(So I usually don’t blog about shows at the Gatehouse as I’m on friendly terms with the owners. But, this isn’t an in-house production so...)
Thom Southerland is seen as one of the up and coming wunderkinds of musical theatre direction. Focusing primarily on classic musicals, he and producing partner Nick Robinson have set about bringing back the golden age classics, including the upcoming premiere of Rogers & Hammerstein’s State Fair and, at the Irving Berlin estate’s request, this production of Call Me Madam.
One of Berlin’s less-often performed works, Madam takes an oil baroness turned ambassador (a fierce Beverly Klein) and her progressive attaché (Mark Henry-Evans) and drops them into the Lichtenstein-like Dutchy of Lichtenburg. Their goal? I’m not exactly sure - when she leaves she’s told not to give them any money, which sets up her pulling out the chequebook when she finds herself attracted to local politician Cosmo Constantine but he stands firm and doesn’t take the money - at which point...her job IS to get them to take the loan and be indebted to the US through the machinations of her liason? This all made sense (I hope) in the original version, but the book was reworked here for length and cast size which has left something of a Dutchy-sized gap in the book’s logic.
Based on this viewing alone, Southerland’s reputation strikes me as...slightly misplaced. Despite his fascination with remarkably American shows (recent work including The Unsinkable Molly Brown and a version of RENT which friends told me to avoid as it was guaranteed to inspire rantage), he doesn’t always get his continuity right: cast members had no idea how to handle the flag, money was miscoloured, accents were broad, and word was that a current London newspaper was used during previews rather than anything looking period. And given that Southerland also reworked the book for this production (a necessity of a shrunken cast), did he have to leave in the constant “I’m a Republican” references? Nobody laughed at them.
In terms of getting actors in the right place and hitting their emotions? It’s fine, and Southerland made a decent go of working to the thrust's demands but there’s nothing revolutionary about the staging.
Enough moaning, though, because it was still a good time out thanks to Drew McOnie’s lively choreography along with Klein’s vivid performance (though the whole cast are lovely and free from any of the show's blame) and, of course, Berlin’s enchanting songs. Alex Weatherhill does his best to negotiate a five piece band, reduced from the original 36, and thanks to the small space and focus on the brass lines, the music maintains a jazzy feel and doesn’t sound empty in the venue.
A final weakness, however, is the lighting, which came down to a no-show from the designer and an enterprising student doing the whole thing on the get-in day in his place - forgivable but annoying nonetheless.
See it if you’re local or have a soft spot for the classics.
Where: Upstairs at the Gatehouse
When: Until 16 August. Tu-Sa @ 19:30, Su @ 16:00
How Much: £12 (All Days but Sat), £15 (Saturday), UNRESERVED SEATING
Concessions: £10/12
--------------------------
RZ Unofficial “Worth Paying”: £10. I really should say £12 since there are no discounts, but it's value compared to top ticket price...time to pull out the bus passes and student IDs?
RZ Other Notes: Maybe State Fair will be better? It was entering rehearsals while Madam was in previews.
Showing posts with label Classic Musical. Show all posts
Showing posts with label Classic Musical. Show all posts
Sunday, 19 July 2009
Friday, 13 March 2009
REVIEW: The 1959 Broadway Songbook
When I first heard that The 1959 Broadway Songbook was being performed at a pizza restaurant, I immediately found myself questioning who would actually be performing that evening: The Rockafire Explosion? But no, my oblivious foreign self was subsequently educated that Pizza on the Park is, in fact, a respectable venue for jazz, cabaret, and other forms of evening entertainment like the hotel venues of old.
The 1959 Broadway Songbook is a cabaret, comprised of four performers (Nathan Martin on piano, West End standards Anna Bergman and Susannah Fellows, and American Jeff Harnar who compiled the piece). Over roughly 100 minutes, they attempt to encompass what was undoubtedly a high point in the golden age of Broadway, a year where over twenty new musicals (including The Music Man, Gypsy, West Side Story, and Flower Drum Song) by virtually all of the greats opened. The upside is that the show flows quickly, the performers are good, and the venue is surprisingly nice.
