THE COLOR PURPLE

The Color Purple

Menier Chocolate Factory

Southwark, London

Wednesday 31st July 2013

The buzz surrounding the Menier Chocolate Factory's production of this Broadway piece, in it's European premiere, has put the little Southwark venue on the map this Summer.  One of the hottest tickets in town, the run has sold out with overwhelmingly positive feedback from audiences, despite the occasionally lukewarm critical attention. 

And it is not difficult to see why. Anyone familiar with the heartbreaking tale of young Celie from the original novel or subsequent film version would be expecting a moving evening, but the sheer power of the performances in this exquisitely directed version surpass even the highest of expectations.  The stripped back, elementary style of the characterisations in this adaptation may seem overly sentimental to some, but the strength of the cast draws the audience in and encourages an open heart and free flowing tears.

The intimacy of the venue engages the audience immediately in the glorious gospel style opening and lends itself throughout to the raw intensity of the story and the familiarity built with the endearing lead character.  The set is bare but for a series of wooden chairs hung from the wall, used throughout the action as needed, leaving plenty of space for the energetic performances.  

In many ways this is an ensemble piece, with the group numbers filling the room with a rousing and dynamic sound, but the individual characterisations are also given compelling interpretations.  Celie's tyrant of a husband is played by Christopher Colquhoun with truly villainous intensity, Nicola Hughes is a classy powerhouse in her portrayal of the love of Celie's life, Shug Avery, and Abiona Omonua is a reliable constant as her sister Nettie.  It is, however, the career defining performance of the petite superstar that is Cynthia Erivo - as the tortured yet resolutely optimistic Celie - that gives this production its spine-tingling weight.  Her voice is breathtaking and she understands and embodies her character with innocence, honesty and utter charm.

I cried along with the vast majority of the rest of the audience and certainly jumped to my feet with them at the end too.  I whole heartedly recommend the Menier as an irresistible venue, and this production will certainly be one of my highlights of the summer.  

THE SOUND OF MUSIC

 

 

 

The Sound of Music

Regent's Park Open Air Theatre

Regent's Park, London

Saturday 27th July 2013

 

 

It is difficult to believe that there is anyone in the world who hasn't seen The Sound of Music in all of its Julie Andrews twirling, Saltzburg glamorising, high-on-a-hill yodelling, film version glory.  No matter how familiar however, there is more than just the additional couple of songs that make the stage musical version feel like a fresh, exciting and almost new experience.  Put that stage version on the Regent's Park Open Air Theatre stage on a bright summer's afternoon, fill the cast with talented and energetic performers and speckle the audience with some awestruck children at their first live show, and once again we experience a couple of hours of magic in the middle of one of London's busiest parks. 

The set is necessarily sparse and cleverly multi-functional; the central double doorway changing from curtained french doors, to an oak panelled hallway, to the abbey's iron gates.  Along with a few items of furniture, these small changes transform the set and easily send our imaginations to the various locations with entirely seamless transitions.  The moat is also a charming addition, allowing the children to make a fun-filled entrance on their return from play with the splashes a welcome side effect for those in the front row under the scorching heat. 

Maria is played with utter charm, compelling energy and a beautiful voice by a glorious Charlotte Wakefield.  Her characterisation is ideal, portraying the youthful innocence, headstrong will and conflicted love all with equal passion.  Her stubborn, strong and gorgeous Captain Von Trapp is given an excellent interpretation by Michael Xavier.  Younger than a traditional casting he carried the role of experienced naval Captain with strength and ease.  The classic "Climb Ev'ry Mountain" is sung with breathtaking power by Helen Hobson as Mother Abbess, bringing a tear to the eye, and the two songs not from the film are performed in an entertaining partnership by the two Viennese visitors, Caroline Keiff as Elsa Schraeder and Michael Matus as "Uncle" Max. 

As ever with this show it is the casting of the Von Trapp children that will make or break the production, and at this performance Regent's Park have offered up a show-stealing group.  Among the faultless septet of siblings particular note must go to Isabelle Allen - one of the most recognisable little faces of last year having starred as young Cosette in the Les Misérables film - who gave an honest and utterly charming portrayal of the opinionated Brigitta. 

