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
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RZ Unofficial “Worth Paying”: £25. The legend lives.
RZ Other Notes: What’s Jest End again?
Showing posts with label full price. Show all posts
Showing posts with label full price. Show all posts
Monday, 6 July 2009
Monday, 6 April 2009
THOUGHTS: Tabú by NoFit State Circus
I’m not a big fan of the circus. I guess it’s partly because I’m a snob, and partly because Dr Who taught me that clowns are creepy. The bizarre pride of family tradition and inevitable inbreeding (“8th generation circus family” “9th generation circus family” and “living on the road and only knowing circus people” combine in my head in unpleasant ways) doesn’t really help.
But hey, I was offered free tickets to Tabú, and it was an excuse to see something at the Roundhouse, which I walk past somewhat frequently and have never actually visited properly, so why not?
Tabú is promoted as circus meets burlesque and punk, and it’s not an entirely inaccurate description. Following the trends of new circus, there aren’t animals or greasepaint laden clowns (decidedly less creepy), but the show maintains a wonderful atmosphere, feeling appropriately grimy, dirty, like a slightly guilty pleasure to be attending this in public. The female costumes are what largely inspire the burlesque tag, lots of pre-war muslin and low cut high-skirted dresses (though no actually nudity and only minor stripping, usually to lose a large skirt on a trapeze).
As far as punk, that brings me to my favourite part of the evening, which is the music. While not punk as traditionally defined, the music is an odd blend of outsider (think Jandek lyrics meeting the Vaselines’ deranged tunefulness) mixed with new swing (Squirrel Nut Zippers), a splash of continental classic (Brel/Piaf) and a dusting of new wave. It’s all performed live, and I wish I’d checked the merchandise table for a CD - there really should be one.
The actual circus-ing is pretty traditional, spruced up by a steel towered behemoth out of a dystopian six year old’s Meccano set full of winches and human counterweights. There’s some avant garde use of video, and an entertaining scene done on perpendicular trampolines, one doubling as a projection screen. A few scenes, such as the opening use of silhouettes and the finale, are beautifully creative. Others are more standard fare, but it’s all supposed to come together in a look at the darker side of human desire. I didn’t always see it, and found the second half more cohesive, but it’s there for the people who want it (and can be ignored for those who just want a spectacle.)
The production is also advertised as promenade, which is misleading: the action is largely central and elevated, but the entire space is standing room and attendees are encouraged (and sometimes forced for safety reasons) to move around. My companion and I both moved around a fair bit, largely to avoid crowding and to take advantage of shifting our viewing angle, and found it a rewarding experience: sometimes moving towards the back or over to a side paid off big time, other times it was a decent but not in your face view. Most of the audience, however, stayed largely put. Your ticket, your call.
In short? It didn’t convert me to circus, but it convinced me that I should see NoFit again if they’re in town, and I think the production hit far more than it missed. Recommended.
Where: Roundhouse Theatre
When: Until 19 April, M-Sa @ 19:30, Sa @ 14:00
How Much: £20. You will be standing/walking for 2 hours.
Concessions: £18, Under 16’s £12.50
----------------------
RZ Unofficial “Worth Paying”: £20. Worth it for the music alone.
RZ Other Notes: If booking online, do your best to book directly through the theatre as your booking fee goes straight to the Roundhouse’s youth theatre charity.
But hey, I was offered free tickets to Tabú, and it was an excuse to see something at the Roundhouse, which I walk past somewhat frequently and have never actually visited properly, so why not?
Tabú is promoted as circus meets burlesque and punk, and it’s not an entirely inaccurate description. Following the trends of new circus, there aren’t animals or greasepaint laden clowns (decidedly less creepy), but the show maintains a wonderful atmosphere, feeling appropriately grimy, dirty, like a slightly guilty pleasure to be attending this in public. The female costumes are what largely inspire the burlesque tag, lots of pre-war muslin and low cut high-skirted dresses (though no actually nudity and only minor stripping, usually to lose a large skirt on a trapeze).