The downside is that there are SO many songs to clear and SO many major titles that virtually none of them are performed in their entirety: we hear a verse here, a chorus there, and even some of the biggest songs such as "Rose’s Turn" are reduced to a mere fragment in the interest of time. As such, it’s impossible to ever make a true connection with any of the material or performers, and it’s so frantic that it’s hard to classify as a nice night out. Amusing, but not nice.
Where: Pizza on the Park
When: Until 13 April, Sundays @15:00 & 19:00, Mondays @ 19:45
How Much: £25
Concessions: None
---------------------------
RZ Unofficial “Worth Paying”: £10......
RZ Other Notes: ....but this being in a restaurant you will undoubtedly end up spending extra and feel extremely foolish if you don’t order something beforehand. Doors open 90 minutes before the show, so you can get your dinner (think Pizza Express or slightly better quality) and be on your coffee or wine by the time the show actually starts.
The 1959 Broadway Songbook is a cabaret, comprised of four performers (Nathan Martin on piano, West End standards Anna Bergman and Susannah Fellows, and American Jeff Harnar who compiled the piece). Over roughly 100 minutes, they attempt to encompass what was undoubtedly a high point in the golden age of Broadway, a year where over twenty new musicals (including The Music Man, Gypsy, West Side Story, and Flower Drum Song) by virtually all of the greats opened. The upside is that the show flows quickly, the performers are good, and the venue is surprisingly nice.
The downside is that there are SO many songs to clear and SO many major titles that virtually none of them are performed in their entirety: we hear a verse here, a chorus there, and even some of the biggest songs such as "Rose’s Turn" are reduced to a mere fragment in the interest of time. As such, it’s impossible to ever make a true connection with any of the material or performers, and it’s so frantic that it’s hard to classify as a nice night out. Amusing, but not nice.
Where: Pizza on the Park
When: Until 13 April, Sundays @15:00 & 19:00, Mondays @ 19:45
How Much: £25
Concessions: None
---------------------------
RZ Unofficial “Worth Paying”: £10......
RZ Other Notes: ....but this being in a restaurant you will undoubtedly end up spending extra and feel extremely foolish if you don’t order something beforehand. Doors open 90 minutes before the show, so you can get your dinner (think Pizza Express or slightly better quality) and be on your coffee or wine by the time the show actually starts.
Friday, 9 January 2009
THOUGHTS: “Into the Woods”
“Does the puzzle come together,
piece by piece and row by row?”
“I don’t know, I don’t know
Where the fucking pieces go!”
OK, so the above quote isn’t from Sondheim’s Into the Woods (it’s from the also brilliant Next to Normal) but it’s fitting given the master’s fondness for puzzles, mysteries, and games: many of Sondheim’s shows exhibit jigsaw symptoms of layers and lyrics which come across as confusing on their own but come together to form a large, intricate whole. Into the Woods is very much in this vain, following on from Sunday in the Park with George in its use of linked but largely self-contained acts to illustrate a thematic whole on the childhood lessons provided by fairy tales. It's a deep show that is constantly engaging the audience from one direction or another, and multiple viewings or some quality time with the cast recording are needed to do more than scratch the surface.
To be honest, Into the Woods isn’t in my top three Sondheims (those would be Sunday, Sweeney, and Forum with Company a very close fourth) but that’s like saying Phish Food isn’t my favourite flavour of Ben & Jerry’s. I still like it, and it’s excellent stuff, but odds are good that I’ll buy a pint of Half Baked first. And, being a show which has plenty of cast recordings and an official DVD out of the original production, chances are good that regular theatregoers have previously encountered Into the Woods at some point and already have an opinion of it.
The production at Upstairs at the Gatehouse is surprisingly high-end for a Fringe production, featuring a cast of 11 well established actors - four of which double as musicians - plus TV comedian Paul Nicholas appearing through occasionally glitched but generally well done interactive video, the production is an effective demonstration of how to stretch limited funds.
