Sorry readers, I've got two shows today and one tomorrow to cover for freelance. I'm also in a disturbingly lazy mood, so this one is being kept short.
And the short of it is this: The Warehouse have put on some top notch Christmas-time entertainment that is well worth taking a trip out to Zone 5 to see.
For, you see, instead of pantomime, the company have instead looked to Britain's great history of broadcast entertainment to create a series of new adventures featuring legendary radio hero Dick Barton, Special Agent. Since 1998 the Warehouse have produced five new adventures for the adult Dick Barton and now two prequels. Each episode is a loving riff on postwar radio serials complete with anachronism, overblown dialogue, Imperial pride, and a tongue in cheek appreciation of the tropes which made the original great. This year's show, Young Dick Barton II: The Devil Wears Tweed is no exception as Dick crosses the globe in search of a three piece suit which grants the wearer unlimited power.
I'd love to say more, but it would spoil everything and the fun is in the surprises. The cast (including multitalented author Duncan Wisbey), most of whom take a multitude of roles, are uniformly top notch, and Stefan Bednarczyk's lyrics (Bednarczyk also appears in the cast) are more clever than any heard recently in the West End.
So what are you waiting for? Get booking!
Where: Warehouse Theatre, Croydon
When: Until 22 Feb. Performance times vary.
How Much: £14.50-£17.50 (includes day membership in the venue)
Concessions: Limited but bookable in advance for £10.50
-------------
RZ Unofficial "Worth Paying": £17.50. One of the best things on offer this holiday season.
RZ Other Notes: It's cheaper (and easier) to buy your ticket to Croydon from the Underground office at London Bridge than the National Rail ticketing office.
Showing posts with label Excellent. Show all posts
Showing posts with label Excellent. Show all posts
Saturday, 20 December 2008
Sunday, 30 November 2008
REVIEW: “Mother Goose” (Hackney Empire)
(Rapid Fire Review #3 in one day. Read below for thoughts on this year’s Perfect Pitch festival and Maria Friedman’s concert series at Trafalgar Studios.)
Growing up in the US, I was raised devoid of the great British tradition of Christmas panto, and only discovered the form last year as part of a group research project. Deciding that I should actually see the thing I was writing about, I went with my research partner to the Hackney Empire’s production of Dick Whittington as it was the only choice in the immediate London area which was open before our deadline.
As readers of last year’s review may remember, I was hooked. Hard. And, as it turned out, so were most of the mainstream critics who showered the production with raves. With such hype and fondness, the bar was set insanely - nay, impossibly - high for this year’s piece, Mother Goose. And, as you may have guessed, Mother Goose doesn’t quite reach Dick’s heights - which doesn’t mean that it’s still not a damn good show regardless.
Set in the town of Dalstonia, Hackneytopia, a battle between good and evil (the witches Charity and Vanity) is underway with the soul of poor yet optimistic Mother Goose on the line. While most of the standard panto tricks and cliches are in place (audience callbacks - scaled down in variety and quantity from last year, rhyming narrators, lots of weddings, bright medieval costumes, slapstick, etc.) Mother Goose is a subversive entry for two vivid differences.
First, there is no principal boy. Then again, there’s no PB in Cinderella or Snow White so take it as you will.
Second, this is the only pantomime with a singular Dame (the ever-wonderful Clive Rowe) who becomes the focal character *and* takes a heel turn: when gifted with the golden egg laying goose Priscilla, the Mother Goose character becomes self-centred and nasty in a radical departure from the loveable comedic characters that define most panto dames. I don’t actually have a problem with this - Susie McKenna’s script pulls off the transition well, and Rowe has both the acting chops and the charisma to make us want him to pull through the challenges at play.
I don’t have gripes with the ensemble of actors either - most of whom have returned from last year’s show including Kat B. as comedic role Billy Goose and Tameka Empson as good witch Charity. As for the rest of the cast, I’d like to name them but I didn’t get a programme and the Empire’s website fails to supply a list of cast members by role (nor are there photos yet to note from.)