As far as punk, that brings me to my favourite part of the evening, which is the music. While not punk as traditionally defined, the music is an odd blend of outsider (think Jandek lyrics meeting the Vaselines’ deranged tunefulness) mixed with new swing (Squirrel Nut Zippers), a splash of continental classic (Brel/Piaf) and a dusting of new wave. It’s all performed live, and I wish I’d checked the merchandise table for a CD - there really should be one.
The actual circus-ing is pretty traditional, spruced up by a steel towered behemoth out of a dystopian six year old’s Meccano set full of winches and human counterweights. There’s some avant garde use of video, and an entertaining scene done on perpendicular trampolines, one doubling as a projection screen. A few scenes, such as the opening use of silhouettes and the finale, are beautifully creative. Others are more standard fare, but it’s all supposed to come together in a look at the darker side of human desire. I didn’t always see it, and found the second half more cohesive, but it’s there for the people who want it (and can be ignored for those who just want a spectacle.)
The production is also advertised as promenade, which is misleading: the action is largely central and elevated, but the entire space is standing room and attendees are encouraged (and sometimes forced for safety reasons) to move around. My companion and I both moved around a fair bit, largely to avoid crowding and to take advantage of shifting our viewing angle, and found it a rewarding experience: sometimes moving towards the back or over to a side paid off big time, other times it was a decent but not in your face view. Most of the audience, however, stayed largely put. Your ticket, your call.
In short? It didn’t convert me to circus, but it convinced me that I should see NoFit again if they’re in town, and I think the production hit far more than it missed. Recommended.
Where: Roundhouse Theatre
When: Until 19 April, M-Sa @ 19:30, Sa @ 14:00
How Much: £20. You will be standing/walking for 2 hours.
Concessions: £18, Under 16’s £12.50
----------------------
RZ Unofficial “Worth Paying”: £20. Worth it for the music alone.
RZ Other Notes: If booking online, do your best to book directly through the theatre as your booking fee goes straight to the Roundhouse’s youth theatre charity.
Sunday, 25 January 2009
CATCHING UP: Mandy/Norton/Spring
So I actually did go to quite a bit of theatre this week. However, I also had a fatal computer death from City of Heroes doing the final deed to my recalled graphics processor and making it impossible to post before Friday. Any other procrastination was, to be honest, laziness.
So first and foremost was the final performance of Mandy Patinkin’s whirlwind week in London. I’d meant to see Mr. Patinkin back in 2004 in New York but the timing didn’t work out and I missed out. To be honest, though, I didn’t really - consistency is a guarantee with the man as are overdramatic renderings of every song he does. I’m not knocking his abilities as a performer - he’s played two of my favourite roles in film (Rube in Dead Like Me and of course Inigo Montoya in The Princess Bride - which he did NOT say the line from) but the Forbidden Broadway lines about Super-Frantic Hyper-Active Self-Indulgent Mandy are totally true.
That said, I still defended the man against angry audiences after who felt the set list was far too old and unfamiliar. Anybody who reads up on the man’s concerts knows exactly what they’re in for: Sondheim, more Sondheim, and classic American songbook with a focus on Tin Pan Alley and early Broadway. If you’re lucky (I wasn’t) he sings Harry Chapin.
Anyways, on to Tuesday, where I should have (but didn’t) run into the West End Whingers as we were both independently at La Cage Aux Folles to see how Graham Norton was holding up as Albin. And to be honest, they were far kinder to the man than I’m going to be - utterly horrid were both my and my companion’s opinions. He failed to land many of the jokes (this is bad for a comedy poof) and, in the words of the professional drag queen, “moved like a straight man in a dress.” He was consistently off key, out of time with the orchestra, and they significantly upped the reverb on his lowered “I Am What I Am.” At no point did I or my companion truly believe that Norton’s Albin was in love with Georges, and he was Graham Norton in a series of (very unflattering) dresses rather than a true character.