And thankfully, the implementation is largely successful - Cinderella blowing the birds’ line on the flute is somehow appropriate - if not slightly gimmicky when an actor-musician is interacting with someone poking an arm through a moving projection. It says a lot that while I felt the show dragged towards the end, there wasn’t anything I could specifically point to and say “I’d change that” and even actors who didn’t immediately impress me had their moments when I could appreciate the casting. I also suspect that patrons on the thrust’s sides on busy nights may find themselves with a less than ideal view.
tl;dr: It’s a hard show (like most Sondheim) to perform at the best of times, and it's being done as well as a 120 seat venue can hope for, even if the Graduion thought the staging needed to be more metaphorical.
Where: Upstairs at the Gatehouse
When: Until 1 Feb. Tu-Sa @ 19:30, Su @ 16:00
How Much: £12-15 unreserved depending on the day
Concessions: £10-12 depending on the day
---------------------
RZ Unofficial “Worth Paying”: £12 will get you a seat on any night but Saturday.
RZ Other Notes: You can also get tickets for £10 on lastminute. This is the last time I’ll review a Gatehouse show here - I like the venue and the shows they do, but it feels like it’s hard to maintain the professional distance needed to review productions here clearly when you get drinks with the show’s director and one of the venue’s owners after..
piece by piece and row by row?”
“I don’t know, I don’t know
Where the fucking pieces go!”
OK, so the above quote isn’t from Sondheim’s Into the Woods (it’s from the also brilliant Next to Normal) but it’s fitting given the master’s fondness for puzzles, mysteries, and games: many of Sondheim’s shows exhibit jigsaw symptoms of layers and lyrics which come across as confusing on their own but come together to form a large, intricate whole. Into the Woods is very much in this vain, following on from Sunday in the Park with George in its use of linked but largely self-contained acts to illustrate a thematic whole on the childhood lessons provided by fairy tales. It's a deep show that is constantly engaging the audience from one direction or another, and multiple viewings or some quality time with the cast recording are needed to do more than scratch the surface.
To be honest, Into the Woods isn’t in my top three Sondheims (those would be Sunday, Sweeney, and Forum with Company a very close fourth) but that’s like saying Phish Food isn’t my favourite flavour of Ben & Jerry’s. I still like it, and it’s excellent stuff, but odds are good that I’ll buy a pint of Half Baked first. And, being a show which has plenty of cast recordings and an official DVD out of the original production, chances are good that regular theatregoers have previously encountered Into the Woods at some point and already have an opinion of it.
The production at Upstairs at the Gatehouse is surprisingly high-end for a Fringe production, featuring a cast of 11 well established actors - four of which double as musicians - plus TV comedian Paul Nicholas appearing through occasionally glitched but generally well done interactive video, the production is an effective demonstration of how to stretch limited funds.
And thankfully, the implementation is largely successful - Cinderella blowing the birds’ line on the flute is somehow appropriate - if not slightly gimmicky when an actor-musician is interacting with someone poking an arm through a moving projection. It says a lot that while I felt the show dragged towards the end, there wasn’t anything I could specifically point to and say “I’d change that” and even actors who didn’t immediately impress me had their moments when I could appreciate the casting. I also suspect that patrons on the thrust’s sides on busy nights may find themselves with a less than ideal view.
tl;dr: It’s a hard show (like most Sondheim) to perform at the best of times, and it's being done as well as a 120 seat venue can hope for, even if the Graduion thought the staging needed to be more metaphorical.
Where: Upstairs at the Gatehouse
When: Until 1 Feb. Tu-Sa @ 19:30, Su @ 16:00
How Much: £12-15 unreserved depending on the day
Concessions: £10-12 depending on the day
---------------------
RZ Unofficial “Worth Paying”: £12 will get you a seat on any night but Saturday.
