Back in July, the Arts Theatre (of death!) was all but doomed to permanent closure: a costly and extensive string of flops, combined with urban redevelopment plans, meant the end of a long running and historic theatre. Fortunately the venue has been saved by new owners management, and with a renovated front of house (it’s nice and airy but has fewer places to sit), but what of the debut play itself?
Toyer, adapted by Gardner McKay from his original novel and directed by William Schoular, is a standard two-hander suspense thriller a la The Woman in Black or Dark Yellow. Maude, a psychiatrist, is deeply unnerved as she gets home after a long day of work: her job involves looking after the victims of the Toyer, a serial assaulter who drugs and lobotomises his female victims. She’s been the target of voyeurs and stalkers before, and combined with the current madman on the loose is on the edge, medicating herself through alcohol. After another frustrating day at work, she arrives home only to be interrupted by the slightly disturbing neighbour who offered to fix her car...
I’d go further into the story, but anything else from here would be a massive spoiler. I will, however, attempt to make a few spoiler-free general observations. First, there is a stage direction which gives up the game pretty early on. After the event in question occurs, I kept wondering if it would be undone or not, but as the play approached the end it became clear that my early hunch was right. Bad director. Bad.
Second, a major plot twist is undone if anybody checks their watches during the brief 80 minute runtime. As the seats at the Arts aren’t the most comfortable - they were NOT part of the renovations - I did twice. After that point it was waiting for each of the shoes to drop, as fans of the genre will be able to predict the remainder. Not literally, though plenty of other articles of clothing did. Stage nudity is always a plus.
Despite these issues (the first can be fixed, the second not so much), there are some genuinely frightening and suspenseful moments in the show. Alice Krige is very late 80’s cliche as Maude in a way which makes her one of those vulnerable ice queen types. Her acting’s not particularly deep, but it’s effective and when given the chance to monologue she shines. Al Weaver, on the other hand, is genuinely creepy. I can honestly say that I have no idea how either of them manage to perform this piece eight times a week, as my brain would be thoroughly and totally fucked by the end of each performance.
In short, it’s a good but not great return for the Arts, and London audiences dig this kind of play so we may actually see something at this great space actually finish a run that’s longer than a week. Or at least we can hope.
Where: Arts Theatre
When: Until 11 April. M-Sa @ 19:30, W/Sa @ 15:00
How Much: £22.50-£29.50
Concessions: £20 M-Th only. All seats £15 until 24 Feb.
-----------------
RZ Unofficial “Worth Paying”: £15. It’s so short that a higher ticket price would feel like a rip-off.
RZ Other Notes: I found myself wondering how the furniture manages to stay in place on the hellishly raked stage, but otherwise liked the set quite a bit.
Sunday, 22 February 2009
Saturday, 14 February 2009
REVIEW: Saturday Night
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.
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.
Monday, 9 February 2009
NOTES: “Maria Friedman sings the British Songbook”
Maria Friedman loves songs. And finding new songs, and new things to bring out in songs. And she loves singing them and the audience loves watching her sing them because there’s so much warmth and heart behind them that one can’t help themselves but be drawn in.
And so went another lovely evening with this lovely singer who knows not to take herself *too* seriously (“I’ll get all of the lyrics I flubbed right tomorrow.”) And if she did flub a few lyrics or wasn’t always in the best of voice? So what. Every time I see Maria Friedman I can’t help but fall completely in love with her performance, and I’m thrilled that she’s finding success in her concerts. Add to this an almost full set of new material for Ms. F. and a magical evening was all but guaranteed from the start. Absolutely wonderful.
The next person to do the “British Songbook” series, though? Scream-tweenie favourite Kerry Ellis. I think I’ll be staying home for that one, though.
And so went another lovely evening with this lovely singer who knows not to take herself *too* seriously (“I’ll get all of the lyrics I flubbed right tomorrow.”) And if she did flub a few lyrics or wasn’t always in the best of voice? So what. Every time I see Maria Friedman I can’t help but fall completely in love with her performance, and I’m thrilled that she’s finding success in her concerts. Add to this an almost full set of new material for Ms. F. and a magical evening was all but guaranteed from the start. Absolutely wonderful.
The next person to do the “British Songbook” series, though? Scream-tweenie favourite Kerry Ellis. I think I’ll be staying home for that one, though.
Thursday, 5 February 2009
CATCHING UP: Bad blogger. Bad.
I'd like to think there's a reason I haven't blogged the last three things I've seen other than laziness. Well, four actually. But even so...
