Honey away, you wouldn’t have much left. Special effects including flashing lights, whistles, a flying student, and a fun bit of gymnastics pad out the story, which doesn’t hold up to much scrutiny (especially the resolution of the tale of the acrobat and the escapologist).

For merchandise collectors, there is a lot to help you spend the pennies, from a Matilda doll (£25) to badges, fridge magnets, bags, and t-shirts. The programme is £6, and there is a wide range of confectionery to munch as you watch.


Dreamgirls (Savoy)

Now coming to the end of a two and a bit year run, Dreamgirls remains a spectacle with numerous set and costume changes, and a killer of a first act closer in “And I Am Telling You I’m Not Going”, which at this performance Marisha Wallace delivered with devastating style and emotion. That girl can sing!

Marisha Wallace in Dreamgirls. Photo by
Brinkhoff & Mögenburg.

This story feels a bit like the real-life one of The Supremes, in which one of the trio becomes pre-eminent over the others. In Dreamgirls, Effie White, larger than life in voice and body, sings lead until pushy Curtis, their new manager, decides to trade her in personally and professionally for one of the back-up girls, Deena.

In the meantime, third girl Lorelle is content to remain as back-up and as girlfriend to married showman Jimmy Early, who has a definite Little Richard vibe going on. Over time, the rechristened Dreams cross over into the white market, leaving Effie by the wayside until the (inevitable) comeback.

Dreamgirls poster
Dreamgirls poster

There’s not a great storyline here, and that act one closing declaration of courage, love, and resilience, doesn’t make much sense when the character singing it goes into semi-retirement for seven years before act two, but there are some great musical moments and in Wallace, Brennyn Lark (Deena), Asmeret Ghebremichael (Lorelle), Joe Aaron Reid (Curtis) and Tosh Wanogha-Maud (Jimmy) there are some charismatic and talented performers on display.

Henry Krieger’s score is on point to the period, and Casey Nicholaw directs with more than an nod to Michael Bennett’s original work, given the latter’s prominent credit in the programme. There have been snips and changes evident if you’re familiar with the Jennifer Hudson/Beyonce film, but this show retains a high energy and entertainment value to the end.


Hadestown (National Theatre, Olivier)

Reeve Carney and Eva Noblezada. Photo by Helen Maybanks.
Reeve Carney and Eva Noblezada. Photo by Helen Maybanks.

When this musical opened at the National Theatre in mid-November 2018, it was generally welcomed by critics who bought into its fusion of Greek mythology and New Orleans jazz.

With years in the making, and runs in New York and Canada, this has grown from a concept album for Anaïs Mitchell (who wrote book and lyrics, and composed the score which has now been lushly rearranged for a small band by Michael Chorney and Todd Sickafoose) to a fully-fledged musical, bound next for Broadway.

At the top of the show, the band and cast walk on to a richly detailed set, waving “hi” to the audience, who are pulled into the action by a Cab Calloway-like Hermes (played by veteran musical performer André De Shields), who turns on a toothy smile on cue and launches into the first song “On the Road to Hell” which brings the main characters to our notice.

Andre De Shields and the company of Hadestown. Photo by Helen Maybanks.
Andre De Shields and the company of Hadestown. Photo by Helen Maybanks.

Although the songs are memorable, it takes a while for the show to get going, although from the start Eva Noblezada (who was so memorable in Miss Saigon) is in terrific voice as Eurydice, a “hungry girl”, a “little songbird”, who spars with Orpheus (Reeve Carney) before getting sidetracked by the growling, Leonard Cohen-like gravel bass of Patrick Page’s Hades, “king of iron, king of steel”.

The modern setting suits some of the characters – Persephone (Amber Gray), who twenty years earlier might have been the bright and caring young girl we saw on stage in Mythic is now half-sozzled, cynical, and even though she professes to hate the underworld, she still unthinkingly takes her husband’s hand when he arrives early to take her back and to condemn the upper world to months of want and winter.

Amber Gray and the company of Hadestown. Photo by Helen Maybanks.
Amber Gray and the company of Hadestown. Photo by Helen Maybanks.

Orpheus is still a poet, but more of a student strummer, who utilises the melody of the Gods to capture the heart of Eurydice, and to thaw the heart of the stone-flinted Hades. Carney – who has played this role in all productions so far – may have a thin voice at times, but it is tuneful, and his Romeo and Juliet kind of teenage emotional attachment to the ballsy Eurydice convinces.

As well as the main principals, there are the three Fates, the chorus who cajole, condemn and curse the central couple, and a group of hardworking singer-dancers, who populate Hermes’ bar and later, Hades’ sweating workers who “build the wall”. Some reviewers have chosen to take the anthemic song against “our enemies” to reflect the foreign policy of the 45th President of the USA, but the song appears to have come first, and now presents an interesting coincidence.

Eva Noblezada,  Andre De Shields with  Carly Mercedes Dyer, Rosie Fletcher and Gloria Onitiri as The Fates. Photo by Helen Maybanks.
Eva Noblezada, Andre De Shields with Carly Mercedes Dyer, Rosie Fletcher and Gloria Onitiri as The Fates. Photo by Helen Maybanks.

There are moments of pure emotional pleasure – Eurydice’s final descent, Hades and Persephone remembering their first meeting in the garden, the workers trying to be free “if he can do it, so can she, if she can do it, so can we”, Hermes raising his glass to the song with the sad ending, the frenzied dancing to a drum solo, Eurydice leaving her red rose behind (“she called your name but you weren’t listening”), and Page’s depths of earth vocalising.