RZ Other Notes: You can also get tickets for £10 on lastminute. This is the last time I’ll review a Gatehouse show here - I like the venue and the shows they do, but it feels like it’s hard to maintain the professional distance needed to review productions here clearly when you get drinks with the show’s director and one of the venue’s owners after..
Tuesday, 18 November 2008
REVIEW: Joseph and the Amazing Technicolor Dreamcoat
(If you're here because you saw the URL in the Evening Standard, please send an email or leave a comment as I'd like to know if anybody cared enough to visit as a result.)
It’s the revival that nobody wanted: constantly toured kiddy fare and led by someone off of a reality show. In all honesty, though - and that’s generally what readers want from a critic - I love this show. It’s not Andrew Lloyd Webber’s best (that remains Jesus Christ Superstar in my book) or even my favourite (Starlight Express) but Joseph is a fun turn-your-brain-off evening, and it’s got some excellent numbers (“Close Every Door,” “Any Dream Will Do,” and my personal favourite ALW song ever, “Pharaoh Story.”) It’s also been about ten years since I last saw the show, when ex-pop idol Deborah Gibson was touring the US as the narrator. That said, I also didn’t want to pay £30 for a recycled production (more on that later.) Fortunately a few rows in the gods are sold for £15, and since I was at Friday’s Mathilde reading next door at the Vaudeville I figured it wouldn’t hurt to pop into the Adelphi and see if cheap seats were left. Fortunately they were, and it turned out that Lee Mead was in fact not on vacation (he was earlier in the week) so all of the leads were in.
Now, before I nitpick the production to bits, I want to get something out of the way: I had a great time and left with a much needed smile on my face. I wouldn’t tell people to see this Joseph if they were in London for a visit when there are more unique things running in the West End, but it’s a fun night for locals who may have held off until the hype subsided.
Now, as I said before, much of this production is recycled: the sets and costumes were both pulled out of storage following the Palladium run and subsequent tour (featuring Lizi Hateley, Jason Donovan, and Philip Schoenfeld) from the early 90’s. The direction and choreography are based on that production as well, though I’m sure that updates have been put in and the production generally refreshed.
Unfortunately said fresh outlook does not apply to Jenna Lee-James, who narrates the show with a powerhouse voice that can belt to kingdom come but lacks stage presence as a character. Word is that Lloyd Webber prefers it this way - that the narrator is a simple storyteller - but I really don’t. In most productions outside of the Lord’s grasp the Narrator is more involved, and while not active in the story, is someone clearly enjoying the ride. It’s the difference between saying “Look, Joseph is getting done in by his brothers” and “Look, this spoiled brat is being smacked down by the ensemble - isn’t it cool?” with a Willy Wonka-esque glint in the eye. This is a juicy role to play with relish and it’s wasted in London productions (FWIW I felt the same about Linzi Hateley on the 1991 London CD - great voice, sang it well, but she sounded so bored when compared to Kristine Fraelich on the 1995 US tour or Jodi Benson in the US in 1997 and Kristin Hölk on the German cast recording.)
Lee Mead, the reality show winner in the title role, does a fine job. If he doesn’t have Donny Osmond’s vocal flourishes it’s not for lack of talent or capacity, and I suspect he’d do more with the score if he were further away from London - this is one time where it’s OK not to sing the script if done with taste (unlike a certain show which comes to mind.) I also forgive him for sounding like a muppet at times - it's endearing bordering on adorable.
Dean Collinson is fine as the Elvis-impersonator Pharaoh, though I question his choice to throw in an unnecessary mild profanity (“Damn I’m good.”) Arguably it helps cement the show on the family side of “children’s show” vs. “family show” (the latter having a some mildly mature or risque material for mum and dad that the kids won’t get) but it doesn’t add anything - though neither does the new song “King of my Heart.” That said, I’d rather have “King” than yet another reprise of “Song of the King” which got two full reprises (meaning the song was sung in full three times in a row) during the early/mid 90’s productions.
Sadly I didn’t spot any standouts in the ensemble. So it goes.