Despite the forecasted storms we managed to remain almost entirely dry - if actually a little sun scorched - and were once again reminded that the unique experience of such high quality productions in the middle of one of London's busiest parks is deserving of being on every summer visitor's to-do list.  Magnificent. 

MISS SAIGON - SCHOOL EDITION

Miss Saigon - School Edition

Tomorrow's Talent

Civic Theatre, Chelmsford

Friday 19th July 2013

With a West End revival on the horizon, 14 years after the closing of a 4000 show run at the Theatre Royal Drury Lane, Miss Saigon makes it's Essex debut with the slightly truncated School Edition in this ambitious production by the enterprising Tomorrow's Talent.  Based on Puccini's Madame Butterfly and written by Schönberg and Boublil, who brought us the phenomenon that is Les Misérables, the story follows a tragic romance set during the Vietnam war between an American GI and a local beauty.  

The set pieces for this impressive scale show made excellent use of the Civic stage, creatively framing some wonderful images.  Red flags and Ho Chi Minh banners, girls in cages, the crowds at the embassy gates and, of course, the impressively realised helicopter.  Having members of the company assist with performing the set changes should achieve a fluid continuation of the piece, the execution of which is especially important in a sung-through musical.  There were a few examples in this performance where this was not quite the case and sets were still being put together as a number began, lighting unsure when to come up, late mic cues missing the start of a lyric, leaving the overall result somewhat untidy.  To their commendation the performers were largely unfazed by this and the excellent musical accompaniment, (MD Mark Sellar, conducted by Patrick Tucker) helped to carry the pace and fluency so as never to disrupt the storytelling.

Excellent use was made of the huge ensemble in the company numbers, most notably the opening "The Heat is On in Saigon", the militaristic "The Morning of the Dragon" which also included some spectacular acrobatics, and the beautiful "Bui-Doi" at the top of Act 2.  Director and school Principal Gavin Wilkinson knows how to get the absolute best from his talented students, and the hand of his guidance and experience can be felt in every scene.

Such is the extent of the talent available, the enormous musical and emotional undertaking that his the lead role of Vietnamese bar girl Kim was split between two young actresses, each performing twice in this run of four shows.  This Friday night performance saw Laura Messin undertake the challenge, and utterly excel in doing so.  Her beautiful voice soared across the packed house with an emotional depth that belied her years, ranging from meek immaturity through unswerving love and optimism to selfless desperation.  A spectacular performance that deserved the swell of appreciation from the audience who were on their feet for her by the curtain.  Her GI lover Chris was played with strength and maturity by a composed Bart Lambert, completely convincing in his emotional conflict.  The silky smooth and stunningly powerful voice of Ollie Fox was brought to the role of John, a sincere characterisation played with sober integrity.  Ellen, another dual casting, was given an earnest portrayal by Emma Bennett in this performance who shone in her intense hotel meeting with Kim, Jessica Moore brought a raw intensity to Gigi, and James Murphy was a strong and assured Thuy.  A final dual casting opportunity for the wonderful role of The Engineer, which in this performance was given an almost show stealing interpretation by a magnificent Joshua Butcher.  Captivatingly entertaining, his impudent, brassy study of the Vietnamese pimp was a welcome addition to the intense drama of the piece, managing to provide both a light relief in his characterisation while also portraying the selfish, conniving, egotistical traits of this abhorrent character.

Tomorrow's Talent have achieved a wonder.  To even attempt this epic show is an enormous undertaking, but to pull it off with such impressive, moving results is an accomplishment that cannot be understated.  Praise across the board for all the hard work that every member of the company, both on and off stage, have put in to this production and best wishes to all of the departing seniors as they take up well deserved places at an array of universities and drama schools.