So thank goodness for Spring Awakening at the Lyric on Friday, as it was NOT “Totally Fucked” though Iwan Rheon was undoubtedly cursing out “The Bitch of Living” as he hurt his back during rehearsal and understudy Richard Southwind proclaimed “Mama Who Bore Me!” and covered Moritz for first preview. The cast are, thankfully, strong overall (minus Lucy Barker who portrays Ilse as a third-rate first-act Sally Bowles) and Christine Jones’s set fits beautifully into the Lyric’s space as does the true third star (after Sater’s book and Sheik’s music), namely Kevin Adams’s beautiful, breathtaking lighting designs. While a West End transfer is all but announced, book now and see it in the more intimate space and at a lower price. I’d also recommend sitting in the circle - there are a few design issues which are difficult if not impossible to see from the stalls due to the high stage. Highly recommended and worth the £35 top price.
So first and foremost was the final performance of Mandy Patinkin’s whirlwind week in London. I’d meant to see Mr. Patinkin back in 2004 in New York but the timing didn’t work out and I missed out. To be honest, though, I didn’t really - consistency is a guarantee with the man as are overdramatic renderings of every song he does. I’m not knocking his abilities as a performer - he’s played two of my favourite roles in film (Rube in Dead Like Me and of course Inigo Montoya in The Princess Bride - which he did NOT say the line from) but the Forbidden Broadway lines about Super-Frantic Hyper-Active Self-Indulgent Mandy are totally true.
That said, I still defended the man against angry audiences after who felt the set list was far too old and unfamiliar. Anybody who reads up on the man’s concerts knows exactly what they’re in for: Sondheim, more Sondheim, and classic American songbook with a focus on Tin Pan Alley and early Broadway. If you’re lucky (I wasn’t) he sings Harry Chapin.
Anyways, on to Tuesday, where I should have (but didn’t) run into the West End Whingers as we were both independently at La Cage Aux Folles to see how Graham Norton was holding up as Albin. And to be honest, they were far kinder to the man than I’m going to be - utterly horrid were both my and my companion’s opinions. He failed to land many of the jokes (this is bad for a comedy poof) and, in the words of the professional drag queen, “moved like a straight man in a dress.” He was consistently off key, out of time with the orchestra, and they significantly upped the reverb on his lowered “I Am What I Am.” At no point did I or my companion truly believe that Norton’s Albin was in love with Georges, and he was Graham Norton in a series of (very unflattering) dresses rather than a true character.
So thank goodness for Spring Awakening at the Lyric on Friday, as it was NOT “Totally Fucked” though Iwan Rheon was undoubtedly cursing out “The Bitch of Living” as he hurt his back during rehearsal and understudy Richard Southwind proclaimed “Mama Who Bore Me!” and covered Moritz for first preview. The cast are, thankfully, strong overall (minus Lucy Barker who portrays Ilse as a third-rate first-act Sally Bowles) and Christine Jones’s set fits beautifully into the Lyric’s space as does the true third star (after Sater’s book and Sheik’s music), namely Kevin Adams’s beautiful, breathtaking lighting designs. While a West End transfer is all but announced, book now and see it in the more intimate space and at a lower price. I’d also recommend sitting in the circle - there are a few design issues which are difficult if not impossible to see from the stalls due to the high stage. Highly recommended and worth the £35 top price.
Saturday, 20 December 2008
THOUGHTS: "The Devil Wears Tweed"
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.
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.
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.
Saturday, 12 July 2008
REVIEW: "Black Watch"
Folks, let’s be honest for a minute. Does the RZ really need to write a full and proper review for this show? Between it’s Edinburgh, world tour, and now Barbican productions, every critic, blogger, and their dog have written glowing raves (some twice) about Black Watch (whither the Whingers who felt that despite all the pieces being excellent the whole didn’t come together). Adding yet another rave here would seem masturbatory (look at me, I can rave too!) and forced, so he’ll keep this one short:
-Yes, it’s an accurate portrayal of the insanity surrounding active military life.
-Yes, they fucking curse a shitload of times.
-Yes, it’s absolutely brilliant.
-No, it doesn’t matter what the reviews were because the entire run sold out in advance.
-Yes, there is a queue for returns every day.
-No, the Barbican won’t mind if you’re in the first 10 or so people and steal a cafe chair to use.
-Yes, this is actually an entertaining and well made play.
-Yes, it’s really part of BITE, the most pretentious large-scale theatre line-up in London.
And there you have it.