It’s uncomfortable to be quite so negative in this review given that I enjoyed myself and am tempted to return to the production after the cast change, but in a way this is the curse of reviewing Shakespeare on a more populist and entertaining level: once you see a show a certain number of times (this was trip 8 or 9 to Joseph in addition to a stack of cast recordings and video clips) you start making comparisons. I’m not going to say people should run to the Adelphi, but I’d recommend bringing first timers to the theatre here instead of The Lion King..and maybe some jaded regulars as well: despite whatever cynicism and crass commercial work behind this run, the material has such an innocence and charm at its core that it’s hard not to be won over by the end of the night.
Where: Adelphi Theatre
When: M/W/Sa @ 19:30, Tu @ 19:00, W/Sa @ 15:00
How Much: £15-50, top price varies by night.
Concessions: Check with the box office.
---------------------------
RZ Unofficial “Worth Paying”: £30. This’ll get you stalls any night at TKTS.
RZ Other Notes: I paid £15 for my ticket on the day and got back row centre of the upper circle. It’s vertically far from the stage but a clear, unrestricted view and a great bargain if you just want to see the show without shelling out top price (my dinner wound up costing more than my ticket.) As it turned out there were multiple rows empty and while the ushers held people to their original locations for the first act I was able to move from Row N to Row G at the interval.
On another note, the only show I’ve seen more times (and with more casts) than Joseph is RENT.
It’s the revival that nobody wanted: constantly toured kiddy fare and led by someone off of a reality show. In all honesty, though - and that’s generally what readers want from a critic - I love this show. It’s not Andrew Lloyd Webber’s best (that remains Jesus Christ Superstar in my book) or even my favourite (Starlight Express) but Joseph is a fun turn-your-brain-off evening, and it’s got some excellent numbers (“Close Every Door,” “Any Dream Will Do,” and my personal favourite ALW song ever, “Pharaoh Story.”) It’s also been about ten years since I last saw the show, when ex-pop idol Deborah Gibson was touring the US as the narrator. That said, I also didn’t want to pay £30 for a recycled production (more on that later.) Fortunately a few rows in the gods are sold for £15, and since I was at Friday’s Mathilde reading next door at the Vaudeville I figured it wouldn’t hurt to pop into the Adelphi and see if cheap seats were left. Fortunately they were, and it turned out that Lee Mead was in fact not on vacation (he was earlier in the week) so all of the leads were in.
Now, before I nitpick the production to bits, I want to get something out of the way: I had a great time and left with a much needed smile on my face. I wouldn’t tell people to see this Joseph if they were in London for a visit when there are more unique things running in the West End, but it’s a fun night for locals who may have held off until the hype subsided.
Now, as I said before, much of this production is recycled: the sets and costumes were both pulled out of storage following the Palladium run and subsequent tour (featuring Lizi Hateley, Jason Donovan, and Philip Schoenfeld) from the early 90’s. The direction and choreography are based on that production as well, though I’m sure that updates have been put in and the production generally refreshed.
Unfortunately said fresh outlook does not apply to Jenna Lee-James, who narrates the show with a powerhouse voice that can belt to kingdom come but lacks stage presence as a character. Word is that Lloyd Webber prefers it this way - that the narrator is a simple storyteller - but I really don’t. In most productions outside of the Lord’s grasp the Narrator is more involved, and while not active in the story, is someone clearly enjoying the ride. It’s the difference between saying “Look, Joseph is getting done in by his brothers” and “Look, this spoiled brat is being smacked down by the ensemble - isn’t it cool?” with a Willy Wonka-esque glint in the eye. This is a juicy role to play with relish and it’s wasted in London productions (FWIW I felt the same about Linzi Hateley on the 1991 London CD - great voice, sang it well, but she sounded so bored when compared to Kristine Fraelich on the 1995 US tour or Jodi Benson in the US in 1997 and Kristin Hölk on the German cast recording.)