THE CRIPPLE OF INISHMAAN

The Cripple of Inishmaan

Michael Grandage Company

Noel Coward Theatre

Wednesday 10th July 2013

On the tiny islands around the Irish coast, in a miniature village where everyone knows your name and your business, it is a tough enough place to live for any young man of ambition.  However, if the young man in question also suffers from a physical birth defect and is referred to by all as "Cripple Billy", the difficulties swell to desperate proportions.  The temptation of a Hollywood film company filming just across the water is one too exciting to ignore. Couple this premise with a witty script and a cast of larger-than-life Irish locals, the result is a play fit for the glorious Michael Grandage Company to revive this summer.

The atmosphere of rural Ireland is brought to life with help from the slick revolving set, the shop stocked high with tins of peas, Babbybobby's boat stowed in the dock, Mammy's bedroom dank and gloomy.  It is the characters that inhabit this close-knit community however that truly bring it into being.  Marvellous characterisations are displayed across the board with very strong, flawless accents to add another layer of authenticity to the location.

 

Ingrid Craigie and Gillian Hanna, as Aunts Kate and Eileen respectively, are wonderfully eccentric as the sister shopkeepers.  As Billy's guardians they fuss over him with clear affection, but it is the hilarious, though not insensitive, dealing with one sister's mental decline while the other hoards confectionery where the characters really come into their own.  Accomplished and hugely entertaining performances.  Strong support too from Pádraic Delaney as the quietly strong presence that is Babbybobby, Pat Shortt as nosey protector of the gossip Johnnypateenmike, and June Watson as the ever pickled Mammy. 

 

The published star however absolutely does his bit to meet the considerable expectations of his hoards of fans.  Daniel Radcliffe plays the heartbreaking role of Billy with fresh innocence, inspiring determination and lithe physicality, maintaining the character's severe disability without a flinch.  He is undoubtedly the star of the show and steals the audience's hearts immediately, willing him on towards stardom, love and health throughout the highs and lows of his tragic life.  With comedy surrounding much of the rest of the play, the fateful central plot of Billy's story is made all the more painful for the charm of his character.

A beautiful play brought back from it's conception at the National into the capable hands of the Grandage company with worthy success. 

 

OTHELLO

Othello

National Theatre

Olivier Theatre, London

Friday 5th July 2013

Shakespeare's Othello is an intense study of the psychology of envy and ambition.  General Othello is flanked by his ensign Iago, recently promoted Lieutenant Cassio and new wife Desdemona.  Iago feels he deserves Cassio's promotion and the development of the plot - through horror, madness and inevitable bloodshed - essentially stems from this original snub.  

This utterly spellbinding production brings the action into a modern setting; an oak lined Government boardroom in Venice making way for concrete jungles and camouflaged soldiers on the Maltese front, strip lighting and metal cabinets giving an institutional feel to the offices and mess room.

Othello, the Moor of Venice, is played with captivating presence and strength by Adrian Lester.  His style is earnest and he gives a heart wrenching performance of the character's emotional decline as the lies designed by Iago begin to take root and turn him against his loving wife.  Desdemona herself is played by Olivia Vinall with grace and a breezy trusting innocence.  Her sudden and shockingly dramatic descent is arguably one of Shakespeare's most tragic - a brutal murder of a total innocent at the hands of the one she loves most - and this excellent performance is completely devastating.  Jonathan Bailey plays the doomed lieutenant Cassio with an easy likability, a comedic lightheartedness from a hapless Rodrigo by Tom Robertson and quiet composure from an elegant Lyndsey Marshal as Emilia, which makes her final burst of passion all the more powerful.  

Despite the title of this play, the greater line count, plot puppeteering and in this production complete mastery of performance all belong to Iago.  Rory Kinnear is fast becoming one of my favourite actors and this performance is a complete tour de force.  The ability to characterise a vile, hateful murderer with such grave intensity whilst holding the audience in the palm of his hand and somehow convincing us to empathise, laugh and even root for him, is a skill set that makes this production the breathtaking piece of theatre that it most certainly is.  Reminiscent of Mark Rylance's wondrous Richard III last year, and worthy of the comparison, Kinnear is a complete privilege to watch.