Where: Barbican, Main Stage
When: Until 26 July, M-Sa @ 19:45, Th/Sa @ 14:00
How Much: £25
Concessions: For an altered-stage production at the Barbican? HA!
-------------------
RZ Unofficial “Worth Paying”: £25. Believe the hype.
RZ Other Notes: The RZ gives the Barbican a hard time in part because until Black Watch he finds the main stage to be a soulless bunker and has only found about a quarter (now around 40%) of the theatre programme he’d seen to be anything but disappointing or hideous. Much of this is due to his populist leanings in the theatre and the BITE programming staff’s desire to be anything but. The film programming is much more egalitarian, however, and the RZ likes the fact that there’s free wifi and recently discovered that the terrace cafe actually offers decent tea and cake, even if they expect an arm and a leg for it.
-Yes, it’s an accurate portrayal of the insanity surrounding active military life.
-Yes, they fucking curse a shitload of times.
-Yes, it’s absolutely brilliant.
-No, it doesn’t matter what the reviews were because the entire run sold out in advance.
-Yes, there is a queue for returns every day.
-No, the Barbican won’t mind if you’re in the first 10 or so people and steal a cafe chair to use.
-Yes, this is actually an entertaining and well made play.
-Yes, it’s really part of BITE, the most pretentious large-scale theatre line-up in London.
And there you have it.
Where: Barbican, Main Stage
When: Until 26 July, M-Sa @ 19:45, Th/Sa @ 14:00
How Much: £25
Concessions: For an altered-stage production at the Barbican? HA!
-------------------
RZ Unofficial “Worth Paying”: £25. Believe the hype.
RZ Other Notes: The RZ gives the Barbican a hard time in part because until Black Watch he finds the main stage to be a soulless bunker and has only found about a quarter (now around 40%) of the theatre programme he’d seen to be anything but disappointing or hideous. Much of this is due to his populist leanings in the theatre and the BITE programming staff’s desire to be anything but. The film programming is much more egalitarian, however, and the RZ likes the fact that there’s free wifi and recently discovered that the terrace cafe actually offers decent tea and cake, even if they expect an arm and a leg for it.
Thursday, 3 July 2008
REVIEW: "Linie 1"
Fans of political theatre, children’s theatre, and German theatre are all likely to have heard of Berlin’s GRIPS Theatre. One of the nation’s top companies, the GRIPS perform a staggering 15 plays in repertoire, with routine new additions tackling the issues facing contemporary German youth. However, the company’s most famous plays are those dealing head-on with Berlin history: the political play-cum-cabaret Eine Linke Geschichte (A leftist history), about the Red Army Faction, and their first musical, the 1986 Linie 1 (Line 1).
Linie 1 is a tricky play to review, especially for a foreigner. It is billed (and appropriately so) as a “musical revue” directly below the title, though the published scripts and posters have referred to it as a rock musical and “the Berlin musical.” The first and last terms are the most accurate, as it plays closer to a revue (more below) and requires a great deal of knowledge regarding 1980’s West Berlin to fully appreciate. Even visiting German speakers will have a problem following the dialogue in full, as it is written and performed with an extreme usage of Berlin dialect.
Caveats aside, Linie 1 is perhaps one of the most brilliant shows ever written in terms of capturing a zeitgeist: A well meaning and naive girl from the West German provinces runs away from home, seeking out the rock star she fell in love with, upon finding out she’s carrying his child. Unfortunately for her, Berlin is not the gilded paradise she imagined, and when it’s revealed that her lover falsified his address, she wanders around the city, running into and associating with the equally well meaning dregs of society inhabiting the underground stations while her new friends attempt to reunite her with the man who ran. Then again, she may not get to meet him if the area pimp gets to her first, and who is this strange lad in a trench-coat following her around?