So what are the issues? Well, the first act drags and feels particularly long. I had this complaint with last year’s show as well, but didn’t notice the problem on my second viewing. As the show is still in previews until Thursday, I suspect that there is still tightening to be done. I also caught a number of recycled jokes (are there lines which are supposed to be panto standards? More investigation is necessary) and recognised more licensed music this year (including a song from The Harder They Come) and fewer original tunes. While I have no proof to back me up, I suspect that Susie McKenna supplying not just the Hackney panto with a script and lyrics this year but also the New Wimbledon’s Cinderella may have played a part.
Most saddening, however? Clive Rowe isn’t allowed to throw sweets into the upper levels of the house anymore as *one* complaint filed by an angry patron (out of 45,000) last year caused a change in policy. It’s the destruction of simple, innocent acts like this which make the season a continual downer.
But me? I left feeling happy as can be. These are minor, nitpicker’s gripes here and the fact is that the Hackney Empire’s panto truly is on form for yet another year.
Where: Hackney Empire
When: Until 10 Jan., showtimes vary from M-Sa, two shows/day.
How Much: £9-19.50
Concessions: Vary, bookable in advance.
-----------------
RZ Unofficial “Worth Paying”: £19.50 for a top notch show.
RZ Other Notes: No, I’m not getting paid by the Empire to shill. I wish I was. I also wish they’d offer one or two child free performances for the childless adults who wish to come and not look like paedophiles.
Growing up in the US, I was raised devoid of the great British tradition of Christmas panto, and only discovered the form last year as part of a group research project. Deciding that I should actually see the thing I was writing about, I went with my research partner to the Hackney Empire’s production of Dick Whittington as it was the only choice in the immediate London area which was open before our deadline.
As readers of last year’s review may remember, I was hooked. Hard. And, as it turned out, so were most of the mainstream critics who showered the production with raves. With such hype and fondness, the bar was set insanely - nay, impossibly - high for this year’s piece, Mother Goose. And, as you may have guessed, Mother Goose doesn’t quite reach Dick’s heights - which doesn’t mean that it’s still not a damn good show regardless.
Set in the town of Dalstonia, Hackneytopia, a battle between good and evil (the witches Charity and Vanity) is underway with the soul of poor yet optimistic Mother Goose on the line. While most of the standard panto tricks and cliches are in place (audience callbacks - scaled down in variety and quantity from last year, rhyming narrators, lots of weddings, bright medieval costumes, slapstick, etc.) Mother Goose is a subversive entry for two vivid differences.
First, there is no principal boy. Then again, there’s no PB in Cinderella or Snow White so take it as you will.
Second, this is the only pantomime with a singular Dame (the ever-wonderful Clive Rowe) who becomes the focal character *and* takes a heel turn: when gifted with the golden egg laying goose Priscilla, the Mother Goose character becomes self-centred and nasty in a radical departure from the loveable comedic characters that define most panto dames. I don’t actually have a problem with this - Susie McKenna’s script pulls off the transition well, and Rowe has both the acting chops and the charisma to make us want him to pull through the challenges at play.
I don’t have gripes with the ensemble of actors either - most of whom have returned from last year’s show including Kat B. as comedic role Billy Goose and Tameka Empson as good witch Charity. As for the rest of the cast, I’d like to name them but I didn’t get a programme and the Empire’s website fails to supply a list of cast members by role (nor are there photos yet to note from.)
So what are the issues? Well, the first act drags and feels particularly long. I had this complaint with last year’s show as well, but didn’t notice the problem on my second viewing. As the show is still in previews until Thursday, I suspect that there is still tightening to be done. I also caught a number of recycled jokes (are there lines which are supposed to be panto standards? More investigation is necessary) and recognised more licensed music this year (including a song from The Harder They Come) and fewer original tunes. While I have no proof to back me up, I suspect that Susie McKenna supplying not just the Hackney panto with a script and lyrics this year but also the New Wimbledon’s Cinderella may have played a part.