RAM Showcase Concert - students, friend had a friend in, and it was long. Very long. As in it started at lunchtime and let out for dinner.
Casanova @ Kings Head - I hadn't planned on going to the aforementioned concert, and didn't know about it until about 90 minutes before it started. As such I hadn't done silly things like eat, grab water to take, etc. and the result was that I left quite tired and dehydrated with a killer low water/sugar headache. Needless to say that despite wolfing down a fast dinner in between events, I was in a far from useful state of mind and body as was my companion who hadn't slept the night before. The result? The first act felt like 120 minutes instead of 75 and we bolted rather than risk passing out. Were I alone I'd have likely toughed it out, but it's not fair to review a show in that condition, especially after just the first act. I'm going to try and make it back, but the next two weeks are solidly booked for me so we'll see...
Dick Whittington: Another Dick in City Hall @ Kings Head - A charity gig and one that is likely sold out for its second and third performances this Sunday. Despite being a song-free show this very (extremely) gay themed and political work made for some excellent adult panto with the right blend of sharp satire and crudeness. It was also pleasantly short - about 100 minutes including interval. Tickets are likely to be scarce or nonexistant for the last two performances this Sunday, but go if you can.
Avenue Q - I already saw the show in New York and avoided the London production due to the changes made (and subsequently put back into New York) and a dislike for the idea of a male Gary Coleman. What dragged me back, however, was having a friend in the cast making her debut as a cover. At least 20 of us showed up and it was a grand event, but I don't review shows with friends in.
And what's on the upcoming agenda? Next week looks to be a 5 show wonder with one show for official press, one by request of the press office, a return to AveQ, and two more! So much to see, and so little time.
On an unrelated subject, do any of the loyal (or disloyal) readers out there play City of Heroes? Other than the spambots, of course. It would be fun to have a theatre geek supergroup.
RAM Showcase Concert - students, friend had a friend in, and it was long. Very long. As in it started at lunchtime and let out for dinner.
Casanova @ Kings Head - I hadn't planned on going to the aforementioned concert, and didn't know about it until about 90 minutes before it started. As such I hadn't done silly things like eat, grab water to take, etc. and the result was that I left quite tired and dehydrated with a killer low water/sugar headache. Needless to say that despite wolfing down a fast dinner in between events, I was in a far from useful state of mind and body as was my companion who hadn't slept the night before. The result? The first act felt like 120 minutes instead of 75 and we bolted rather than risk passing out. Were I alone I'd have likely toughed it out, but it's not fair to review a show in that condition, especially after just the first act. I'm going to try and make it back, but the next two weeks are solidly booked for me so we'll see...
Dick Whittington: Another Dick in City Hall @ Kings Head - A charity gig and one that is likely sold out for its second and third performances this Sunday. Despite being a song-free show this very (extremely) gay themed and political work made for some excellent adult panto with the right blend of sharp satire and crudeness. It was also pleasantly short - about 100 minutes including interval. Tickets are likely to be scarce or nonexistant for the last two performances this Sunday, but go if you can.
Avenue Q - I already saw the show in New York and avoided the London production due to the changes made (and subsequently put back into New York) and a dislike for the idea of a male Gary Coleman. What dragged me back, however, was having a friend in the cast making her debut as a cover. At least 20 of us showed up and it was a grand event, but I don't review shows with friends in.
And what's on the upcoming agenda? Next week looks to be a 5 show wonder with one show for official press, one by request of the press office, a return to AveQ, and two more! So much to see, and so little time.
On an unrelated subject, do any of the loyal (or disloyal) readers out there play City of Heroes? Other than the spambots, of course. It would be fun to have a theatre geek supergroup.
Wednesday, 28 January 2009
REVIEW: Every Good Boy Deserves Favour
Me: Doctor! There’s a play inside my head!
Doctor: Really? How extraordinary? Is it an examination of youth culture through a veil of historical parallels inspired by German pop music?
Me: Why yes, it is. But that’s not the play I’m talking about.
Doctor: It’s the one you’re usually talking about.
Me: Well, yes. But right now I’m thinking of a play with an orchestra.
Doctor: An orchestra? With a play?
Me: Yes.
Doctor: Well, my dear boy, that’s not a play. That’s a musical.
Me: But there aren’t any songs.
Doctor: Then what on Earth is the orchestra there for?
Me: Someone offered it to Tom Stoppard.
Doctor: So what’s it doing in your head?