To be honest, though, the plot doesn’t really matter. Linie 1 runs over three hours including interval, and the story is often derailed to explore another facet of society through the outsider’s eyes. It takes almost half an hour to wrap up events after the massive plot twist in the second act, and even that is undermined by requiring significant emotional involvement for a character who appeared in a single scene some two hours earlier. Likewise, re-appearances are foreshadowed but fail to materialise at times, and massive leaps of faith are mandatory to handle the conclusion. The ensemble cast of eleven take on a staggering number of characters, with only the central character maintaining a single identity through the evening, creating the detached wonder-bordering-confusion facing those in unknown territory: as soon as the audience get attached to one of our heroine’s encounters, they alight from the train never to be seen again.
This isn’t to say that most of these sequences aren’t interesting - they are - and Volker Ludwig (the company’s driving force as well as the book and lyrics’ author) intentionally designed the show to be a series of sketches versus a traditional book show. However, the RZ feels that some well placed edits could easily streamline 20+ minutes off the runtime and leave the audience with a more emotionally satisfying work.
Our unnamed protagonist's journey comes backed by Birger Heymann’s score, played 22 years on by show band No Ticket's original members (except for a new sax player). The songs are catchy, and despite being blatantly 80’s maintain a freshness and honesty some two decades later. While responsible for driving almost none of the plot, the music provides the introspective view needed to provide pathos from the recurring characters, from the unnamed girl’s excitement in “6:14 Bahnhoff Zoo” to a busker’s bitter song about the capital, the beautiful at heart Maria’s mournful tune (“You’re pretty, even when you cry”) and number featuring the embittered crowd waiting for a train.
Mathias Fischer-Dieskau’s design offers as much as a small thrust stage can, with some clever effects that can only work in a low budget venue like the GRIPS including the proto-MTV method of placing the band on a scrim fronted platform . Yoshio Yabara’s provides the most recent update to the costumes, which retain their period vintage.
Finally, we have the cast. Being an ensemble company, members of the GRIPS come and go through the years, but many have returned to perform in Linie 1. 2007, however, saw a mass exodus, and a new company were promoted on the website. Kathrin Osterode has the voice and the potential, but doesn’t appear to have quite settled into the role (something difficult given Linie 1 only gets 4-5 performances per month). Laura Leyh is more adjusted on her track, which includes the confidant role of Maria. Jens Mondalski is a playful punk, and hanging on after 22 years, Thomas Ahrens and Dietrich Lehmann remain as two homeless elderly who bicker while providing a poignant reminder of those ignored by Germany’s economic dominance in the 80’s.
While it possesses its share of structural flaws, Linie 1 is a fascinating look at the latter days of divided Berlin, a spirit of the age which has far outlived the circumstances responsible for its creation, and which its creators never expected to be performed as a historical piece. While performances are limited, visitors to Berlin would be well served to seek out this engaging production.
Where: GRIPS Theater, Berlin
When: In repertoire. Check the company website.
Cost: €18 general admission (£15)
Concessions: €10 (£8)
**NOTE** Ticketing at the GRIPS is extremely low tech. Reservations must be phoned in to the box office and claimed up to 24 hours in advance at the theatre. Payments are cash only, and if you will be unable to claim your ticket in advance, email the venue and they’ll hold your place until the day. The BO is open for collections from 10AM-5PM.
------------------------
RZ Unofficial “Worth Paying”: £15. Despite its problems, Linie 1 is a crash course in the Berlin experience with great music from a remarkable company.
RZ Other Notes: That said, because the GRIPS is a company designed for children’s and youth productions, most performances are flooded by school groups who are not always the best behaved, even (especially?) for Germany. The night the RZ went there was plenty of talking, moving around, and open text messaging through the entire show, and he would guess most of the audience were 13-16 years old. Because of the company’s reputation, you do see a fair number of independent adults in attendance as well, though they are certainly in the minority.
Linie 1 is a tricky play to review, especially for a foreigner. It is billed (and appropriately so) as a “musical revue” directly below the title, though the published scripts and posters have referred to it as a rock musical and “the Berlin musical.” The first and last terms are the most accurate, as it plays closer to a revue (more below) and requires a great deal of knowledge regarding 1980’s West Berlin to fully appreciate. Even visiting German speakers will have a problem following the dialogue in full, as it is written and performed with an extreme usage of Berlin dialect.