Andre de Shields and Patrick Page. Photo by Helen Maybanks.
Andre de Shields and Patrick Page. Photo by Helen Maybanks.

After the bows, though, there’s a song “for Orpheus, and all of us”, which is quiet, and sad, and yet uplifting. This is in stark contrast to the spectacle of the triple revolve and the pulsing music which has gone before, and works perfectly.


The Tragedy of King Richard The Second (Almeida Theatre)

The Tragedy of King Richard the Second. Simon Russell Beale as Richard. Photo by Marc Brenner.

This bold and taut new production of the Shakespeare classic is currently running at the Almeida in Islington, and takes inspiration both from the political landscape and playground games where one child comes out the conqueror.

In a cast of eight, Simon Russell Beale adds another major character from the Bard to his portfolio, having previously triumphed as Hamlet, Macbeth, Iago, Prospero, Richard III and Lear. During the show he has water, soil and blood thrown at him, and becomes a pitiful figure in his grief and broken arrogance.

This production is visceral, intimate and intense. The killing of traitorous courtiers is shocking in its speed, leaving the blood literally running down the walls of the sparse plasterboard box which serves as the set. The gardeners who tend Richard’s prison garden turn on him with buckets of earth raining on his head, leaving the king literally lying in the filth that represents how low his star has fallen.

There are numerous character changes with such a small cast – Saskia Reeves, for example, moves from banished Mowbray to cunning sycophant to pleading Duchess. Leo Bill, as Bolingbroke, made me think briefly of David Troughton in the same role for the RSC close to two decades ago: another modern dress production with a weak and piteous Richard, crushed by vanity and ambition, bettered by a strong and centred usurper.

The Tragedy of King Richard the Second. Martins Imhangbe, Leo Bill, Simon Russell Beale, Saskia Reeves, Robin Weaver. Photo by Marc Brenner.

Some textual changes mean the lines within the prison are repeated at both ends of this 1 hour and 40 minute production, and a bold decision is taken to end with the now King Henry’s Holy Land speech dissolving into the giggles the school bully might express after tormenting his victims.

With the cast dressed in casual clothes, the only props the crown of the king and the buckets utilised to drench various characters, the focus is very much on the game of politics, monarchy, and dominance. Joe Hill-Gibbins directs a tight piece which might not always hit the mark, but is never less than interesting.

The Tragedy of King Richard the Second. Simon Russell Beale as the King, and the cast. Photo by Marc Brenner.

To compare Beale’s Richard with others I have seen is instructive – David Tennant was full of pomp and ceremony, Samuel West a lost and petulant little boy. Beale is a bit of both, and his verse speaking is head and shoulders above some of his colleagues here (Joseph Mydell’s John of Gaunt was particularly disappointing in his well-known speech, but yet still gained sympathy is his time of death, pleading for the legacy of his banished son).

This may not be a production I rave about for years, but it is definitely worth a look, and if your pockets don’t stretch to the (admittedly reasonable) Almeida prices, this production shows in NT Live soon.


Sleeping Beauty (Questors, Ealing)

The traditional Christmas pantomime comes to life at the Questors with a sweet princess, a dotty dame in the personage of the Queen, and a hissable villainess as the green witch Caraboose causes havoc.

The formula of tradition – boos, “it’s behind you”, singalongs, and an eclectic and well-curated set of songs – works well.

The children in the cast are a talented bunch and in the principals, a nod needs to be given to old hand Howard Shepherdson as the Queen, Russell Fleet as a magnificent bad girl, and Rory Hobson as the Buttons-like Billy, who leads the audience in song with the old tongue-twisting coffee pot number.

There’s a hint of blue for the grown-ups, a nod to big ticket musicals (the whole castle rises up against the threat to their princess with ‘Do You Hear The People Sing’ from Les Mis, and Aurora greets her prince Orlando with Aladdin’s ‘A Whole New World’), and tributes to variety we’ve lost – the show opens with Ken Dodd’s ‘Happiness’.

Once again this hardworking amateur company have provided the goods for a fun and reasonably priced family show.


Plays and musicals coming up on loureviews in 2019

2019 looks as if it will be another great year for theatre productions!

Here are some I am looking forward to reporting back on:

Musicals

Plays

What are your choices?

 


The Height of the Storm (Wyndham’s)

Florian Zeller’s play The Father (presented, as here, in Christopher Hampton’s translation), addressed the issue of an old man, Andre, suffering from dementia, and the efforts of his daughter Anne to keep the situation as normal as possible.

the-height-of-the-storm-09

Eileen Atkins and Jonathan Pryce

In The Height of the Storm, we again have a central character called Andre with a daughter called Anne.  He (played with sensitivity and flashes of power by Jonathan Pryce) is first encountered looking out of the kitchen window, the night after a storm, and we feel there is a loss pervading the house, somewhere, as Anne (Amanda Drew) talks of estate agents, managing alone, and flowers.

We are therefore somewhat wrongfooted at the appearance of Madeleine (a matter-of-fact Eileen Atkins, the centre of this home), wife to Andre and mother to Anne and to Elise (Anna Madeley), who joins her after a shopping expedition, leading to a flash of exposition about mushrooms, meals, and family togetherness.

Height-Of-The-Storm-Wyndhams-134

Eileen Atkins, Amanda Drew, Jonathan Pryce, and Anna Madeley

Whether we are seeing what is real, or whether one, or both, of the parents have died, we are never quite sure.  Some scenes seem to be running in Andre’s confusion where he imagines his wife has only gone to her vegetable patch while their daughters are grieving for her loss; other times he is a frustrated observer at his own memorial rites.