MACBETH

 

Macbeth

Shakespeare's Globe

Globe Theatre, London

Tuesday 2nd July 2013

This third Globe production of one of Shakespeare's most performed scripts takes direction from it's first Lady Macbeth, Eve Best, who marks her directorial debut with this unusual take on the dark Scottish play. 

Olly Fox's rousing composition underscores the opening and remains one of the best elements of the overall production.  With drumming to get the heart pounding and a final fiddle solo that chills to the bone, the music in this piece inspires just the right tone of foreboding.

The direction overall looks hard for, and makes the most of, the moments for comic exploration in the piece.  The prolonged hysterics from Macbeth and Banquo at their first meeting with the Weird Sisters worked well; at this point the characters are without the relative burden of ambition for foreseen rewards.  However to still be exploiting laughs from the dinner table scene at the arrival of Banquo's ghost somewhat spoils the gravitas of that moment, and the poignancy of Macbeth's emotional and mental decline to that point.  Joseph Millson's Macbeth felt somewhat stilted by this unusual interpretation, his characterisation wide-eyed and frantic, seeming to lose control and letting his fate unravel by chance rather than through a focus of ambition.  His Lady Macbeth, the dynamo that is Samantha Spiro - so good at the Globe last year in The Taming of the Shrew - seemed ironically tame in comparison.  Servantile to her husband's frenzied plans, this could almost be an extension of her final compliant Katherine, reluctant and weak willed. 

There was some strong support in the thoroughly able cast, with Billy Boyd's heavily accented Banquo, Stuart Bowman's controlled Macduff and Philip Cumbus' studied Malcolm among the stand outs.  A lovely cameo too from Bette Bourne, making the most of the Porter and captivating the audience immediately. 

A production that could barely differ more from the gore-fest that was Lucy Bailey's exciting and shocking production of the same play at the Globe in 2010.  A relatively gentle telling that did little to elicit any excitement from me.

ONCE THE MUSICAL

Once the Musical

West End Production

Phoenix Theatre, London

Wednesday 26th June 2013

 

 

My second visit to this beautiful musical in just 5 weeks is simply a matter of chance but one I am very grateful to have been on the receiving end of, as the stunning achievement by a flawless cast moved me once again. 

 

This is a simple, unassuming and absorbing show that deserves to be seen.  Not one for lovers of glitzy, showy numbers or thrill-a-minute plotlines, as Once the Musical cannot claim to have either, but what it does have is a heart.

Read my original review here. 
 

CHARLIE AND THE CHOCOLATE FACTORY

 

Charlie and the Chocolate Factory

Original West End Production

Theatre Royal Drury Lane, London

Monday 24th June 2013

One of Roald Dahl's most popular stories, Charlie and the Chocolate Factory enjoys a lavish new interpretation as a full-scale musical written by Marc Shaiman and Scott Wittman, Book by David Grieg and directed by Hollywood legend Sam Mendes.  Set to delight audiences with it's big budget production values this is one of the most anticipated new musicals of the year.

Opening with a projected animation of glorious Quentin Blake illustrations describing the manufacturing process of the humble chocolate bar, we are then welcomed into the life of the Bucket family.  All four grandparents in one bed, holes in the roof, cabbage soup for dinner and a television run by an exercise bike, the staging is entirely reminiscent of Dahl's original descriptions and somehow works cleverly as both a cramped slum and enormous stage-filling set.  As the Golden Ticket competition is announced we meet the other ticket winners one by one, each individually characterised with their own musical style.  It isn't until the close of the act that we first meet the unnervingly odd confectioner himself, Willy Wonka, who welcomes the children and their guardians through imposing gates large enough to keep out the BFG.  The second act is then devoted to their tour of the factory: the Chocolate Room, the Inventing Room, the Nut Room, the Television Room and, of course, the Great Glass Elevator, all wonderfully brought to life with some staggering set changes carried out behind projected images of corridors allowing the action to continue to flow seamlessly.

