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 Sondheim. Show all posts
Showing posts with label Sondheim. Show all posts
Saturday, 14 February 2009
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..
Saturday, 6 December 2008
NOTES/REVISIT: “Sweeney Todd” + “Imagine This”
I had a chance to catch the Union’s production of Sondheim’s legendary Sweeney Todd this week, but won’t be reviewing it as I also have a friend in the cast. It’s also sold out and closing on Sunday.
It did, however, give me an excuse to bring up an old debate: What’s the difference between London AmDram and most of the London Fringe? After all, nobody’s getting paid at either of them and I’ve seen pros slumming it in London AmDram for exposure.
This was also my first trip to the Union, and it’s a nifty venue - I’d love to put something like Hedwig in there. I’d also want to get the seats redone - they rival the Menier for being uncomfortable.
Meanwhile, I wasn’t planning to revisit Imagine This, but a friend wanted to go and it’s not exactly hard to get free tickets (or discounts - they were handing out £25 fliers afterwards) so back to the New London I went. The show’s been tightened up a bit since I saw it originally, but it’s still in need of one more revision - the campy slave character is still annoyingly out of place and the first act didn’t hit particularly well with my friend or a fair bit of the audience, but the second act certainly did - even if I’d personally cut the final song. In short, it’s flawed but so much is good (score, cast, design, and yes, concept) that I stand by saying that Imagine This is worth giving a chance on a discount.
It did, however, give me an excuse to bring up an old debate: What’s the difference between London AmDram and most of the London Fringe? After all, nobody’s getting paid at either of them and I’ve seen pros slumming it in London AmDram for exposure.
This was also my first trip to the Union, and it’s a nifty venue - I’d love to put something like Hedwig in there. I’d also want to get the seats redone - they rival the Menier for being uncomfortable.
Meanwhile, I wasn’t planning to revisit Imagine This, but a friend wanted to go and it’s not exactly hard to get free tickets (or discounts - they were handing out £25 fliers afterwards) so back to the New London I went. The show’s been tightened up a bit since I saw it originally, but it’s still in need of one more revision - the campy slave character is still annoyingly out of place and the first act didn’t hit particularly well with my friend or a fair bit of the audience, but the second act certainly did - even if I’d personally cut the final song. In short, it’s flawed but so much is good (score, cast, design, and yes, concept) that I stand by saying that Imagine This is worth giving a chance on a discount.
Wednesday, 1 October 2008
REVIEW: “Girl with a Pearl Earring”
The problem with adaptations is that they will inevitably and almost certainly be compared unfavourably with the original work. After all, the original is what the creator intended the piece to be, so how can a reworking dare hope to improve on their artistic vision?
If you’re a cultural bum like the RZ, however, this qualm is frequently moot: you can’t compare an adaptation to the original if you’ve never read it/seen it before. Case in point? The fact that the RZ didn’t outright despise David Joss Buckley’s new stage edition of Tracy Chevalier’s historical novel Girl with a Pearl Earring, currently running at the Theatre Royal Haymarket, is a testament to the fact that he is clearly missing out on something that the critical establishment has partaken in.
For those who, like the RZ, have no idea what all the fuss is about, the story is simple: Griet’s (Kimberley Nixon) father is a tile painter who, after going blind, pulled some strings and got her a job as a maid at master painter Vermeer’s (Adrian Dunbar) house. Not quite sure of her place as a maid (she speaks her mind quite a bit) and uncomfortably Protestant in an unforgivingly Catholic neighbourhood of their Dutch town, Griet learns of art and philosophy from the master while cleaning his studio, eventually becoming the subject for one of his paintings, much to the household’s displeasure and the great joy of leering patron Van Ruijven. There’s a subplot involving whether or not Griet will marry butcher’s apprentice Pieter, but for the most part it’s a story of jealousy and artistic beauty - which is probably why everybody seems to think it’s so darned lame. Griet’s not sleeping with Vermeer (or at least it’s not acknowledged), and the whole thing makes much ado about nothing: from the beginning we see the supporting characters making asides along the lines of “I knew from when I saw her - her beauty - that she would end up tearing the house apart.” Given that the entire play is just over two hours with the interval, such conceptual clubbing is unnecessary and detracts from the natural growth of dramatic tension.
Since enough other people have highlighted the negative, let’s talk about some positives: Peter Mumford’s simple revolve set is effective, and though a bit on the pretentious side, his checkerboard walls and tiled floor symbolise the contrasts of the text. Mumford also chose to utilise a relatively minimalist lighting design that enhances, rather than obscures, the locations and events. Christopher Gunning’s incidental score is appealing and well used, and the cast (particularly Sara Kestelman as house matron Maria Thins) give it everything they’ve got. And, contrary to some other members of the internet, the RZ was decidedly not bored. Not enthralled, but not bored.