What is certain is the cornerstone of this half-a-century of marriage, into which even the interpolation of “The Woman” is ultimately meaningless; whether she is a lost love and mother of an unknown child, or whether she is a well-meaning representative of a care home, we are never sure, and even her name becomes mangled in a sequence of similar appellations.

The-Height-of-the-Storm-Jonathan-Pryce-3-cHugo-Glendinning-1-e1539267350252

Jonathan Pryce

Pryce evokes the coming on of Alzheimer’s convincingly, from the stares of fear, the twitching, the repeated gestures, the angry outbursts, the confusion, and the ever-brief glimpses of a fragile lucidity.  Atkins, pursed-lipped and resigned, is the carer and the force to which he clings, and to which her daughters return, even when their presence is resented (the moment she angrily dismisses Anne with the f word is genuinely shocking, and funny).

As in The Father, there is a man who might be one thing, and might be another, and there is an uncomfortable and briefly threatening scene where we can taste the fear in the old man’s gait, and want nothing more than to reassure him that all is well.  Drew – who played Anne in The Father when I watched it – is very good as the elder child who tries to assume control of a situation she cannot understand any more than we can; and Madeley hovers on the sidelines, helpless to intervene or come to terms with her loss.

The last scene, to me, felt very final, as if these ghosts remained bonded in the house they had created, neither really knowing which one wasn’t there any more: perhaps Madeleine’s anecdote about the hotel was the fact no-one wanted to discuss?  What was really on the card with the flowers, and who dropped it?

THOTS-facebook-image

Anyone who has lost someone close will want to see this, and will be intensely moved by the writing and the performances.  Jonathan Kent directs, Anthony Ward designs (and the set brilliantly evokes an ordered mind which has started to disintegrate, with its chair, window, knick knacks, and extensive library), and Lucy Cohu and James Hillier do what they can with small but necessary roles.

This production belongs to Pryce and Atkins, though, who match each other moment by moment, and completely convince throughout.  This rather marvellous, quiet, and short (80 minutes) piece runs at the Wyndham’s until the 1st December.

Photos by Hugo Glendinning.


War Horse (National Theatre, Lyttelton)

As part of the commerations marking the end of the First World War, the acclaimed adaptation of Michael Morpurgo’s novel returns to the National Theatre eleven years after its debut.  War Horse is directed by Marianne Elliott and Tom Morris, adapted by Nick Stafford, designed by Rae Smith, and produced in association with the Handspring Puppet Company.

war horse 1

Young Albert (Thomas Dennis) rears Joey, a part-thoroughbred horse, even persuading him to plough the fields on the farm. His father Ted (Gwilym Lloyd) is a feckless drinker, whose decision to stay home and look after the business in the last war has left him behind his successful brother, Arthur (William Ilkley). His wife (Jo Castleton) has become resigned to her marriage but fiercely protects her son and his interests.

Once war is declared, Ted smells money and sells Joey to the Army for use as a cavalry horse for sympathetic Major Nicholls (Ben Ingles): Albert vows that they will be together again someday, and eventually circumstance forces the sixteen year-old to follow cousin Billy (Jasper William Cartwright) into battle, and thus the fortunes of both man and horse are followed until the day of Armistice.

war horse 2.JPG

By utilising puppetry to bring life to Joey and his fellow battle horse, Topthorn, and to birds, a goose who provides comic diversion in lighter days, and the equine victims of conflict, this production provides an anthropomorphism which stays close to Joey’s narration of the original novel.

His bond with Albert, then Topthorn, and later with the sympathetic German captain Friedrich (Peter Becker) and French girl Emile (Joelle Brabban) is perfectly conveyed, and you quickly forget that these animals are brought to life by gifted puppeteers inhabiting their hearts and hinds.

war horse 3

A sparsley dressed set backed by simple video projection conjures up Albert’s home farm, No Man’s Land, the parade ground, a French village, and a field hospital.  The sound and lighting design, the interludes with the Song Man (Bob Fox), and the acting of Dennis, Becker, Castleton and the sergeant (Jason Furnival) in particular, make this production an emotional rollercoaster, which does not outstay its 165 minute running time, and which treats the memories of serving men and animals in conflict with respect.

I previously saw War Horse during NT Live, in 2014, when it was still running at the New London Theatre.  It was a rather different experience to this one, but still powerful. If you wish to catch War Horse (2018), then you will need to try for Friday Rush or day tickets for the remaining performances (to the 5th January 2019).

After that, the production continues its UK tour, visiting Glasgow, Sunderland, Canterbury, Stoke-on-Trent, then visits Ireland (Dublin) and New Zealand (Auckland).  I wish everyone involved luck for a successful run, and I would urge prospective audiences to go and book for this superb adaptation.

Photo credits: Brinkhoff and Mogenburg.

 

 


Mythic (Charing Cross Theatre)

mythic 4

Daniella Bowen as Demeter. Photo by Marc Brenner.

This bright new musical takes the stories of the Greek Gods and presents them as you might not have seen them before.

Zeus (Tim Oxbrow) is having a party to honour his daughter Athena, and his daughter Aphrodite (Goddess of Love) is doing her best to gain his attention.  What better way than to bring along the sheltered Persephone, daughter of the banished Demeter (Goddess of the Earth) to Olympus?

mythic

Michael Mather as Hades and the cast of Mythic. Photo by Marc Brenner.