Performances are top-notch with a stand out turn from Douglas Hodge as the sinisterly charming Wonka.  Energetic with a comedic glint in his eye he gives a beautiful rendition of the classic 'Pure Imagination' from the original 60s film.  Nigel Planer is bumblingly lovable as Charlie's endearing Grandpa Joe flanked by an excellent trio of other grandparents, whose dance routines from their hilariously flexible beds were joyously entertaining.  Little Charlie Bucket himself was given a sweet characterisation by Louis Suc, an absolute star who captured the innocence and integrity of Charlie perfectly.  It is the Oompa-Loompas who steal the show for me however, the staging of which has been kept a tightly held secret and didn't fail to deliver on comedy and ingenuity.

This is a wonderfully entertaining production that children are bound to adore.  It's biggest challenge however will be the stiff competition from the other Dahl-based new musical that is already gracing the West End and Broadway, and enjoying every deserved moment of glory.  Matilda the Musical is vastly more intelligent in every way: more intelligent humour that will appeal to parents as well as their children, a more intelligent score that delights and surprises at every turn, a more intelligent set that uses smaller, simple shifts in lighting and pop-up items from the ingenious stage floor to create as much impact as a full set change, even a more intelligent protagonist in the wonderful little genius Matilda compared to the smiling naivety of the day dreaming Charlie. 

This isn't to say that Charlie and the Chocolate Factory fails because of it's relative simplicity; 'clever' theatre isn't what everyone is looking for.  The relatively old-fashioned glitz and impressive scale of this production will be what appeals to some, and it does it completely brilliantly.  Both shows are well worth a see if you can afford it, and hopefully will both be around for some time to come.  

SWEENEY TODD

Sweeney Todd

Shenfield Operatic Society

Brentwood Theatre

Friday 14th June 2013

Sondheim is a notoriously tricky composer to deliver, and Shenfield Operatic Society's courageous choice of Sweeney Todd must have presented an array of challenges.  Recently revived by the Chichester Festival and then enjoying an acclaimed West End transfer just last year, stars Michael Ball and Imelda Staunton both won awards for their memorable performances as the bloodthirsty barber and his encouraging co-conspirator.  Big inspiration for Shenfield as they embarked on this tricky project.

The intimacy and flexibility of the Brentwood Theatre auditorium allows for an imaginative approach to the staging, the enormous revolving cube dominating the space creating an essential upper level as well as an ominously overbearing shadow across the acting space.  The well constructed chair and trapdoor worked smoothly, and the stage was well managed to ensure the correct cube positioning and furniture placement was carried out efficiently within the timing constraints of the music.  The separate platform used for Johanna's room was not to the same standard however; the decoration and furniture chosen not nearly grand enough for the rich, powerful Judge Turpin's home. 

Some costume worked well, with Todd and Mrs Lovett both ideally dressed, and the Beggar Woman particularly good with some excellent make-up.  However there were some noticeably ill-fitting items which were worn uncomfortably, and considering the regular reference to Johanna's hair the wig looked very untidy.  There was some nice use of lighting, especially during the split scene of "Kiss Me" toward the end of Act 1 and to evoke the seaside during "By the Sea".  The sound levels were also good, and the band worked extremely hard throughout this sung-through show to produce an excellent quality of musical accompaniment, under the leadership of Adrian Ure as Musical Director.

An enthusiastic chorus did a particularly good job with the tricky score, rousing in the opening "Ballad" and the repeated echoes throughout.  At particular moments the ensemble moved as one, creating an eerie tone for this atmospheric piece.  

