Back in the golden age of Broadway, there was a subset of musicals known as “tired businessman” shows. These were typically mediocre affairs that were decent in terms of quality, mildly entertaining, and inoffensive (Sweet Charity is a prime example, though Bob Fosse’s choreography and Gwen Verdon’s performance lent it extra weight.) Sondheim’s “lost” Saturday Night is a tired businessman show through and through, being unperformed until the 1990’s (despite being written in the 50’s but unproduced due to a funding crisis) and currently revived in a cleverly(?) timed production at the Jermyn Street Theatre.
Keeping the plot details short and spoiler free, Saturday Night focuses on a group of friends in late 1920’s Brooklyn who have two things on their mind: pulling girls and making some fast cash in the stock market. Led by wannabe playboy Gene, the group try to score with buddy girl Celeste’s lady friends and pool together on a tip that Gene received. This being a strictly by the book show complete with a checklist of clichés, I’ll leave it to you to guess what happens. Chances are you’ll be mostly right.
It’s sad that the show itself is so unimpressive, Sondheim or not, because the production tries so hard to outdo it. Engaging the increasingly common actor-musician concept (the male ensemble only - no female musicians here), director Tom Littler makes the best use possible out of the Jermyn Street’s tiny stage, and Tom Attwood’s arrangements are well played and never feel hollow or reduced. The cast, including reality show contestant Helena Blackman, vary between quite good and decent, though the accents were straight out of a gangster film and had their occasional lapses. The cast try desperately to land their jokes (they frequently succeed) but I never connected to David Ricardo-Pearce as Gene, and while the antics of the supporting cast are amusing, they wear thin.
Indeed, my biggest issue with Saturday Night was that even though I entered the theatre on Thursday night, it felt like I didn’t get to leave until Saturday in spite of a svelte 2:10 runtime. While I like old-fashioned musicals and understand that they run at a slower pace, Saturday was content to plod rather than keep marching along. Those who bemoan the loud music and hectic nature of more contemporary shows, however, may find themselves taken in by the show’s charms. I, however, will be spending my Saturday night at Avenue Q.
Where: Jermyn Street Theatre
When: Until 14 March, Tu-Sa @ 19:00, Sa-Su @ 15:00
How Much: £18
Concessions: £15
-----------------------
RZ Unofficial “Worth Paying”: £9. Half price for “okay but not amazing.”
RZ Other Notes: (In?)conveniently enough, I saw the Menier’s A Little Night Music the night before. I didn’t fall in love with it either, but that’s another review...
Also, I've been asked to point out that due to scheduling issues on my end, I went New York style and attended the final preview instead of the press night.
Showing posts with label Jermyn Street. Show all posts
Showing posts with label Jermyn Street. Show all posts
Saturday, 14 February 2009
Monday, 26 January 2009
PRESS RELEASE: PRIMAVERA PRESENTS SONDHEIM'S SATURDAY NIGHT
Helena Blackman stars in Stephen Sondheim’s “credit crunch” musical SATURDAY NIGHT
Jermyn Street Theatre, London
10 February – 14 March 2009
Helena Blackman, runner-up of ‘How Do You Solve a Problem Like Maria?’, stars in a timely
new production of Stephen Sondheim’s first Broadway musical SATURDAY NIGHT at the
Jermyn Street Theatre, set in the days before the 1929 Wall Street Crash.
SATURDAY NIGHT is a fascinating depiction of life in the roaring twenties – when the stock
market rose five-fold in as many years, and ordinary Americans gambled on apparently
endless credit. It tells the story of Gene Gorman (David Ricardo-Pearce), a young Wall
Street clerk who dreams of leaving his ordinary life in Brooklyn, and risks everything to
gamble on the spiralling stock market – including his fiancée Helen (Helena Blackman). This
is the first time Stephen Sondheim’s newly revised version of SATURDAY NIGHT has been
seen in the UK, including the UK premiere of two new songs.
Directed by Tom Littler (Sir Peter Hall’s regular Associate Director, director of JINGO: A
FARCE OF WAR and The Scotsman Critics’ Choice production of Sondheim’s PASSION at the
2006 Edinburgh Fringe). The Musical Director is Tom Attwood (recently MD on THE HISTORY
BOYS at the National Theatre and in the West End).