Zeus is a strutter but ultimately a coward, and when Aphrodite’s power of love turns Persephone and the dangerous Hades (God of the Dead) to each other, and banishes Persephone to the Underworld, there are choices they all need to make.

In a brisk 80 minutes, seventeen songs contribute to this mainly sung-through musical, in which the twelve cast members all have a chance to shine, but especially Michael Mather (Hades) in his professional debut, Georgie Westall (Persephone), Daniella Bowen (Demeter), and Australian lawyer turned performer Genevieve McCarthy (a Paris Hiltonesque Aphrodite), who are all terrific and give their characters real depth.

mythic 2

Georgie Westall as Persephone and the cast of Mythic. Photo by Marc Brenner.

You don’t need to know your Greek mythology to enjoy this, although if you do you will get an extra kick from seeing the Persephone in the Underworld take unfold, and you might like her positive spin on Charon’s boat trips on the Styx or the gardens of Hell.

The score by Oran Eldor and book/lyrics by Marcus Stevens hits the funny bone while still presenting touching moments around the growing relationship between a teenage girl and her devoted mother (“I don’t always like you, but I always love you”), and the problems of having the need to play favourites (Aphrodite is such a spoilt brat until she is able to see how her powers can be used for good rather than mischief).

mythic 3

Genevieve McCarthy as Aphrodite. Photo by Marc Brenner.

Sarah O’Gleby directs and choreographs, and Chris Ma keeps tight control of a talented musical ensemble.  This has a lot of potential to grow and become a longer show,  but if you want to experience it as it currently is, and to support the company (Ben Lancaster, Ben Welch, Courtney Brogan Smalley, Eloise Davies, Jade Marvin and Jamie Ross fill out the remaining roles), go and see it now.

Mythic continues at the Charing Cross Theatre until the 24th November, and you can book tickets here.

 

 


Twelfth Night (Young Vic)

You will get into the party spirit as soon as you step into the Young Vic Theatre and see the brightly coloured streets of Illyria. A professional cast of eleven are supplemented by a talented and lively community chorus who join in the musical numbers, adding to the general atmosphere of the place.  This is where young Viola finds herself washed up on shore the day the coffin of Olivia’s brother is taken away in a (white) van for his final journey.

20181024_1405236836698412783229474.jpg

View from audience. Photo by Louise Penn.

The bare bones of the Shakespeare original survives in this adaptation, conceived by Kwame Kwei-Armah (who also co-directs with Oskar Eustis) and Shaina Taub (who wrote the music and lyrics for the big numbers). Some of the original verse survives in musical form, notably for Malvolio, while some is modernised into a more contemporary venacular, but without dumbing-down the text. There’s also good use of props including the van, crash barriers, window shades and confetti showers.

Viola (Gabrielle Brooks, who is excellent in her borrowed clothes and spectacles as the confused Cesario, displaying assumed masculinity as well as a growing feminine maturity) seeks employment with the Duke Orsino (Rupert Young), who conveniently lives next to a pub called ‘The Duke of Illyria’. He is enamoured of the frosty Olivia (Natalie Dew, who exudes a frustrated sexiness), who lives in mourning with her maid Maria (Gbemisola Ikumelo). Maria in turn lusts after the bawdy and boozy Sir Toby Belch (a menacing Martyn Ellis), uncle to Olivia; Olivia falls for the young ‘Cesario’; and Olivia’s hand is also sought by Welsh sot Sir Andrew Aguecheek (Silas Wyatt-Barke).

As if all the confusion is not bad enough, Viola has a brother who unbeknownsed to her, did not drown on their fated voyage. This Sebastian (Jyuddah Jaymes) was rescued by fugitive from justice Antonio (Jonathan Livingstone), who has an infatuation for his young friend. If you can believe that a boy and girl born as twins can be identical, you can see the mischief this play will bring, but the adaptation also plays with gender identity in musical numbers about ‘disguise being the devil’, about ‘what kind of man are you’, and in Feste’s lament while Orsino and ‘Cesario’ struggle with their feelings for each other, ‘is this not love>?’ – Melissa Allan, incidentally, makes a memorable Feste and adds to the gender-reversal in view.

© JOHAN PERSSON

Viola, Orsino and Feste. Photo by Johan Persson.

Finally, Olivia’s steward Malvolio (Gerard Carey) has inflated delusions of grandeur, and he also gets a big top hat dance number, and the chance to look truly ridiculous in hideous yellow lycra. His vanity and assumption that his is an undeniable attraction to his mistress makes for the high points of the play, although his final exit is somewhat dampened by an almost genuine ‘I hope you will all be very happy’. Still, to see the character on a Segway, doing a big production number about ‘greatness’, and providing a truly farcical take on the letter scene which becomes almost piteous by the exchange about a light with Feste, is worth the admission price alone.

twelfth_night

Malvolio. Photo by Johan Persson.

All is well by the end of proceedings in the town of Illyria, with three married couples, two sisters, reunited twins, and a lively closing number. ‘The word on the street’ is that this musical reboot of the Bard is quite a success.

twelfth night 3

Twelfth Night runs at the Young Vic until the 17th November 2018. Buy your tickets here.

You can listen to the cast recording of the production which ran in New York in 2016 here.


The Wider Earth (Natural History Museum)

yyTZMlqQ 3

Marcello Cruz and Bradley Foster. Photo credit Mark Douet.

Last month I was lucky enough to be invited to a pre-preview of some scenes from The Wider Earth, together with a Q&A with the cast and a chance to meet some of the amazing puppets from the Dead Puppet Society up close.