This commendable chorus work backed up a sharp cast of principals, led by David Pridige in the title role.  Sweeney Todd was played with a vengeful, dramatic concentration in an engaging interpretation with a vocal performance to match.  Kerry Cooke shone as Mrs Lovett, her ready smile becoming chilling as she reveals her enterprising idea, and on picking up the timing her sparkling soprano was glorious.  Ian Southgate was superb as sailor Anthony, his beautiful voice making the tricky switches in range and pace seem easy; a captivating characterisation.  His Johanna, played by Lauren Ramshaw, brought a wide-eyed and slightly wild fear to the role, handling the timing well despite struggling with some of the notes.  Joanna Hunt played young Tobias, a boy's role often played by a girl, and despite her voice not quite managing the power to sing above the crowd during the Marketplace scene, she did a heart-wrenchingly charming job with "Not While I'm Around" in Act 2.  Judge Turpin was given a fittingly creepy characterisation by Hugh Godfrey, whose concentration was evident although it held him back somewhat from really absorbing the character.  Quite the opposite was true of David Ward, who entirely embodied The Beadle creating a slimy and genuinely hateful character and singing with confidence and skill.  The tough operatic role of Pirelli was taken on by Rick McGeough, whose characterisation was well studied despite the vocals required not suiting his range.  Louise Byrne did a commendable job as the Beggar Woman, her beautiful singing voice soaring and her frantic physicality suiting the part well, although her diction tended to slip in the small sections of dialogue becoming difficult to understand.

This was an enjoyable and accomplished production, directed by Louise Hunt, which must have proven a challenge to all involved.  A worthwhile step away from the usual lighthearted fare of amateur musical theatre, and one that certainly entertained throughout.   

THE SOUND OF MUSIC

The Sound of Music

Springers AODS

Civic Theatre, Chelmsford

Wednesday 12th June 2013

The remarkable story of the Von Trapp family's escape from an occupied Austria in 1935 is heart-warmingly familiar, as are the characters, scenes and songs from this time-honoured Rogers and Hammerstein musical, which has a special place in so many people's hearts.  This feel-good show, made a cult classic through the ever popular Julie Andrews film version, is brought sparklingly to life in the Civic by a hard working cast.  

Production values are high with some delightful design throughout, particularly the wedding at the Abbey and that beautifully framed final moment on the mountain.  Some winning costume choices too, the congregation of monochrome nuns, the children looking adorable in their curtain-esque play clothes, Maria in a beautifully fitting wedding dress.  The sound levels however were disappointing, the beautifully sung harmonies of "Preludium" at the opening spoilt by volume mismatches and sections of dialogue missed through tardy cues.  The follow-spot cues too should blend into the scene unnoticed by the audience but they became a distraction at times.  With so many scene changes into various locations the organisation of the stage management was important, and although executed smoothly there were too many periods of dark silence - a simple underscore could help to make the waiting time less obvious and would be effortlessly manageable by MD Ian Myers and his flawless band.

Kayleigh McEvoy was glorious as the effervescent Maria, characterised to almost Disney-fied appeal she was full of energy with an ease and grace throughout.  Her singing voice was magnificent as the demands of this almost non-stop role were met with skill and confidence.  A real talent, Kayleigh will be an asset to her Classical Singing course at Guildhall next year.  Mat Smith was solid as her handsome suitor Captain Von Trapp, singing "Edelweiss" with enough charm to win the audience over into a patriotic singalong.  Catherine Gregory's classy rendition of "Climb Every Mountain" matched her tender characterisation of Mother Abbess, ably flanked by Nicola Myers, Natalie Schultz and Sara Mortimer as the Sisters asking "How do you solve a problem like Maria?".  For me, there were standout performances of the hateful Baroness from a wonderful Olivia Gooding, whose effortless acting style made for a refreshingly natural performance, and Barry Miles as a genial Uncle Max in a witty and engaging characterisation.  Given the two musical numbers that did not make the film version, they had a tough job to win round an expectant audience, which both actors achieved with captivating skill.  The children, selected from the society's talented youth group Offspringers, were enchanting.  Mae Pettigrew's elegant Liesel, Bethan Evans' confident Brigitta and Bernice Bushell's smiling Marta all delightful alongside their capable and enthralling on-stage siblings. 

Another accomplished show from this friendly society, who do themselves proud with the bonded ensemble feel to their accessible productions.  Another chance for the Offspringers to join in too perhaps as we look forward to their next production, Whistle Down the Wind.