Caveats aside, Linie 1 is perhaps one of the most brilliant shows ever written in terms of capturing a zeitgeist: A well meaning and naive girl from the West German provinces runs away from home, seeking out the rock star she fell in love with, upon finding out she’s carrying his child. Unfortunately for her, Berlin is not the gilded paradise she imagined, and when it’s revealed that her lover falsified his address, she wanders around the city, running into and associating with the equally well meaning dregs of society inhabiting the underground stations while her new friends attempt to reunite her with the man who ran. Then again, she may not get to meet him if the area pimp gets to her first, and who is this strange lad in a trench-coat following her around?
To be honest, though, the plot doesn’t really matter. Linie 1 runs over three hours including interval, and the story is often derailed to explore another facet of society through the outsider’s eyes. It takes almost half an hour to wrap up events after the massive plot twist in the second act, and even that is undermined by requiring significant emotional involvement for a character who appeared in a single scene some two hours earlier. Likewise, re-appearances are foreshadowed but fail to materialise at times, and massive leaps of faith are mandatory to handle the conclusion. The ensemble cast of eleven take on a staggering number of characters, with only the central character maintaining a single identity through the evening, creating the detached wonder-bordering-confusion facing those in unknown territory: as soon as the audience get attached to one of our heroine’s encounters, they alight from the train never to be seen again.
This isn’t to say that most of these sequences aren’t interesting - they are - and Volker Ludwig (the company’s driving force as well as the book and lyrics’ author) intentionally designed the show to be a series of sketches versus a traditional book show. However, the RZ feels that some well placed edits could easily streamline 20+ minutes off the runtime and leave the audience with a more emotionally satisfying work.
Our unnamed protagonist's journey comes backed by Birger Heymann’s score, played 22 years on by show band No Ticket's original members (except for a new sax player). The songs are catchy, and despite being blatantly 80’s maintain a freshness and honesty some two decades later. While responsible for driving almost none of the plot, the music provides the introspective view needed to provide pathos from the recurring characters, from the unnamed girl’s excitement in “6:14 Bahnhoff Zoo” to a busker’s bitter song about the capital, the beautiful at heart Maria’s mournful tune (“You’re pretty, even when you cry”) and number featuring the embittered crowd waiting for a train.
Mathias Fischer-Dieskau’s design offers as much as a small thrust stage can, with some clever effects that can only work in a low budget venue like the GRIPS including the proto-MTV method of placing the band on a scrim fronted platform . Yoshio Yabara’s provides the most recent update to the costumes, which retain their period vintage.
Finally, we have the cast. Being an ensemble company, members of the GRIPS come and go through the years, but many have returned to perform in Linie 1. 2007, however, saw a mass exodus, and a new company were promoted on the website. Kathrin Osterode has the voice and the potential, but doesn’t appear to have quite settled into the role (something difficult given Linie 1 only gets 4-5 performances per month). Laura Leyh is more adjusted on her track, which includes the confidant role of Maria. Jens Mondalski is a playful punk, and hanging on after 22 years, Thomas Ahrens and Dietrich Lehmann remain as two homeless elderly who bicker while providing a poignant reminder of those ignored by Germany’s economic dominance in the 80’s.
While it possesses its share of structural flaws, Linie 1 is a fascinating look at the latter days of divided Berlin, a spirit of the age which has far outlived the circumstances responsible for its creation, and which its creators never expected to be performed as a historical piece. While performances are limited, visitors to Berlin would be well served to seek out this engaging production.
Where: GRIPS Theater, Berlin
When: In repertoire. Check the company website.
Cost: €18 general admission (£15)
Concessions: €10 (£8)
**NOTE** Ticketing at the GRIPS is extremely low tech. Reservations must be phoned in to the box office and claimed up to 24 hours in advance at the theatre. Payments are cash only, and if you will be unable to claim your ticket in advance, email the venue and they’ll hold your place until the day. The BO is open for collections from 10AM-5PM.
------------------------
RZ Unofficial “Worth Paying”: £15. Despite its problems, Linie 1 is a crash course in the Berlin experience with great music from a remarkable company.