Now the production is fully open, and I’ve been invited back to report on the finished article.  The Jerwood Gallery at the Natural History Museum has been turned into a theatre which seats roughly 300 people in a mix of floor and raised seating, and the rotating set we saw in previews has now been augmented by lighting, a backdrop for animation, and an immersive soundscape.

3s8U74Ew 2.jpeg

Bradley Foster. Photo credit Mark Douet.

David Morton’s play has previously played in Australia, following periods of mentoring  in Cape Town with Handspring (creators of the puppets used in War Horse), and further planning in New York.  There is a cast of seven and a number of puppets with personality – including an iguana, butterflies, birds (small and large), fish, armadillos, a duck-billed platypus, and two large Galapagos tortoises.

Bradley Foster, as the young Charles Darwin leaving the chance of theological study behind to join a round-the-world voyage on HMS Beagle, is the only member of the cast who doesn’t have puppeteer duties; the rest (some of which have previous experience in the area) do well in making these curious creatures come to life.  It’s also his first leading role and he does well in portraying the young man who grows in knowledge and understanding as he sails.

As we move from Cambridge, where Darwin makes a friend of the Professor (Andrew Bridgmont) who can see his quality and inspires his curiosity, to the Manor where Darwin senior (Ian Houghton) only sees the priesthood as destination for his wayward child, the hill where Darwin promises fidelity and marriage to his beloved Emma (Melissa Vaughan), and onto the ship, we watch as sketches build the landscape behind the stage.

TBkPS93w 4

Melissa Vaughan, Andrew Bridgmont, Matt Tait, Bradley Foster, Ian Houghton, Jack Parry-Jones. Photo credit Mark Douet.

Once on the voyage, captained by the religious and constrained FitzRoy (Jack Parry-Jones), Darwin starts to gain a new understanding of the world around him and the power of nature, as each island landing brings new creatures to study, with their modifications to suit their landscape.  The Revd Matthews (also Houghton), who is on a mission back to Tierra del Fuego to bring Christianity to the “savages”, sees only the power of the Lord, and Jemmy (Marcello Cruz), bought and paid for, only sees a need for returning to his home.  John Clements Wickham (Matt Tait), the second in command on the ship, attempts to be a voice of reason between opposing factions.

The Wider Earth does not assume to give answers about the power of creation, but sows the seeds for the lifetime work Charles Darwin undertook after stepping back on British soil after his five years on the HMS Beagle.  His theories of evolution and of natural selection started by studying beetles, rocks and fauna of unfamiliar terrains, but his account of his work on the Beagle brought him fame and attention.

WzuYVf3w 1.jpeg

Cast of The Wider Earth. Photo credit Mark Douet.

If I had a small quibble about this show, it is that just occasionally the sound piped through speakers around the Gallery overpower the actors on stage, but this only affects a couple of scenes, and I don’t think anything of the sense of the production is lost.  The puppets can be clearly seen and appreciated due to clever lighting and the gifted manipulation of their cast operators, and the story is interesting and easily understandable, even to younger audience members (10 and above).

The programme (£7) is full of information on the genesis of The Wider Earth, and the journey it has taken so far.  David Morton skillfully directs his own work, and the music by Lior and Tony Buchen fits in with the nature theme without feeling superfluous or inappropriate.

The Wider Earth runs at the Natural History Museum until the 30 December 2018; you can purchase tickets here.


Company (Gielgud Theatre)

This reimagining of Stephen Sondheim’s classic musical about a 35-year old man, Bobby, who juggles freedom with the wish of his married friends that he finds a lasting romance, makes Bobby become Bobbie, a woman dealing with the same preoccupations.

company 1

Rosalie Craig’s Bobbie now has three boyfriends (Theo, Andy and P.J.) who have the trio You Could Drive A Person Crazy in Act One. Of the five couples who interfere with her life in the name of friendship, one are a gay couple planning their wedding, leading to the hilarity of Getting Married Today where a neurotic “Jamie” (Jonathan Bailey) panics about whether dependable Paul (Alex Gaumond) is the right man for him.

Sarah and Harry (Mel Giedroyc and Gavin Spokes) constantly belittle each other, but in here there is love, too, as Harry explains in one of the great songs of the score, Sorry/Grateful, joined by David and Larry. Sarah is perhaps borderline bulimic, and Harry is a drunk, but their marriage can stand it because “everything’s different, nothing’s changed, only maybe slightly rearranged”.

Susan and Peter (Daisy Maywood and Ashley Campbell) find they are far better divorced than married; while Joanne and Larry (Patti LuPone and Ben Lewis) keep going as she is irritated by him and he is fascinated by her. In the original show, Joanne propositions Bobby, but here she offers her husband to Bobbie under a sugar daddy arrangement, which didn’t work in the same way for me.

company 2

Patti LuPone as Joanne

Jenny and David (Jennifer Saayeng and Richard Henders) are square and settled, and humour Bobbie by smoking the joint she offers them, clearly signalling they are grown up enough to move on from all that, and she isn’t.

Bobbie wears killer red heels throughout, and we see her being used by geeky Theo (Matthew Seadon-Young), who decides she isn’t marriage material, and by self-obsessed P.J. (George Blagden), who sees the universe revolving around him (Another Hundred People) rather than making any meaningful connection with others.

A night with dumb Andy (Richard Fleeshman) – formerly April the air stewardess – who has to fly off to Barcelona gives rise to a couple of surreal scenes, with the husbands of Bobbie’s friends visiting her bedroom while she is in coitus, and a dream sequence of many mirrored Bobbies and what could happen if she marries any of her three boyfriends.