Helena Blackman rose to fame when millions voted for her in the final of the BBC’s “How Do
You Solve a Problem Like Maria?”, and was recently nominated for a TMA Award as Nellie
Forbush in the national tour of SOUTH PACIFIC. Casting will also include David Ricardo-
Pearce (Anthony in the West End production of Sondheim’s SWEENEY TODD) and Joanna
Hickman (Beth in MERRILY WE ROLL ALONG and Johanna in SWEENEY TODD for John Doyle / Watermill Theatre)
NOTES TO EDITORS
Music & Lyrics by Stephen Sondheim
Book by Julius J. Epstein and Philip G. Epstein, based on their play “Front Porch in Flatbush”
BOX OFFICE INFORMATION
10th February – 14th March 2009
Tues – Sat @ 7.30pm
Sat & Sun @ 3pm
Box Office: 020 7287 2875 / www.seetickets.com
Running Time: 2 hours 30 minutes (including interval)
ABOUT PRIMAVERA
Described by The Scotsman as ‘A hugely talented company’, Primavera is led by Artistic
Director Tom Littler and Producer Chantelle Staynings, who was recently awarded the Stage
One New Producer’s Bursary for productions including Nicholas De Jongh’s PLAGUE OVER
ENGLAND. Primavera’s four Honorary Patrons are playwright and director Peter Gill; the
actors Penelope Keith, Felicity Kendal and Diana Quick; and the playwright Peter Nichols.
Jermyn Street Theatre, London
10 February – 14 March 2009
Helena Blackman, runner-up of ‘How Do You Solve a Problem Like Maria?’, stars in a timely
new production of Stephen Sondheim’s first Broadway musical SATURDAY NIGHT at the
Jermyn Street Theatre, set in the days before the 1929 Wall Street Crash.
SATURDAY NIGHT is a fascinating depiction of life in the roaring twenties – when the stock
market rose five-fold in as many years, and ordinary Americans gambled on apparently
endless credit. It tells the story of Gene Gorman (David Ricardo-Pearce), a young Wall
Street clerk who dreams of leaving his ordinary life in Brooklyn, and risks everything to
gamble on the spiralling stock market – including his fiancée Helen (Helena Blackman). This
is the first time Stephen Sondheim’s newly revised version of SATURDAY NIGHT has been
seen in the UK, including the UK premiere of two new songs.
Directed by Tom Littler (Sir Peter Hall’s regular Associate Director, director of JINGO: A
FARCE OF WAR and The Scotsman Critics’ Choice production of Sondheim’s PASSION at the
2006 Edinburgh Fringe). The Musical Director is Tom Attwood (recently MD on THE HISTORY
BOYS at the National Theatre and in the West End).
Helena Blackman rose to fame when millions voted for her in the final of the BBC’s “How Do
You Solve a Problem Like Maria?”, and was recently nominated for a TMA Award as Nellie
Forbush in the national tour of SOUTH PACIFIC. Casting will also include David Ricardo-
Pearce (Anthony in the West End production of Sondheim’s SWEENEY TODD) and Joanna
Hickman (Beth in MERRILY WE ROLL ALONG and Johanna in SWEENEY TODD for John Doyle / Watermill Theatre)
NOTES TO EDITORS
Music & Lyrics by Stephen Sondheim
Book by Julius J. Epstein and Philip G. Epstein, based on their play “Front Porch in Flatbush”
BOX OFFICE INFORMATION
10th February – 14th March 2009
Tues – Sat @ 7.30pm
Sat & Sun @ 3pm
Box Office: 020 7287 2875 / www.seetickets.com
Running Time: 2 hours 30 minutes (including interval)
ABOUT PRIMAVERA
Described by The Scotsman as ‘A hugely talented company’, Primavera is led by Artistic
Director Tom Littler and Producer Chantelle Staynings, who was recently awarded the Stage
One New Producer’s Bursary for productions including Nicholas De Jongh’s PLAGUE OVER
ENGLAND. Primavera’s four Honorary Patrons are playwright and director Peter Gill; the
actors Penelope Keith, Felicity Kendal and Diana Quick; and the playwright Peter Nichols.
Friday, 12 December 2008
Review: "The Dreamers of Inishdara"
Sometimes you see a listing and the description just clicks: An Irish country setting, a concept reminiscent of Stardust, and a legendary lady in the cast. And sometimes, the execution just fails it completely.
Leanah Dubh (Gemma-Leah Davreux) is a half-fairy postmodernist painter (a la Jackson Pollock) with a migraine: separated from the Irish land she falls weak, dependent on stranger Crow Murphy to get her home safe. Once recovered, Leanah needs Crow to leave - and fast. Her saintly landlord’s evil brother (Peter Dunne as Brian Quigley type Dick Branigan) has barred men from the premises and will evict her if one is found. Matters are complicated by the arrival of a space-case leprechaun (Patricia Quinn in fine form) who informs Leanah that she is to marry the Fairy King - a daunting proposition.
There’s a lot going for the play: the characters (minus an uncomfortably out of place parish priest) are interesting, and the story was interesting and well paced.