Most saddening, however? Clive Rowe isn’t allowed to throw sweets into the upper levels of the house anymore as *one* complaint filed by an angry patron (out of 45,000) last year caused a change in policy. It’s the destruction of simple, innocent acts like this which make the season a continual downer.
But me? I left feeling happy as can be. These are minor, nitpicker’s gripes here and the fact is that the Hackney Empire’s panto truly is on form for yet another year.
Where: Hackney Empire
When: Until 10 Jan., showtimes vary from M-Sa, two shows/day.
How Much: £9-19.50
Concessions: Vary, bookable in advance.
-----------------
RZ Unofficial “Worth Paying”: £19.50 for a top notch show.
RZ Other Notes: No, I’m not getting paid by the Empire to shill. I wish I was. I also wish they’d offer one or two child free performances for the childless adults who wish to come and not look like paedophiles.
Tuesday, 25 November 2008
REVIEW: “August: Osage County”
To be honest, there’s not a lot for me to say: the New York press and blogosphere already reviewed this show to death last year when it opened on Broadway, and the London edition is an exact clone down to all but two members of the Original Broadway Cast coming over to reprise their roles. So, if you want a review of the play or the acting, google the Broadway reviews because nothing’s changed.
And by “nothing’s changed” I include the fact that August: Osage County kicks ass. A lot of it. While I’m not saying that this is the sort of play which will drive repeat visits (I doubt I’ll go back before it closes,) it’s very much worth seeing once and tickets are still available for all nights after this week. Believe the hype and make your booking while you still can. Go on, I’ll wait for you.
All set? Good. Now shut up and eat your damn fish.
Where: National Theatre/Lyttleton
When: Until 21 Jan. T-Su @ 19:15, Sa @ 14:00, Su @ 15:00, Varying weekday matinees @ 14:00
How Much: £10-£41
Concessions: Day seats are sold when the BO opens for £10 (front row stalls and circle slips). Standard NT concessions apply for students/seniors/unemployed/etc.
------------------
RZ Unofficial “Worth Paying”: £41. Cheaper than Broadway for an excellent new work of American drama.
RZ Other Notes: If going for day seats, try to get the back row of the circle first, then the slips, then the front row of the stalls. The stage is high and the set is extremely vertical and spread out so you’ll be leaving with a major crick in your neck after 3+ hours of staring up.
And by “nothing’s changed” I include the fact that August: Osage County kicks ass. A lot of it. While I’m not saying that this is the sort of play which will drive repeat visits (I doubt I’ll go back before it closes,) it’s very much worth seeing once and tickets are still available for all nights after this week. Believe the hype and make your booking while you still can. Go on, I’ll wait for you.
All set? Good. Now shut up and eat your damn fish.
Where: National Theatre/Lyttleton
When: Until 21 Jan. T-Su @ 19:15, Sa @ 14:00, Su @ 15:00, Varying weekday matinees @ 14:00
How Much: £10-£41
Concessions: Day seats are sold when the BO opens for £10 (front row stalls and circle slips). Standard NT concessions apply for students/seniors/unemployed/etc.
------------------
RZ Unofficial “Worth Paying”: £41. Cheaper than Broadway for an excellent new work of American drama.
RZ Other Notes: If going for day seats, try to get the back row of the circle first, then the slips, then the front row of the stalls. The stage is high and the set is extremely vertical and spread out so you’ll be leaving with a major crick in your neck after 3+ hours of staring up.
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....
Sunday, 17 August 2008
REVIEW: "The Music Man"
(Review #2 for the day. See below for the RZ's thoughts on Piaf at the Donmar.)
According to some of the RZ’s local friends, The Music Man is a show that never quite resonates properly with British audiences: the isolationist expanses of the midwest combined with a puritanical instinct for a good clean society left Britain for the most part with industrialisation.