The set is excellent, starting with a small lightbox that grows into a line of interconnected rooms, and some use of a box which rises from and sinks below stage level. Bobbie’s birthday balloons, too, become as small as in Alice in Wonderland, or are large as to be suffocating.

company 3

Gavin Spokes as Harry, Rosalie Craig as Bobbie, Mel Giedroyc as Sarah

The songs do not survive the transformation intact: I was particularly sorry to lose the original, poignant lyrics of Someone Is Waiting, an Act One solo for Bobbie who considers how a combination of her friends may make the perfect mate for her. The same problem hampers Getting Married Today and Barcelona (mistaking Andy’s name for Freddy instead of April’s for June is not quite as funny).

There are compensations, though. Patti LuPone’s The Ladies Who Lunch lives up to expectations, Rosalie Craig’s Being Alive, which closes the show, is moving and effective, and the ensemble number Side by Side is livened up by a farcical bit of movement work.

I can’t get on board with the praise that has been lavished on this production to the point that “the original may never be done again”.

It’s an interesting experiment, and Marianne Elliott is to be congratulated on making it such fun and relevant to middle-aged women (and Sondheim himself for allowing and facilitating the changes to his exquisitely crafted songs), but for me, it didn’t quite come off.

company 4

This remains my favourite Sondheim from a songs alone point of view, but I find that Follies, A Little Night Music, and Sweeney Todd all have a more coherent storyline. Company remains extremely cynical about relationships, and where for a man the concept of Have I Got a Girl [Guy] For You seemed acceptable laddish banter, when sung by women to another woman it just seems a bit sad.

Photograph credit: Brinkhoff/Mögenburg.

Company continues at the Gielgud Theatre.


Wise Children (Old Vic)

Stage view from the audience

I remember reading Angela Carter’s novel about the dancing girls ‘The Lucky Chances’, Nora and Dora, a few years ago and was very intrigued to see how it would be adapted.

I know Emma Rice’s work from her two decades at Kneehigh, including their production of another Carter work, Nights at the Circus, which I saw in Leeds in 2006.

I knew from this it was definitely possible for Wise Children to be adapted effectively. Rice now leads her new company, also entitled Wise Children, but this initial show – which has its press night on the 17 October – has a familiar feel and the creative flair we have come to expect.

Doras, Noras, Grandma and Lady Atalanta at home

When we meet Dora Chance, on her 75th birthday, just five minutes older than her sister Nora, she – played by Gareth Snook – tells us about their home before a party invitation arrives from the great actor Sir Melchior Hazard, their father, now a hundred years old but he has never acknowledged them.

In planning for the party we see the twins’ history played out for us from conception to toddling tappers, from puberty and first love, from disappointments to butterflies.

Young Dora, Grandma, Young Nora

This is a piece of dark, honest drama with period songs, a heavy dose of magical realism, and disturbing undertones. The book actually went a step further with obsession and implied incest, but this show tiptoes around that to some extent.

We meet the twins portrayed through three sets of actors, and casting is gender neutral with the teenage Nora and elderly Dora both played by men. Sometimes more than one set are on stage at once, which is effective and emotionally engaging.

Rehearsal footage with Young Dora and Young Nora

The Chance girls are brought up by their dead mother’s landlady, ‘Grandma’, and are taken care of by their father’s freewheeling brother Perry, who spends money on them but a strange relationship with both is implied, and there are long absences when he isn’t around.

Melchior, now married with frightful ginger twins of his own, reveres them but treats his older girls are curiosities only. Once they have moved from end of the pier jobs with Max Miller-lite comic Gorgeous George, they join their father in Shakespeare, but does he want them for themselves or for their odd dance-strip routine?

Nora grows to be an outwardly confident glamourpuss, sleeping around and hiding her feelings, while Dora stays in the background. They share a boyfriend, gifted to Dora by Nora when they hit eighteen, and continue to live as two halves of the same coin.

A toy theatre, faulty light bulbs, a caravan, orange scarves, an animated flight across London, and doubled up casting helps pull out the shady glamour of the footlights and the misunderstandings of family, sex and secrets.

This adaptation is joyous, always interesting, and even with a few remaining fluffs, mistakes and longuers which will probably be gone by press night, this is a stunning gem of a show with a hard working ensemble and an accomplished distellation of a complex book.

Many characters have been snipped and storylines slightly altered, but from the time we meet the Chances as puppet dolls through to old age, as they get – and miss – their own chances and where the living ultimately walk among the dead, we are walking with them.

Gareth Snook is surprisingly tender as the ageing Dora, and Omari Douglas is fantastic as the tarty mid-period showgirl Nora. Melissa James (showgirl Dora) and Etta Murfitt (elderly Nora) may be less showy, but it is interesting to follow the trajectory of these girls/women as their lives evolve.

Long-time Rice collaborator Mike Shepherd does well in a variety of roles, ultimately becoming the older Perry, and you can almost imagine young Sam Archer who plays Perry in his prime may have ended up this way; less convincing is the transformation of Ankur Bahl as Melchoir into Paul Hunter, who previously mimicked those smutty Miller jokes.

Mike Shepherd in rehearsal

Patrycja Kujawska is excellent as both Lady Atalanta and the boy shared by the growing twins; Katy Owen is a domineering Grandma with a soft heart, a lot of pride, and a fondness for stout, and it is fun to see the acting of Bettrys Jones and Mirabelle Gremaud as the young twins Dora and Nora, such a contrast to the dreadful Imogen and Saskia.