Me: Well, the play inside my head is also by Tom Stoppard.
Doctor: Doesn’t that mean it’s inside Stoppard’s head?
Me: No, it’s at the National.
Doctor: So what the devil are you seeing me for?
Me: Well, it’s a play about mental illness. Or the perception of mental illness. And it has two men named Alexander Ivanov, and a boy played by a girl named Sacha Ivanov..
Doctor: The girl is named Sacha Ivanov?
Me: No, the boy she plays is named Sacha Ivanov.
Doctor: That’s an awful lot of Ivanovs. Perhaps Mr. Stoppard should be seeing me instead of you.
Me: Well, this play *does* officially kick off his mania for examining the Soviet government more thoroughly explored in The Coast of Utopia and Rock ‘n’ Roll.
Doctor: But Rock ‘n’ Roll was set in Prague.
Me: Yes. Soviet Prague.
Doctor: ...I see. So tell me more about this bizarre idea for a play.
Me: Very well. Ivanov and Ivanov are cell mates, and Ivanov believes that he has an orchestra inside his head and, being obsessed with musicians, believes Ivanov is there to either join or sabotage his orchestra. At the same time, Ivanov is not there to join the orchestra but as a political prisoner who escaped the military prisons by going on hunger strike.
Doctor: Well he certainly beats to a different drummer.
Me: No, he’s quite clearly non-musical.
Doctor: Who, Ivanov? But he has an orchestra inside his head.
Me: No, the other Ivanov. Meanwhile little Ivanov is being told off for not being musical either, for failing to play in time, and for asserting his father’s innocence and sanity which simply will. not. do. We also get a fleeting revelation that Ivanov may be hiding behind his orchestra as a coping mechanism for his own unwelcomed political leanings.
Doctor: I’m beginning to see why this may make audiences mental.
Me: No, it’s actually quite brilliant - the fact that they all look nothing alike helps. Anyways, Ivanov tries to break free from his orchestra and fails while Ivanov asserts his sanity and refuses to lie that yes, he was mad (which he was for protesting) and therefore goes on another hunger strike which distresses the third Ivanov very much.
Doctor: So they all get shot then? That’s what normally happens in these circumstances.
Me: No, nobody gets shot, though a bassoonist gets beaten up rather badly and a few violinists go spinning. It’s quite an accomplishment that none of their plucking instruments got broken during the chaos. There’s also smart use of the Olivier’s revolve which never seems as tacky or dull as the one in Les Miz.
Doctor: Is anything as tacky or dull as Les Miz?
Me: Good point.
Doctor: But what of the actors? Surely there aren’t any actors running around in your head?
Me: No, I don’t allow actors into my head - load of good for nothings all of them. The same with musicians, which is why it’s frustrating to think of a play with an orchestra.
Doctor: Do they play all night?
Me: No, the play is a brief 65 minutes that feels like 90 but in a good way.
Doctor: In a good way?
Me: Well yes, it keeps me focused and entertained and it unfolds in a tense manner that neither flies by or plods and comes across as a well packed runtime.
Doctor: You’ve been cutting back on your theatre-going lately, haven’t you?
Me: Is it that obvious?
Doctor: Yes. Next thing you’ll tell me is that it’s worth spending two hours to go to Hammersmith or Wimbledon for a show because it’s a good experience.
Me: But you really SHOULD see Spring Awakening.
Doctor: And you’re delusional as well. So what’s left?
Me: Well, besides the question of who’s crazy, it’s a matter of knowing when it’s possible to game the system - or rather that in Soviet Russia, the system games you. Both Ivanovs attempt to subvert the system which in turn subverts their subversion and gets away scot-free, as do they.
Doctor: Really?
Me: Yes. Who’d have thought that somebody could leave a Soviet Mental Hospital without getting shot?
Doctor: So happy endings all around!
Me: Well, no. Ivanov’s second hunger strike does him in and he dies as Ivanov comes to take him home while Ivanov is off dancing in the streets to an orchestra that doesn’t exist. And the woman at the National’s box office was a total bitch who I’m glad to see replaced by a ticket dispensing machine.
Doctor: Get out of my office. How dare you imply that we should have silent, efficient ticket collection machines who won’t make snarky remarks about queues and pretending to lose your tickets like the glorious staff around the West End?
Where: National Theatre (Olivier)
When: In rep until 25 Feb., Check the NT website for times.
How Much: £10-30 (Travelex Season)
Concessions: £10-25 depending on who you are and when you buy. Day seats for £10, can be booked online and at the BO.