To be honest, the RZ wonders if Girl with a Pearl Earring is a victim of location as much as any flaws in the material: had the show gone up at the Menier or the King’s Head or any choice venue where the production would have been smaller (and indeed more effective from the venue’s intimacy) and the tickets cheaper (versus the Haymarket’s standard West End rates), would the majority of the press and public been kinder to it? It’s hard to tell, but the RZ paid the same as he did for Riflemind (nothing) and he was quite happy to sit through the second act at Girl.
Even so, let's not fool ourselves: Sondheim did the whole tormented art and beauty gig better.
Where: Theatre Royal Haymarket
When: Until November. M-Sa @ 19:30, W/Sa @ 14:30
How Much: £17.50-£45
Concessions: Day seats in the stalls for £20 from 10AM, seniors can advance book matinees for £20, students can book upper circle for £15 on the day.
--------------------------------
RZ Unofficial “Worth Paying”: £20. The material’s not perfect, but it’s not as bad as everybody says it is, and the production values and acting are lovely.
RZ Other Notes: That doesn’t change the fact that the Haymarket’s had four less than well received productions (The Country Wife, The Sea, Marguerite, Girl with a Pearl Earring) in a row. And it doesn’t change the fact that the RZ is still more interested in the upcoming Treasure Island more than any of the Haymarket’s other offerings from the past year.
If you’re a cultural bum like the RZ, however, this qualm is frequently moot: you can’t compare an adaptation to the original if you’ve never read it/seen it before. Case in point? The fact that the RZ didn’t outright despise David Joss Buckley’s new stage edition of Tracy Chevalier’s historical novel Girl with a Pearl Earring, currently running at the Theatre Royal Haymarket, is a testament to the fact that he is clearly missing out on something that the critical establishment has partaken in.
For those who, like the RZ, have no idea what all the fuss is about, the story is simple: Griet’s (Kimberley Nixon) father is a tile painter who, after going blind, pulled some strings and got her a job as a maid at master painter Vermeer’s (Adrian Dunbar) house. Not quite sure of her place as a maid (she speaks her mind quite a bit) and uncomfortably Protestant in an unforgivingly Catholic neighbourhood of their Dutch town, Griet learns of art and philosophy from the master while cleaning his studio, eventually becoming the subject for one of his paintings, much to the household’s displeasure and the great joy of leering patron Van Ruijven. There’s a subplot involving whether or not Griet will marry butcher’s apprentice Pieter, but for the most part it’s a story of jealousy and artistic beauty - which is probably why everybody seems to think it’s so darned lame. Griet’s not sleeping with Vermeer (or at least it’s not acknowledged), and the whole thing makes much ado about nothing: from the beginning we see the supporting characters making asides along the lines of “I knew from when I saw her - her beauty - that she would end up tearing the house apart.” Given that the entire play is just over two hours with the interval, such conceptual clubbing is unnecessary and detracts from the natural growth of dramatic tension.
Since enough other people have highlighted the negative, let’s talk about some positives: Peter Mumford’s simple revolve set is effective, and though a bit on the pretentious side, his checkerboard walls and tiled floor symbolise the contrasts of the text. Mumford also chose to utilise a relatively minimalist lighting design that enhances, rather than obscures, the locations and events. Christopher Gunning’s incidental score is appealing and well used, and the cast (particularly Sara Kestelman as house matron Maria Thins) give it everything they’ve got. And, contrary to some other members of the internet, the RZ was decidedly not bored. Not enthralled, but not bored.
To be honest, the RZ wonders if Girl with a Pearl Earring is a victim of location as much as any flaws in the material: had the show gone up at the Menier or the King’s Head or any choice venue where the production would have been smaller (and indeed more effective from the venue’s intimacy) and the tickets cheaper (versus the Haymarket’s standard West End rates), would the majority of the press and public been kinder to it? It’s hard to tell, but the RZ paid the same as he did for Riflemind (nothing) and he was quite happy to sit through the second act at Girl.
Even so, let's not fool ourselves: Sondheim did the whole tormented art and beauty gig better.
Where: Theatre Royal Haymarket
When: Until November. M-Sa @ 19:30, W/Sa @ 14:30
How Much: £17.50-£45
Concessions: Day seats in the stalls for £20 from 10AM, seniors can advance book matinees for £20, students can book upper circle for £15 on the day.
--------------------------------
RZ Unofficial “Worth Paying”: £20. The material’s not perfect, but it’s not as bad as everybody says it is, and the production values and acting are lovely.