RZ Other Notes: That said, because the GRIPS is a company designed for children’s and youth productions, most performances are flooded by school groups who are not always the best behaved, even (especially?) for Germany. The night the RZ went there was plenty of talking, moving around, and open text messaging through the entire show, and he would guess most of the audience were 13-16 years old. Because of the company’s reputation, you do see a fair number of independent adults in attendance as well, though they are certainly in the minority.
Wednesday, 25 June 2008
REVIEW: "Jay Johnson: The Two and Only"
The RZ has a flight out of Gatwick to catch at a painfully early time in the morning, so he will simply paraphrase [title of show]:
"Describe Jay Johnson: The Two and Only in 40 words or less."
This show fucking rocks.
Where: Arts Theatre
When: Until 28 September. Tu-Sa @ 19:30
How Much: £25-£35
Concessions: None, but 2 for 1's and £10 discounts abound during previews.
----------------
RZ Unofficial "Worth Paying": £35 for Tony-winning entertainment that knows not to outstay its welcome.
RZ Other Notes: Seriously. This show is very funny with some touching bittersweet moments. See it.
"Describe Jay Johnson: The Two and Only in 40 words or less."
This show fucking rocks.
Where: Arts Theatre
When: Until 28 September. Tu-Sa @ 19:30
How Much: £25-£35
Concessions: None, but 2 for 1's and £10 discounts abound during previews.
----------------
RZ Unofficial "Worth Paying": £35 for Tony-winning entertainment that knows not to outstay its welcome.
RZ Other Notes: Seriously. This show is very funny with some touching bittersweet moments. See it.
Saturday, 24 May 2008
THOUGHTS: The Harder They Come (Transfer)
(Four days after and still no comment on Gone With The Wind revisited...)
Every now and then, the critics have to eat their words. And in this case, the RZ is going to eat his about this show having no chance of going commercial. Taking on a limited run at the Playhouse between now and whenever La Cage finally arrives from the Chocolate Factory, The Harder They Come is back in London and better than ever.
First and foremost, the book’s mess has been mopped up. The RZ approximates 10-15 minutes of obvious material are gone including a song at the beginning and a major spoiler-tastic scene towards the end. Some songs have been trimmed and other scenes clarified. The plot is streamlined, the acts feel more balanced, and it’s just right. The contrast of low budget staging and fancy West End theatre also helps to emphasise the show’s grit, lost to the concrete bunker known as the Barbican.
The music sounds better than ever too, and the cast deliver tight group numbers and some of the best choreography in the West End. The Harder They Come is still driven by its music, and a repeat visit only drove home the strength of the score.
With a (much) smaller stage than the main house at the Barbican, the RZ suspects that the West End transfer is closer to the original and while there’s an added intimacy in the tiny Playhouse, the energy feels lower as well, the side effect of taking a cast from original to transfer to tour to transfer in such a whirlwind. It may pay off to wait a bit before going, just so the cast can clear previews and get some rest.
The question is, does the transfer justify West End prices? Fortunately for punters, the prices are cheaper than most straight plays in the West End, a benefit of subsidised backing. Therefore, the RZ suggests booking ASAP to those who want to escape from the recent bombastic offerings from the old school and fast food fluff from the new.
Where: Playhouse Theatre
When: Until 1 Nov., M-Sa @ 19:30, W & Sa @ 14:30
How Much: £10-£32.50*
Concessions: Check with the BO
--------------------
RZ Unofficial Worth Paying: £32.50 for getting it right and doing it for less.
RZ Other Notes: Somebody would be very foolish not to make a cast recording or official DVD of this show.
*OK so they offer premium tickets for £50, but you know what? Those aren’t on the proper scale and while they aren’t as stupidly expensive as in the US, the RZ strongly encourages British patrons NOT to support producers in this attempt to sell overpriced tickets.
Every now and then, the critics have to eat their words. And in this case, the RZ is going to eat his about this show having no chance of going commercial. Taking on a limited run at the Playhouse between now and whenever La Cage finally arrives from the Chocolate Factory, The Harder They Come is back in London and better than ever.