It is this desire for an upright, clean Christian society that allows The Music Man’s central figure, “Professor” Harold Hill (Brian Conley), to work his charms: a travelling fraudster, Hill creates moral panic in small towns before proclaiming himself a musical expert and selling the people instruments and uniforms for a band he has no plan to bring together. Hill meets his match in River City, Iowa, though as stubborn self-sufficient librarian Marian (Scarlett Strallen) sees through his lies while the rest of the town falls to Hill’s slick words. It’s obvious where this is going, and the RZ stop bantering on about the plot here. The score (by Meredith Wilson, as is the book) is loaded with Broadway classics including “Ya Got Trouble,” “Pick-A-Little Talk-A-Little,” and of course “76 Trombones.” There are some who write off the score as simplistic or bland, but the numbers are all appealing, and some (“Rock Island,” “Piano Lesson”) feature rather clever techniques that make themselves apparent upon multiple listens.
In terms of production, the fine folks at the Chichester Festival Theatre have done an excellent job. From the clever use of a revolve during “Rock Island” to utilising the venue’s many entrances and exits, Rachel Kavenaugh (director) and Robert Jones (designer) have given us a pastel-hued piece of Americana that’s just the thing for a warm summer day. Howard Harrison’s lighting won’t win any awards, but it’s effective and makes good use of the CFT’s unique arrangement. More importantly, Kavenaugh’s direction actually takes advantage of the diamond-shaped stage, and patrons on the sides feel involved, rather than like voyeurs.
As Harold Hill, Brian Conley is a fast talking smooth moving fellow, but was showing signs of vocal strain when the RZ attended: perhaps a side effect from attempting to channel the late Robert Preston, who originated the role. The desire to mimic the OBC and/or original film cast is a running issue throughout the piece: there was little originality in how the characters were portrayed, and while this approach worked, it would have been nice to see something a little fresher. The RZ wasn’t blown away by Scarlett Strallen in Mary Poppins, and felt similar about her Marian, particularly her consistent but clearly not midwest-American accent. Her fans, however, will undoubtedly adore her performance here. The remainder of the cast are solid, including the children who go uncredited on the website. It’s easy for the roles of Amarylis and Winthrop to be annoying, but they weren’t, and when Marian sees Wintrhop break out of his shell to sing a verse in Wells Fargo Wagon, the moment is genuine.
50 years ago, The Music Man did what would today be considered unthinkable: it beat out West Side Story for the Best Musical Tony. In retrospect it’s easy to pass judgement, but visiting this production made the RZ remember why audiences fell in love with the show: West Side Story may be the more intellectually satisfying piece, but The Music Man is a simple, charming story that does its duties so well that it’s easy to be won over like the people of River City.
Where: Chichester Festival Theatre, Chichester
When: In repertoire until 30 August. Check the website for times and dates.
How Much: £12-£36
Concessions: The usual groups can book in advance for half off on main section tickets (so £15 rear section, £18 front section)
---------------------------------
RZ Unofficial “Worth Paying”: £36 for an excellent revival of a timeless classic. Even with the cost of a train ticket, it’s still cheaper to see it here than in a West End transfer.
RZ Other Notes: The RZ, having spent a number of years in middle America, may find himself recognising and appreciating the characters and setting more than others, but the performance he attended (a Friday matinee loaded with OAP’s and families) was quite well received.
The RZ suggests that patrons visiting from London attempt to catch a matinee instead of an evening performance - it takes 90 min. to get from London Bridge or Victoria to Chichester (and back), and catching an evening performance puts one in danger of missing rail connections and possibly the final underground for the evening.
Props to the CFT website for providing a list of the orchestra on the website.
The RZ had never heard of Brian Conley before this production, and finds the actor to be like Harold Hill himself: entirely elusive with any form of credential. The RZ still has no idea why this man is considered a selling point as his website is devoid of any useful information as to the man's past.
According to some of the RZ’s local friends, The Music Man is a show that never quite resonates properly with British audiences: the isolationist expanses of the midwest combined with a puritanical instinct for a good clean society left Britain for the most part with industrialisation.
It is this desire for an upright, clean Christian society that allows The Music Man’s central figure, “Professor” Harold Hill (Brian Conley), to work his charms: a travelling fraudster, Hill creates moral panic in small towns before proclaiming himself a musical expert and selling the people instruments and uniforms for a band he has no plan to bring together. Hill meets his match in River City, Iowa, though as stubborn self-sufficient librarian Marian (Scarlett Strallen) sees through his lies while the rest of the town falls to Hill’s slick words. It’s obvious where this is going, and the RZ stop bantering on about the plot here. The score (by Meredith Wilson, as is the book) is loaded with Broadway classics including “Ya Got Trouble,” “Pick-A-Little Talk-A-Little,” and of course “76 Trombones.” There are some who write off the score as simplistic or bland, but the numbers are all appealing, and some (“Rock Island,” “Piano Lesson”) feature rather clever techniques that make themselves apparent upon multiple listens.
In terms of production, the fine folks at the Chichester Festival Theatre have done an excellent job. From the clever use of a revolve during “Rock Island” to utilising the venue’s many entrances and exits, Rachel Kavenaugh (director) and Robert Jones (designer) have given us a pastel-hued piece of Americana that’s just the thing for a warm summer day. Howard Harrison’s lighting won’t win any awards, but it’s effective and makes good use of the CFT’s unique arrangement. More importantly, Kavenaugh’s direction actually takes advantage of the diamond-shaped stage, and patrons on the sides feel involved, rather than like voyeurs.
As Harold Hill, Brian Conley is a fast talking smooth moving fellow, but was showing signs of vocal strain when the RZ attended: perhaps a side effect from attempting to channel the late Robert Preston, who originated the role. The desire to mimic the OBC and/or original film cast is a running issue throughout the piece: there was little originality in how the characters were portrayed, and while this approach worked, it would have been nice to see something a little fresher. The RZ wasn’t blown away by Scarlett Strallen in Mary Poppins, and felt similar about her Marian, particularly her consistent but clearly not midwest-American accent. Her fans, however, will undoubtedly adore her performance here. The remainder of the cast are solid, including the children who go uncredited on the website. It’s easy for the roles of Amarylis and Winthrop to be annoying, but they weren’t, and when Marian sees Wintrhop break out of his shell to sing a verse in Wells Fargo Wagon, the moment is genuine.
50 years ago, The Music Man did what would today be considered unthinkable: it beat out West Side Story for the Best Musical Tony. In retrospect it’s easy to pass judgement, but visiting this production made the RZ remember why audiences fell in love with the show: West Side Story may be the more intellectually satisfying piece, but The Music Man is a simple, charming story that does its duties so well that it’s easy to be won over like the people of River City.
Where: Chichester Festival Theatre, Chichester
When: In repertoire until 30 August. Check the website for times and dates.
How Much: £12-£36
Concessions: The usual groups can book in advance for half off on main section tickets (so £15 rear section, £18 front section)
---------------------------------
RZ Unofficial “Worth Paying”: £36 for an excellent revival of a timeless classic. Even with the cost of a train ticket, it’s still cheaper to see it here than in a West End transfer.
RZ Other Notes: The RZ, having spent a number of years in middle America, may find himself recognising and appreciating the characters and setting more than others, but the performance he attended (a Friday matinee loaded with OAP’s and families) was quite well received.
The RZ suggests that patrons visiting from London attempt to catch a matinee instead of an evening performance - it takes 90 min. to get from London Bridge or Victoria to Chichester (and back), and catching an evening performance puts one in danger of missing rail connections and possibly the final underground for the evening.
Props to the CFT website for providing a list of the orchestra on the website.
The RZ had never heard of Brian Conley before this production, and finds the actor to be like Harold Hill himself: entirely elusive with any form of credential. The RZ still has no idea why this man is considered a selling point as his website is devoid of any useful information as to the man's past.
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