RZ Other Notes: That doesn’t change the fact that the Haymarket’s had four less than well received productions (The Country Wife, The Sea, Marguerite, Girl with a Pearl Earring) in a row. And it doesn’t change the fact that the RZ is still more interested in the upcoming Treasure Island more than any of the Haymarket’s other offerings from the past year.
Thursday, 27 March 2008
THOUGHTS: Maria Friedman Rearranged
(A busy week has kept this review from being finished in a sane amount of time. Apologies.)
Take one West End star, give her a band and a theatre, and let some magic happen. Such is the process for compiling the charming and delightful Maria Friedman Rearranged, currently playing at the Menier Chocolate Factory.
Backed by 30 musicians, Ms. Friedman takes us through a number of composers, from Jacques Brel (two songs using alternative translations) to Randy Newman and of course a plethora of Sondheim. Fans may be surprised, however, to find out that the works of Andrew Lloyd Webber and Ahrens & Flaherty are missing from her repertoire, despite her involvement in shows from both. Still, Ms. Friedman is given the chance to shine as she changes from painfully distressed to tenderly affectionate to flat out insane as she opens the second set with “The Worst Pies on London” from Sweeney Todd. And if her banter between the songs isn’t as inspired as it could be, well...we weren’t coming for that anyways.
And the band? Oh the band, masterfully conducted (including one song where the two pianists, Michael Haslam and Chris Walker) bounce conducting duty back and forth in a brilliant display of musical acuity. Splitting 40 instruments among 11 musicians (the poor Dan Gresson running across the upper deck on a variety of percussion duties), patrons are treated to a lusher set of orchestrations than on offer from a number of shows in the West End.
Maria Friedman Rearranged is not a pinnacle of one-person shows or retrospectives, but it is an evening of glorious music which musical fans would be foolish to miss.
Where: Menier Chocolate Factory
When: Until 4 May, Tu-Sa @ 20:00, Su @ 15:30
How Much: £20 General Admission
Concessions: £17.50 bookable in advance
------------------
RZ Unofficial “Worth Paying”: £20. Standard price for a concert at a club.
RZ Other Notes: Asthma sufferers and those clearing the plague may wish to sit this one out, as the production uses a disgustingly large amount of stage fog, causing a mass coughing outburst at times during the show. It’s unnecessary for a production like this, and has hopefully been scaled back. Also note that the ushers will force you to cross the stage if you wish to sit on the left. The stage and the floor beneath it are both black, so BE CAREFUL - there were multiple falls the night the RZ attended. Lastly, those not wishing to engage in audience participation should avoid the aisles and row of cabaret tables left over from La Cage.
Now, to do something about those uncomfortable benches...
Take one West End star, give her a band and a theatre, and let some magic happen. Such is the process for compiling the charming and delightful Maria Friedman Rearranged, currently playing at the Menier Chocolate Factory.
Backed by 30 musicians, Ms. Friedman takes us through a number of composers, from Jacques Brel (two songs using alternative translations) to Randy Newman and of course a plethora of Sondheim. Fans may be surprised, however, to find out that the works of Andrew Lloyd Webber and Ahrens & Flaherty are missing from her repertoire, despite her involvement in shows from both. Still, Ms. Friedman is given the chance to shine as she changes from painfully distressed to tenderly affectionate to flat out insane as she opens the second set with “The Worst Pies on London” from Sweeney Todd. And if her banter between the songs isn’t as inspired as it could be, well...we weren’t coming for that anyways.
And the band? Oh the band, masterfully conducted (including one song where the two pianists, Michael Haslam and Chris Walker) bounce conducting duty back and forth in a brilliant display of musical acuity. Splitting 40 instruments among 11 musicians (the poor Dan Gresson running across the upper deck on a variety of percussion duties), patrons are treated to a lusher set of orchestrations than on offer from a number of shows in the West End.
Maria Friedman Rearranged is not a pinnacle of one-person shows or retrospectives, but it is an evening of glorious music which musical fans would be foolish to miss.
Where: Menier Chocolate Factory
When: Until 4 May, Tu-Sa @ 20:00, Su @ 15:30
How Much: £20 General Admission
Concessions: £17.50 bookable in advance
------------------
RZ Unofficial “Worth Paying”: £20. Standard price for a concert at a club.
RZ Other Notes: Asthma sufferers and those clearing the plague may wish to sit this one out, as the production uses a disgustingly large amount of stage fog, causing a mass coughing outburst at times during the show. It’s unnecessary for a production like this, and has hopefully been scaled back. Also note that the ushers will force you to cross the stage if you wish to sit on the left. The stage and the floor beneath it are both black, so BE CAREFUL - there were multiple falls the night the RZ attended. Lastly, those not wishing to engage in audience participation should avoid the aisles and row of cabaret tables left over from La Cage.
Now, to do something about those uncomfortable benches...
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