Lee Mead, the reality show winner in the title role, does a fine job. If he doesn’t have Donny Osmond’s vocal flourishes it’s not for lack of talent or capacity, and I suspect he’d do more with the score if he were further away from London - this is one time where it’s OK not to sing the script if done with taste (unlike a certain show which comes to mind.) I also forgive him for sounding like a muppet at times - it's endearing bordering on adorable.
Dean Collinson is fine as the Elvis-impersonator Pharaoh, though I question his choice to throw in an unnecessary mild profanity (“Damn I’m good.”) Arguably it helps cement the show on the family side of “children’s show” vs. “family show” (the latter having a some mildly mature or risque material for mum and dad that the kids won’t get) but it doesn’t add anything - though neither does the new song “King of my Heart.” That said, I’d rather have “King” than yet another reprise of “Song of the King” which got two full reprises (meaning the song was sung in full three times in a row) during the early/mid 90’s productions.
Sadly I didn’t spot any standouts in the ensemble. So it goes.
It’s uncomfortable to be quite so negative in this review given that I enjoyed myself and am tempted to return to the production after the cast change, but in a way this is the curse of reviewing Shakespeare on a more populist and entertaining level: once you see a show a certain number of times (this was trip 8 or 9 to Joseph in addition to a stack of cast recordings and video clips) you start making comparisons. I’m not going to say people should run to the Adelphi, but I’d recommend bringing first timers to the theatre here instead of The Lion King..and maybe some jaded regulars as well: despite whatever cynicism and crass commercial work behind this run, the material has such an innocence and charm at its core that it’s hard not to be won over by the end of the night.
Where: Adelphi Theatre
When: M/W/Sa @ 19:30, Tu @ 19:00, W/Sa @ 15:00
How Much: £15-50, top price varies by night.
Concessions: Check with the box office.
---------------------------
RZ Unofficial “Worth Paying”: £30. This’ll get you stalls any night at TKTS.
RZ Other Notes: I paid £15 for my ticket on the day and got back row centre of the upper circle. It’s vertically far from the stage but a clear, unrestricted view and a great bargain if you just want to see the show without shelling out top price (my dinner wound up costing more than my ticket.) As it turned out there were multiple rows empty and while the ushers held people to their original locations for the first act I was able to move from Row N to Row G at the interval.
On another note, the only show I’ve seen more times (and with more casts) than Joseph is RENT.
Monday, 3 November 2008
REVIEW: "La Cage Aux Folles"
So I got lazy and the official critics already have their reviews up. So instead of a proper review, have some ramblings...
La Cage is a show that most theatre geeks find to be a minefield subject. On the one hand, it was a breakout hit and one of the first mainstream musicals on Broadway to deal with the gay lifestyle. On the other, it was a surprise upset for the Tony, taking Best Musical over Sunday in the Park with George, which is a sore spot for Sondheim fans. I love Sunday - I think it’s absolutely brilliant. And yes, I also liked La Cage, which I saw for the first time about a week ago.
The new West End production is based on last Christmas’s run at the Menier Chocolate Factory, and while the sets have been scaled up to fit the Playhouse’s more generous proportions, the cast, orchestra, and general production values have remained smaller than in the original. And while I hadn’t seen the show before and wouldn’t have known better, my companion for the evening (one of the top names in London drag) was quite familiar with the show, having seen both the original (and prematurely closed) West End run not to mention numerous regional productions across the UK.
His opinion? This La Cage keeps it real. The smaller ensemble (six male cagelles vs. eight men and two women) is closer to what a real club would have, Tim Shortall’s costumes are more down to Earth than in past runs, and the emotions are genuine. Neither of us were particularly fond of Douglas Hodge as testy tranny Albin at the interval, but Mr. Hodge found his character’s depth by the start of the second act and improved by leaps and bounds as the back half played out. As the papers raved for him, I’d guess that his issues have been resolved.
Personally, I liked the balance at hand in this production: both the loving relationship between Albin and Georges (Denis Lawson) as well as the panic that strikes son Jean Michel (Stuart Neal) which drives the show’s action: the same dread that comes from introducing friends and partners to overly religious or tragically unhip parents is instantly recognisable and though it’s devastating for Albin the audience are likely to understand the character’s motivation, passing off the character as more than a mere caricature.