Playing out after curtain call with ‘My Heart Belongs To Daddy’ underlines the clever use of songs throughout – not simply the period pieces but also work by Louis Jordan and Cyndi Lauper. The greaseprint is thick but it can’t cover the cracks.

Well done to the company for hitting the sexual complexities of this novel, and in making a moment or two genuinely shocking even when the story paints a smile.

Wise Children is a special show which is well worth your time with sparkles, grotty dressing rooms, mirrors and a little bit of ‘Electric Avenue’. You will go out with a song in your heart and a tear in your eye.

Rehearsal photos by Steve Tanner. Production photos from the Old Vic Twitter account.


Eugenius (The Other Palace)

eugenius 2

This frenetic new musical from Ben Adams and Chris Wilkins takes its inspiration from comic books, 80s music and TV, and the perils of both childhood and Hollywood.

It makes a triumphant return to The Other Palace in advance of a well-deserved transfer to the Ambassadors Theatre in the West End at the end of October. (Update – as of 11 October this is no longer happening).

Eugenius tells the story of Eugene (Rob Houchen), a self-described geek who lives with his father and spends his spare time creating the story of Tough Man, Super Hot Lady, and the Evil Lord Hector.

His friends Janey (Laura Baldwin, previously on stage at The Other Palace in Big Fish) and Feris (Daniel Buckley, very funny) are equally viewed as odd by their peers: she has a secret crush on Eugene but he doesn’t seem to know it, and Feris is so consumed by teenage sexual fantasies he even laminates the comics he reads.

eugenius1

Feris tries to impress the cool gang at school.

When a Hollywood producer’s lackey, Theo (Scott Paige, enjoyably camp) makes a trip into Eugene’s school to look for new ideas, Tough Man is pitched and then within a flash, taken to the city of dreams to be made into a film for Powermad Productions under the direction of Lex Hogan (Alex Bourne).

The trouble is, Hogan’s vision for the story leans more towards fish people and spandex airheads than the tale invisaged by young Eugene.

There’s another problem, too. Evil Lord Hector (Neil McDermott, EastEnders actor turned stage bad boy) is somehow not a product of Eugene’s imagination, but he’s real and after heading through space for years with only a perpetually cheery robot by his side (Kevin, voiced at the performance I saw by Mark Hamill), sees the film in progress and misidentifies the doltish actor Gerhard (Simon Thomas) as the real Tough Man.

eugenius 4

Super Hot Lady, Evil Lord Hector, Tough Man – photo by Scott Rylander

Hector channels a fair bit of Rik Mayall in The Young Ones, while the actor playing the film Hector may just be based just a little on Laurence Olivier, but once the evil one lands on Earth he causes havoc for Hogan’s production.

Carrie, the actress playing Super Hot Lady (Emily Tierney, who has a knock-out dance number), almost falls for the adolescent pimply charms of the portly Feris, while Eugene learns that what’s most important in his life isn’t necessarily the need to “kiss ass”.

eugenius 3

The company of Eugenius

This hard-working company are flat out in fast-paced dance routines, but also give some love and heart to the most proposterous of characters.

It’s hard to single out any one member of the cast but apart from the main principals, I’d like to give a nod to Dillon Scott-Lewis who is a lithe and energetic dancer, and to Tom Senior’s Shock Jock.

The remainder of the cast are Christopher Ragland, Titus Rowe, Laurence Alex Tranter, Ben Darcy, Lauren Cancannon, Amy West, Sasha Wareham, and Alison Arnopp (Space Diva). And not to forget “the voice of Brian Blessed”, which is used to good effect.

With fun songs, audience participation, and silly cultural references, this show is a hard one to dislike. It has bags of heart and soul, and a vibrant message to all those grappling with growing up and life’s ambitions: “don’t shoot for the stars: shoot higher”.

Update: on 11th October it was announced that Eugenius will NOT be transferring to the West End due to the “withdrawal of a key investor”.


Wasted (Southwark Playhouse)

I’m rather late to the party as Wasted closes tonight, the new rock musical about the Brontë siblings, who lived in the desolate moorland of Haworth, growing as creative forces who became – the three surviving sisters, anyway – novelists who are still talked about nowadays, women who wrote about topics such as obsession, adultery, and domestic violence which were considered unfeminine in the 19th century.

20181006_1423158002294255023850814.jpg

We first meet Charlotte (Natasha Barnes) in 1855, in the last year of her life, introducing herself as “Mrs Arthur Nicholls, also Currer Bell, and Charlotte Brontë”, and carrying the child whose birth will kill her and itself.  Nicholls had long been the curate of Dr Patrick Brontë, parson and father of Charlotte and her sisters – Maria and Elizabeth, who died young, Emily (Siobhan Athwal) and Anne (Molly Lynch) – and her brother, Branwell (Matthew Jacobs Morgan).

The four surviving Brontë children are desperate to escape the stifling world of the parsonage and the bleak surroundings (Stuck in Haworth), and retreat into development of private worlds, which they document obsessively in mini-magazines.  Their refrain “We have to work, but we want to write” leads to their finding jobs away from home in young adulthood: while Branwell still dreams of being “a painter … a writer … a flautist … something” (I Am Gonna Be …), his sisters become teachers (Charlotte and Emily go to Brussels) and a governess (Anne goes to Thorpe Hall, near York).