First and foremost, the book’s mess has been mopped up. The RZ approximates 10-15 minutes of obvious material are gone including a song at the beginning and a major spoiler-tastic scene towards the end. Some songs have been trimmed and other scenes clarified. The plot is streamlined, the acts feel more balanced, and it’s just right. The contrast of low budget staging and fancy West End theatre also helps to emphasise the show’s grit, lost to the concrete bunker known as the Barbican.
The music sounds better than ever too, and the cast deliver tight group numbers and some of the best choreography in the West End. The Harder They Come is still driven by its music, and a repeat visit only drove home the strength of the score.
With a (much) smaller stage than the main house at the Barbican, the RZ suspects that the West End transfer is closer to the original and while there’s an added intimacy in the tiny Playhouse, the energy feels lower as well, the side effect of taking a cast from original to transfer to tour to transfer in such a whirlwind. It may pay off to wait a bit before going, just so the cast can clear previews and get some rest.
The question is, does the transfer justify West End prices? Fortunately for punters, the prices are cheaper than most straight plays in the West End, a benefit of subsidised backing. Therefore, the RZ suggests booking ASAP to those who want to escape from the recent bombastic offerings from the old school and fast food fluff from the new.
Where: Playhouse Theatre
When: Until 1 Nov., M-Sa @ 19:30, W & Sa @ 14:30
How Much: £10-£32.50*
Concessions: Check with the BO
--------------------
RZ Unofficial Worth Paying: £32.50 for getting it right and doing it for less.
RZ Other Notes: Somebody would be very foolish not to make a cast recording or official DVD of this show.
*OK so they offer premium tickets for £50, but you know what? Those aren’t on the proper scale and while they aren’t as stupidly expensive as in the US, the RZ strongly encourages British patrons NOT to support producers in this attempt to sell overpriced tickets.
Sunday, 20 April 2008
THOUGHTS: Peter and the Wolf
(A late catch-up)
Prokofiev’s classic recently took up residence at the Hackney Empire, featuring a new “first act” establishing how Peter meets the animals in the forest before the piece begins as we know it. While some will undoubtedly take issue at playing around with the canon, the new material (text by Abi Brown and music by Philip Feeney) works well, complementing the original and giving the piece a relaxed air while hinting at the dangers ahead. Both acts, played well by members of the Philharmonia Orchestra, serve as a reminder of how classical music need not be seen as stuffy and dull, but a pleasure in our daily lives. Brought to the stage with a cast of dancers, kaleidoscopic lighting, and a comforting narrator in the form of Brian Blessed, this Peter is a sublime option for a family outing.
Where: Hackney Empire
When: Until 20 April, may be touring onwards.
How Much: £12-£24.50
Concessions: £3 off
------------------
RZ Unofficial “Worth Paying”: £24.50. Solid all around and worthy of mid-scale theatrical pricing.
RZ Other Notes: Props to the producers for employing a full cast of dancers (only one of whom cast doubles between the “acts”) and a proper orchestra. In an age of canned music (see the upcoming review of Eurobeat: Almost Eurovision), the joys of the live experience are worth remembering.
Prokofiev’s classic recently took up residence at the Hackney Empire, featuring a new “first act” establishing how Peter meets the animals in the forest before the piece begins as we know it. While some will undoubtedly take issue at playing around with the canon, the new material (text by Abi Brown and music by Philip Feeney) works well, complementing the original and giving the piece a relaxed air while hinting at the dangers ahead. Both acts, played well by members of the Philharmonia Orchestra, serve as a reminder of how classical music need not be seen as stuffy and dull, but a pleasure in our daily lives. Brought to the stage with a cast of dancers, kaleidoscopic lighting, and a comforting narrator in the form of Brian Blessed, this Peter is a sublime option for a family outing.
Where: Hackney Empire
When: Until 20 April, may be touring onwards.
How Much: £12-£24.50
Concessions: £3 off
------------------
RZ Unofficial “Worth Paying”: £24.50. Solid all around and worthy of mid-scale theatrical pricing.
RZ Other Notes: Props to the producers for employing a full cast of dancers (only one of whom cast doubles between the “acts”) and a proper orchestra. In an age of canned music (see the upcoming review of Eurobeat: Almost Eurovision), the joys of the live experience are worth remembering.
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