So yeah. Believe the hype with this one: this is a high energy production (how else can 165 minutes fly by so fast?) but one which leaves the audience comfortably warm by the end. The fall season only has one big musical left (Imagine This, which won’t be covered here due to a paid review commission) so if you’re looking for a big, traditional West End fix or you want something romantic to replace the soon-to-close Brief Encounter, you owe it to yourself catch La Cage aux Folles while you can.
Where: Playhouse Theatre
When: Until 10 Jan., M-Sa @ 19:30, Th/Sa @ 14:30. Varies Xmas/New Year’s
How Much: £17.50-£55 (£57.50 for cabaret table seating - prepare to crane your neck.)
Concessions: Day seats available, check with the box office.
--------------------------
RZ Unofficial “Worth Paying”: £45 - The best thing to hit the West End in a while, but doesn’t quite come together enough for the top price.
RZ Other Notes: Rumour is that if sales are high the producers are planning to extend the run and bring in Graham Norton to play Albin. Take it with a rock of salt but so far there’s nothing announced yet to follow....
La Cage is a show that most theatre geeks find to be a minefield subject. On the one hand, it was a breakout hit and one of the first mainstream musicals on Broadway to deal with the gay lifestyle. On the other, it was a surprise upset for the Tony, taking Best Musical over Sunday in the Park with George, which is a sore spot for Sondheim fans. I love Sunday - I think it’s absolutely brilliant. And yes, I also liked La Cage, which I saw for the first time about a week ago.
The new West End production is based on last Christmas’s run at the Menier Chocolate Factory, and while the sets have been scaled up to fit the Playhouse’s more generous proportions, the cast, orchestra, and general production values have remained smaller than in the original. And while I hadn’t seen the show before and wouldn’t have known better, my companion for the evening (one of the top names in London drag) was quite familiar with the show, having seen both the original (and prematurely closed) West End run not to mention numerous regional productions across the UK.
His opinion? This La Cage keeps it real. The smaller ensemble (six male cagelles vs. eight men and two women) is closer to what a real club would have, Tim Shortall’s costumes are more down to Earth than in past runs, and the emotions are genuine. Neither of us were particularly fond of Douglas Hodge as testy tranny Albin at the interval, but Mr. Hodge found his character’s depth by the start of the second act and improved by leaps and bounds as the back half played out. As the papers raved for him, I’d guess that his issues have been resolved.
Personally, I liked the balance at hand in this production: both the loving relationship between Albin and Georges (Denis Lawson) as well as the panic that strikes son Jean Michel (Stuart Neal) which drives the show’s action: the same dread that comes from introducing friends and partners to overly religious or tragically unhip parents is instantly recognisable and though it’s devastating for Albin the audience are likely to understand the character’s motivation, passing off the character as more than a mere caricature.
So yeah. Believe the hype with this one: this is a high energy production (how else can 165 minutes fly by so fast?) but one which leaves the audience comfortably warm by the end. The fall season only has one big musical left (Imagine This, which won’t be covered here due to a paid review commission) so if you’re looking for a big, traditional West End fix or you want something romantic to replace the soon-to-close Brief Encounter, you owe it to yourself catch La Cage aux Folles while you can.
Where: Playhouse Theatre
When: Until 10 Jan., M-Sa @ 19:30, Th/Sa @ 14:30. Varies Xmas/New Year’s
How Much: £17.50-£55 (£57.50 for cabaret table seating - prepare to crane your neck.)
Concessions: Day seats available, check with the box office.
--------------------------
RZ Unofficial “Worth Paying”: £45 - The best thing to hit the West End in a while, but doesn’t quite come together enough for the top price.
RZ Other Notes: Rumour is that if sales are high the producers are planning to extend the run and bring in Graham Norton to play Albin. Take it with a rock of salt but so far there’s nothing announced yet to follow....
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