The events at these places of work will inform the later work of Charlotte, who based her novel Villette (not her first to be rejected, as Wasted says: that was The Professor) on her infatuation with schoolmaster M Heger; and Anne, who turned her experience into her novel Agnes Grey.  Branwell joins Anne at Thorpe Hall and starts an affair with the lady of the house, and her eventual rejection of him turns him to drink and drugs (Laudanum My Love), which eventually hasten his death in 1848, shortly before sisters Emily, then Anne, die of consumption.

20181006_1915382592412985407354812.jpg

Emily, Anne, Branwell and Charlotte

This sequence of events, plus the development of all three sisters into gifted poets, then accomplished novelists, as the “Three Bells” (Currer, Ellis and Acton), is presented within the structure of a rock musical which manages to be clever, witty, inspired, and heartbreaking.  In the music of Christopher Ash and the lyrics of Carl Miller the story of the family is brought to life, including the infamous and dismissive letter from Robert Southey to Charlotte, Emily’s love for walks with her dog (a clever use of beatboxing to invoke the pup in My Soulmate), and Branwell’s sense of being invisible alongside his sister.

bronte

Branwell painted himself out of his painting of his three sisters

With twenty-seven songs (including two variations and one reprise) across three and a half hours, there is bound to be an element of hit and miss, but for me this was simply a matter of audibility of lyrics in a couple of the heavier songs. The score is mainly sharp and varied, and the choreography is well-done, as is the use of microphone cables, paper, speakers, and metal cases as props.  We are really looking at a bare wooden thrust stage with four performers, and a four person band at the back, but it becomes alive with activity, plot and performance.

However some songs – White Violets (a duet between Charlotte and Branwell, where they both contemplate finding first love), No-One to Marry for Miles (a witty song for Anne to bemoan the lack of eligible chaps in Yorkshire), (Ex)ordinary Woman (a powerhouse number for Charlotte and her sisters to showcase their heroines and feminist stories), Before My Time (a bit of fun for Goth Emily) and The Story of Mrs Collins (an eventual rock-out number for Anne about a woman who surely inspired her novel The Tenant of Wildfell Hall) – stand out and are memorable in their own right.

Barnes is the stand-out performer, with an enviable set of pipes and a good grasp of the elder sister who watches, grieves, and eventually “wastes” her life on marriage to the dull curate (“the wrong one”, as her siblings remind her, referring to the choice facing her creation, Jane Eyre).  Athwal may overdo the eye-rolling and wildness of Emily, but she is tempered by the mild Lynch’s Anne.

Branwell may get the worst of the bargain here, being described in the programme as the “Pete Best” of his Beatles family.  That Morgan makes him likeable even when mimicking an injection of drugs, or in attempting to silence his sisters as he is the “genius” of the family shows a gift in acting, although dismissing the Brontë brothers as “talentless” and his work as “crap” feels unnecessarily cruel.

An excellent and thought-provoking new musical, nevertheless.

 


Antony and Cleopatra (National Theatre, Olivier)

Simon Godwin’s epic new production of the Shakespeare play of love between the Roman warrior Mark Antony and the Egyptian queen Cleopatra takes up residence at the National Theatre with Ralph Fiennes and Sophie Okonedo as the ill-fated, middle-aged lovers.

ntaandc2018jp_10824

Ralph Fiennes and Sophie Okonedo – photo by Johan Persson

We first find the vain Cleopatra by her opulent pool, with her handmaidens Charmian (Gloria Obiyano) and Iras (Georgia Landers).  She is hot for the soldier who is torn by his passion for her and his duty at home, where his wife Flavia has caused division and dissent before her death.

His decision to leave seems to be an act of bravado to impress his ‘Egypt’ rather than anything in supplication to the ambitious Caesar (Tunji Kasim) and the drunken Lepidus (Nicholas Le Provost), with whom he forms a triumvirate of power.

As is usual with the Bard, events are telescoped into shorter timelines: this period of time lasted ten years in historical record.  Antony, newly widowed, marries Caesar’s ambitious sister, Octavia (Hannah Morrish), and settles into the power he will eventually ditch to return to the bosom of Cleopatra, making her Empress to his over-reaching ego.

tunji_kasim_hannah_morrish_in_antony_cleopatra

Tunji Kasim and Hannah Morrish – photo by Johan Persson

The best supporting perfomances come from Tim McMullan (the loyal Enobarbus), Katy Stephens (a gender-swapped Agrippa), Fisayo Akinade (Eros, who excels in one amusing scene as a messenger and is tragic at his final hour) and Nick Sampson (schoolmaster Euphronius), although, for a change, most of the cast demonstrate an affinity with the blank verse and its meaning.

The sets by Hildegard Bechtler take full advantage of the Olivier’s revolve, with at least five changes including scenes which have characters rising and lowering into the depths of the drum; while the music by Michael Bruce and lighting by Tim Lutkin do much to give the sense of court opulence and the grime and ritual of the battlefield.

One fatal flaw for me, though, was the jarring change of pace when Antony’s final moments were played for laughs, which left the final act a sadly unmoving experience, despite the presence of the real snake and the dignity of Cleopatra’s exit on her monument.

sophie_okonedo_in_antony_cleopatra2.jpg

Sophie Okonedo – photo by Johan Persson

Watch for the scope and scale of this project, and for the chemistry (and age-appropriateness) of Fiennes and Okonedo, who are glorious together, but also enjoy the small moments and performances which can fill out a play of this length – three hours and thirty minutes, which flies past.

 

 


Hayley Sprout

The Blog Where It Happens.

Jeremy Butterfield Editorial

Making words work for you

Tipping My Fedora

Enjoying mystery, crime and suspense in all media

escapingperfection

Because no ones life is as great as it seems is it?

%d bloggers like this: