I have to confess that taking a commission to see Forbidden Broadway at the Menier was a lot like being paid to see Spring Awakening: I’d seen both in New York and knew the material going in, and it almost felt like cheating to get paid to write about it.
The good news is that I like the London cast of Forbidden Broadway far more than I did the locals in Spring Awakening. Forbidden Broadway also has a tonne of new UK specific material, some of the best recent US bits (though they cut the dialogue sequences from the Jersey Boys and Spring Awakening segments), and a few of the old classics which never fail to amuse (Ten Years More, Circle of Mice.) Unfortunately there’s plenty of the diva jokes which, honestly, are my least favourite parts but I’ve never been gaga for Liza or Sarah so while the general humour is funny - as it is to the many, many tourists who kept Forbidden Broadway open through the years - I was always ready for the next show, trend, and gimmick to be eviscerated before my eyes. The humour is generic enough for casual fans to get it but there are layers for the hardcore to peel back and it’s oh so mean but only as a lesson in tough love.
Speaking of cuts, the show moved fast - VERY fast. When I saw Roast of Utopia I counted around 20-25 sketches, and I would hazard to say there’s closer to 30 here, though the production here is also a good 30 minutes longer. And, of course, time flies when you’re laughing your head off and trying to hide your jealousy that someone else’s blog got namechecked in the first parody and yours didn’t.
Still reading this? Why? Go book tickets (just leave some cheap ones available so I can go again!)
Where: Menier Chocolate Factory
When: Tu-Sa @ 20:00, Sa/Su @ 15:30
How Much: £25 except Saturday matinees £15
Concessions: Ask directly, £34/24 show + meal deal bookable in advance
---------------------
RZ Unofficial “Worth Paying”: £25. The legend lives.
RZ Other Notes: What’s Jest End again?
Showing posts with label Forbidden Broadway. Show all posts
Showing posts with label Forbidden Broadway. Show all posts
Monday, 6 July 2009
Tuesday, 28 October 2008
REVIEW: "So Jest End"
(Second of two reviews today, see below for a quickie catch-up post.)
London’s history with the Forbidden Broadway franchise is an iffy one. Despite running for over twenty years across a variety of New York locations, all three attempts at bringing the sharp witted parody property to London have been met with short, unprofitable runs. Recently, a local alternative has been in development, running first a few months ago and now in a one-weekend-a-month engagement at the Leicester Square. So Jest End (formerly Jest End and Fraudway) attempts to rework the winning formula for the West End, but it comes up empty and unimpressive instead.
The fault lies in getting what makes Forbidden Broadway funny: While Forbidden’s jokes tend to tread the same themes, the show is kept religiously up to date (barring the occasional throwback to the classic diva and the infamous Annie skit) and the show chooses its targets well: the dumbing down of Broadway, plots of hit shows, eccentric divas, and new trends. Creator Gerard Alessandrini also keeps his jokes wide enough that innocent tourists wandering in on a half price ticket stay entertained even if they haven’t seen everything on the boards.
And this is where So Jest End fails. Despite being billed as an update and featuring new songs, much of the material is out of date: there are still bits from Mary Poppins (gone six months) and Footloose (closed a year ago), shows with no official plans for the West End (Little Mermaid), and Gone With The Wind jokes (again, gone for months and no longer funny). Instead of looking at the state of the West End or even some of the biggest shows (no Hairspray, Dirty Dancing, or Joseph bits), the popular themes are reality TV (a full two song bit dedicated to the upcoming Oliver and multiple references elsewhere) and the low state of actor pay (constant mentions plus a full song about how Phantom uses alternates). There’s enough to chuckle one’s way through it, but the material lacks fangs and fire which makes it hard for the cast (all very talented and flexible) to land the serious jokes. Only the Les Miserables bit about the hell of lasting a year in the cast managed to score constant big laughs, and even so it just doesn’t hit as hard as Forbidden Broadway’s “Ten Years More.”
While it’s good to see those involved in the West End finding humour in its flaws, So Jest End is very much an insider’s show and mere fans (or even industry people who aren't actors) are likely to find themselves lost, bored, or underwhelmed. While the show will undoubtedly get better over the years and various iterations, it’s just not there enough yet to justify even its Fringe-level ticket cost or the risk of not being able to get home (see below for more).
Where: Leicester Square Theatre (Basement)
When: 14/15 Nov, 19/20 Dec @ 23:00
How Much: £15 General Admission
Concessions: None
---------------------------------------
RZ Unofficial “Worth Paying”: £5. It’s strictly amateur night.
RZ Other Notes: Hoo boy, where to begin. First, go to this with friends. I made the mistake of going alone and was the only person NOT attending with at least six companions who knew the people in every other group at the venue. Second, get seats at the tables if you can - the back row seats may be more comfortable but there’s no rake so they’re slightly obstructed and the people next to you *will* fidget and elbow you repeatedly as they move around attempting to see what’s going on.
Third, be forewarned that securing transport after the show is at your own risk. While most bus lines are still in operation at 00:15, and while the Northern Line hasn’t OFFICIALLY run its final trains, Leicester Square station was thoroughly gated off and locked up when the Saturday show let out, as was Tottenham Court Road. Patrons looking to catch the underground home may have better luck at Charing Cross, but I wound up getting lucky and catching the next to last train out of Goodge Street instead. Should you not live conveniently on the Northern Line, work out your bus route in advance or plan to budget on catching a cab as you will not be able to transfer to another underground line.
London’s history with the Forbidden Broadway franchise is an iffy one. Despite running for over twenty years across a variety of New York locations, all three attempts at bringing the sharp witted parody property to London have been met with short, unprofitable runs. Recently, a local alternative has been in development, running first a few months ago and now in a one-weekend-a-month engagement at the Leicester Square. So Jest End (formerly Jest End and Fraudway) attempts to rework the winning formula for the West End, but it comes up empty and unimpressive instead.
The fault lies in getting what makes Forbidden Broadway funny: While Forbidden’s jokes tend to tread the same themes, the show is kept religiously up to date (barring the occasional throwback to the classic diva and the infamous Annie skit) and the show chooses its targets well: the dumbing down of Broadway, plots of hit shows, eccentric divas, and new trends. Creator Gerard Alessandrini also keeps his jokes wide enough that innocent tourists wandering in on a half price ticket stay entertained even if they haven’t seen everything on the boards.
And this is where So Jest End fails. Despite being billed as an update and featuring new songs, much of the material is out of date: there are still bits from Mary Poppins (gone six months) and Footloose (closed a year ago), shows with no official plans for the West End (Little Mermaid), and Gone With The Wind jokes (again, gone for months and no longer funny). Instead of looking at the state of the West End or even some of the biggest shows (no Hairspray, Dirty Dancing, or Joseph bits), the popular themes are reality TV (a full two song bit dedicated to the upcoming Oliver and multiple references elsewhere) and the low state of actor pay (constant mentions plus a full song about how Phantom uses alternates). There’s enough to chuckle one’s way through it, but the material lacks fangs and fire which makes it hard for the cast (all very talented and flexible) to land the serious jokes. Only the Les Miserables bit about the hell of lasting a year in the cast managed to score constant big laughs, and even so it just doesn’t hit as hard as Forbidden Broadway’s “Ten Years More.”
While it’s good to see those involved in the West End finding humour in its flaws, So Jest End is very much an insider’s show and mere fans (or even industry people who aren't actors) are likely to find themselves lost, bored, or underwhelmed. While the show will undoubtedly get better over the years and various iterations, it’s just not there enough yet to justify even its Fringe-level ticket cost or the risk of not being able to get home (see below for more).
Where: Leicester Square Theatre (Basement)
When: 14/15 Nov, 19/20 Dec @ 23:00
How Much: £15 General Admission
Concessions: None
---------------------------------------
RZ Unofficial “Worth Paying”: £5. It’s strictly amateur night.
RZ Other Notes: Hoo boy, where to begin. First, go to this with friends. I made the mistake of going alone and was the only person NOT attending with at least six companions who knew the people in every other group at the venue. Second, get seats at the tables if you can - the back row seats may be more comfortable but there’s no rake so they’re slightly obstructed and the people next to you *will* fidget and elbow you repeatedly as they move around attempting to see what’s going on.
Third, be forewarned that securing transport after the show is at your own risk. While most bus lines are still in operation at 00:15, and while the Northern Line hasn’t OFFICIALLY run its final trains, Leicester Square station was thoroughly gated off and locked up when the Saturday show let out, as was Tottenham Court Road. Patrons looking to catch the underground home may have better luck at Charing Cross, but I wound up getting lucky and catching the next to last train out of Goodge Street instead. Should you not live conveniently on the Northern Line, work out your bus route in advance or plan to budget on catching a cab as you will not be able to transfer to another underground line.
Sunday, 13 April 2008
REVIEW: "I Saw Myself"
(A delayed review, but one clocking in at under 350 words.)
The Wrestling School (Not really a school but a collective of RSC/Royal Court/RADA grads surrounding playwright Howard Barker) bring their mentor’s newest work to their alma matter in the form of a 2.5 hours on war, infidelity, and needlepoint.
Yes. Needlepoint.
Sleev, a well to do Mrs. Robinson figure loses the husband she has never been faithful to in the war. As is traditional in her time and place, she and her maids (a crone and two silly young things) must complete a tapestry full of the story of the deceased and his life. Breaking tradition, Sleev dictates the main story should be a reflection of her infidelity and lies. For 2.5 hours the women talk, abuse Sleev’s daughter, discuss the symbolism of tapestry, lose their eyesight, talk about the past, discuss the symbolism of tapestry, talk Genesis (the biblical book, not the band), fear the approaching war, and talk tapestry. One could say it’s a big bible banging stitch ‘n’ bitch.
There’s also cock. A lot of cock. Y’see, Sleev’s hiding a rather attractive naked man in her wardrobe whom she worships while fucking her daughter’s husband on the side. In order to express her own desire to be the dominated one, Sleev sends her husband to find an unattractive man to control her. When her adonis is called up for service (he later returns in the lower half of a late 19th century uniform looking as attractive, if not more, than ever), her condition deteriorates. Unfortunately, when the handsome one returns, we find that the character is far more interesting when silent - he has a never-ending speech where one wishes he’d just shut up and start killing people.
The RZ is making light of this work, which does deserve some serious thought. There’s a lot of dense and worthy ideas packed in here, but the delivery is in a dull and unengaging way which comes off as a Victorian or Edwardian piece with some sharp one-liners piercing the drama rather than today’s fast moving methodology.
Where: RADA/Jerwood Vanbrugh Theatre
When: Until 19 Apr. M-Sa @ 19:30, 19 Apr @ 15:00
How Much: £18 General Admission
Concessions: £10 for usuals, £8 for RADA students
----------------------
RZ Unofficial Worth Paying: £10. Add a few if you’re really in the mood for a brain buster evening or for a cheaper evening than a seedy club in Soho.
RZ Other Notes: The nudity ends at the interval. In seriousness, this is a play that takes time to digest. It’s not an easy work, in part because it drags (especially at the end), but also because there is so much discussion of symbolism and allegory to warfare, sexual fidelity, identity, feminism, etc. This is not a “fun night out play”, but an “I go to the theatre to think” play.
Also, permitting the spoiler, when the attractive man in uniform returns, Sleev begs him to fuck her. When he refuses, she offers her blind person’s cane (the RZ is awful for not knowing the proper title) and grovels for him to beat her instead. All the RZ could think of during said sequence was Forbidden Broadway’s parody of the similar scene in Spring Awakening.
Wendla: “My supporting castmate tells me her father beats her with a broomstick every night. And since I’ve never been beaten I don’t know what it feels like. So would you beat me with a great big stick?”
Melchior: “I couldn’t!”
Wendla: “Pleeeeeeeaaaaaaaasssssseeee?”
Melchior: “OK! Like this? (feeble smack)”
Wendla: “Put your back into it, you sissy...”
The Wrestling School (Not really a school but a collective of RSC/Royal Court/RADA grads surrounding playwright Howard Barker) bring their mentor’s newest work to their alma matter in the form of a 2.5 hours on war, infidelity, and needlepoint.
Yes. Needlepoint.
Sleev, a well to do Mrs. Robinson figure loses the husband she has never been faithful to in the war. As is traditional in her time and place, she and her maids (a crone and two silly young things) must complete a tapestry full of the story of the deceased and his life. Breaking tradition, Sleev dictates the main story should be a reflection of her infidelity and lies. For 2.5 hours the women talk, abuse Sleev’s daughter, discuss the symbolism of tapestry, lose their eyesight, talk about the past, discuss the symbolism of tapestry, talk Genesis (the biblical book, not the band), fear the approaching war, and talk tapestry. One could say it’s a big bible banging stitch ‘n’ bitch.
There’s also cock. A lot of cock. Y’see, Sleev’s hiding a rather attractive naked man in her wardrobe whom she worships while fucking her daughter’s husband on the side. In order to express her own desire to be the dominated one, Sleev sends her husband to find an unattractive man to control her. When her adonis is called up for service (he later returns in the lower half of a late 19th century uniform looking as attractive, if not more, than ever), her condition deteriorates. Unfortunately, when the handsome one returns, we find that the character is far more interesting when silent - he has a never-ending speech where one wishes he’d just shut up and start killing people.
The RZ is making light of this work, which does deserve some serious thought. There’s a lot of dense and worthy ideas packed in here, but the delivery is in a dull and unengaging way which comes off as a Victorian or Edwardian piece with some sharp one-liners piercing the drama rather than today’s fast moving methodology.
Where: RADA/Jerwood Vanbrugh Theatre
When: Until 19 Apr. M-Sa @ 19:30, 19 Apr @ 15:00
How Much: £18 General Admission
Concessions: £10 for usuals, £8 for RADA students
----------------------
RZ Unofficial Worth Paying: £10. Add a few if you’re really in the mood for a brain buster evening or for a cheaper evening than a seedy club in Soho.
RZ Other Notes: The nudity ends at the interval. In seriousness, this is a play that takes time to digest. It’s not an easy work, in part because it drags (especially at the end), but also because there is so much discussion of symbolism and allegory to warfare, sexual fidelity, identity, feminism, etc. This is not a “fun night out play”, but an “I go to the theatre to think” play.
Also, permitting the spoiler, when the attractive man in uniform returns, Sleev begs him to fuck her. When he refuses, she offers her blind person’s cane (the RZ is awful for not knowing the proper title) and grovels for him to beat her instead. All the RZ could think of during said sequence was Forbidden Broadway’s parody of the similar scene in Spring Awakening.
Wendla: “My supporting castmate tells me her father beats her with a broomstick every night. And since I’ve never been beaten I don’t know what it feels like. So would you beat me with a great big stick?”
Melchior: “I couldn’t!”
Wendla: “Pleeeeeeeaaaaaaaasssssseeee?”
Melchior: “OK! Like this? (feeble smack)”
Wendla: “Put your back into it, you sissy...”
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