And then things start going wrong. Much of the dialogue could have been scripted for fantasy LARPers, and while green themes are hot, the constant reminders of Irish natural beauty are overdone. Accent troubles also abounded, particularly from Mr. Dunne who wandered between Ballykissangel Irish and Rupert Murdoch Australian and Stephen Elliot MacDonald who to my ears sounded Scottish instead of country Irish. The appearance of an English bulldozer driver at the end whose sole purpose was to finalise Dick’s redemption, was awkward and a waste of an ensemble member. And then there’s the higher than average Fringe ticket price, rivalling those of professional pantos.
I don’t want to imply that The Dreamers of Inishdara is horrible or a wasted night out - it’s absolutely not - but the play feels like a work in progress at this state and could benefit from some time with a dramaturge. It’s also a difficult work to judge because it’s right on the border of “family play” and “adult play” and my expectations vary between the two. It’s (mostly) entertaining and (mostly) well acted and an intimate and choice, but with so much family fare up and running this time of year, The Dreamers of Inishdara is likely to find itself dreaming of full houses rather than being blessed with them.
Where: Jermyn Street Theatre
When: Until 13 Dec. 08, 19:30 PM, Sa @ 15:30
How Much: £22
Concessions: £16
----------------------
RZ Unofficial “Worth Paying”: £13.50 (Half price plus TKTS fee)
RZ Other Notes: Yeah. I booked this to see Patricia Quinn, who did not disappoint. Even from the next to back row, this is likely to be the most intimate setting one will see this legendary lady perform in.
Leanah Dubh (Gemma-Leah Davreux) is a half-fairy postmodernist painter (a la Jackson Pollock) with a migraine: separated from the Irish land she falls weak, dependent on stranger Crow Murphy to get her home safe. Once recovered, Leanah needs Crow to leave - and fast. Her saintly landlord’s evil brother (Peter Dunne as Brian Quigley type Dick Branigan) has barred men from the premises and will evict her if one is found. Matters are complicated by the arrival of a space-case leprechaun (Patricia Quinn in fine form) who informs Leanah that she is to marry the Fairy King - a daunting proposition.
There’s a lot going for the play: the characters (minus an uncomfortably out of place parish priest) are interesting, and the story was interesting and well paced.
And then things start going wrong. Much of the dialogue could have been scripted for fantasy LARPers, and while green themes are hot, the constant reminders of Irish natural beauty are overdone. Accent troubles also abounded, particularly from Mr. Dunne who wandered between Ballykissangel Irish and Rupert Murdoch Australian and Stephen Elliot MacDonald who to my ears sounded Scottish instead of country Irish. The appearance of an English bulldozer driver at the end whose sole purpose was to finalise Dick’s redemption, was awkward and a waste of an ensemble member. And then there’s the higher than average Fringe ticket price, rivalling those of professional pantos.
I don’t want to imply that The Dreamers of Inishdara is horrible or a wasted night out - it’s absolutely not - but the play feels like a work in progress at this state and could benefit from some time with a dramaturge. It’s also a difficult work to judge because it’s right on the border of “family play” and “adult play” and my expectations vary between the two. It’s (mostly) entertaining and (mostly) well acted and an intimate and choice, but with so much family fare up and running this time of year, The Dreamers of Inishdara is likely to find itself dreaming of full houses rather than being blessed with them.
Where: Jermyn Street Theatre
When: Until 13 Dec. 08, 19:30 PM, Sa @ 15:30
How Much: £22
Concessions: £16
----------------------
RZ Unofficial “Worth Paying”: £13.50 (Half price plus TKTS fee)
RZ Other Notes: Yeah. I booked this to see Patricia Quinn, who did not disappoint. Even from the next to back row, this is likely to be the most intimate setting one will see this legendary lady perform in.
Thursday, 6 November 2008
THOUGHTS: “Confessions of Honour”
Job applications, writing commitments, and the first cold of the season are keeping me from reviewing this in greater detail, but I did want to get a post up about Gerry Hinks’s Confessions of Honour to say....that I liked it. Quite a bit, in fact, but it ticks a lot of my boxes: history, good pacing, interesting subject, not being painfully obvious with how the twists go, quality acting, the list goes on and on. The only real qualm that I have is that at its core, this play is a two hander but there are four characters: the central Frederick Salisbury (Keith Minshull) and Wolfgang Meissler (author Hinks), as well as the Warrant Officer who occasionally pops her head in to mind them and the RSM who is only around for the beginning and the end. I can understand having a third character to frame the play’s events surrounding a Victoria Cross awardee returning his medal to the regiment, but another seems excessive.
Anyways, this is a play which falls squarely under the category of “nice” and “intimate” and while not a life changer, “a wonderful way to escape a nasty, rainy afternoon.” The London run is closed, but I believe there was one more short run following which may have a day or two left.
Anyways, this is a play which falls squarely under the category of “nice” and “intimate” and while not a life changer, “a wonderful way to escape a nasty, rainy afternoon.” The London run is closed, but I believe there was one more short run following which may have a day or two left.
Subscribe to:
Posts (Atom)