-------------------
RZ Unofficial “Worth Paying”: £15 due to the short run time.
RZ Other Notes: It was tempting to go for a Stoppard double feature this week and take in “The Real Thing” at the Tabard, but time did not permit.
Doctor: Really? How extraordinary? Is it an examination of youth culture through a veil of historical parallels inspired by German pop music?
Me: Why yes, it is. But that’s not the play I’m talking about.
Doctor: It’s the one you’re usually talking about.
Me: Well, yes. But right now I’m thinking of a play with an orchestra.
Doctor: An orchestra? With a play?
Me: Yes.
Doctor: Well, my dear boy, that’s not a play. That’s a musical.
Me: But there aren’t any songs.
Doctor: Then what on Earth is the orchestra there for?
Me: Someone offered it to Tom Stoppard.
Doctor: So what’s it doing in your head?
Me: Well, the play inside my head is also by Tom Stoppard.
Doctor: Doesn’t that mean it’s inside Stoppard’s head?
Me: No, it’s at the National.
Doctor: So what the devil are you seeing me for?
Me: Well, it’s a play about mental illness. Or the perception of mental illness. And it has two men named Alexander Ivanov, and a boy played by a girl named Sacha Ivanov..
Doctor: The girl is named Sacha Ivanov?
Me: No, the boy she plays is named Sacha Ivanov.
Doctor: That’s an awful lot of Ivanovs. Perhaps Mr. Stoppard should be seeing me instead of you.
Me: Well, this play *does* officially kick off his mania for examining the Soviet government more thoroughly explored in The Coast of Utopia and Rock ‘n’ Roll.
Doctor: But Rock ‘n’ Roll was set in Prague.
Me: Yes. Soviet Prague.
Doctor: ...I see. So tell me more about this bizarre idea for a play.
Me: Very well. Ivanov and Ivanov are cell mates, and Ivanov believes that he has an orchestra inside his head and, being obsessed with musicians, believes Ivanov is there to either join or sabotage his orchestra. At the same time, Ivanov is not there to join the orchestra but as a political prisoner who escaped the military prisons by going on hunger strike.
Doctor: Well he certainly beats to a different drummer.
Me: No, he’s quite clearly non-musical.
Doctor: Who, Ivanov? But he has an orchestra inside his head.
Me: No, the other Ivanov. Meanwhile little Ivanov is being told off for not being musical either, for failing to play in time, and for asserting his father’s innocence and sanity which simply will. not. do. We also get a fleeting revelation that Ivanov may be hiding behind his orchestra as a coping mechanism for his own unwelcomed political leanings.
Doctor: I’m beginning to see why this may make audiences mental.
Me: No, it’s actually quite brilliant - the fact that they all look nothing alike helps. Anyways, Ivanov tries to break free from his orchestra and fails while Ivanov asserts his sanity and refuses to lie that yes, he was mad (which he was for protesting) and therefore goes on another hunger strike which distresses the third Ivanov very much.
Doctor: So they all get shot then? That’s what normally happens in these circumstances.
Me: No, nobody gets shot, though a bassoonist gets beaten up rather badly and a few violinists go spinning. It’s quite an accomplishment that none of their plucking instruments got broken during the chaos. There’s also smart use of the Olivier’s revolve which never seems as tacky or dull as the one in Les Miz.
Doctor: Is anything as tacky or dull as Les Miz?
Me: Good point.
Doctor: But what of the actors? Surely there aren’t any actors running around in your head?
Me: No, I don’t allow actors into my head - load of good for nothings all of them. The same with musicians, which is why it’s frustrating to think of a play with an orchestra.
Doctor: Do they play all night?
Me: No, the play is a brief 65 minutes that feels like 90 but in a good way.
Doctor: In a good way?
Me: Well yes, it keeps me focused and entertained and it unfolds in a tense manner that neither flies by or plods and comes across as a well packed runtime.
Doctor: You’ve been cutting back on your theatre-going lately, haven’t you?
Me: Is it that obvious?
Doctor: Yes. Next thing you’ll tell me is that it’s worth spending two hours to go to Hammersmith or Wimbledon for a show because it’s a good experience.
Me: But you really SHOULD see Spring Awakening.
Doctor: And you’re delusional as well. So what’s left?
Me: Well, besides the question of who’s crazy, it’s a matter of knowing when it’s possible to game the system - or rather that in Soviet Russia, the system games you. Both Ivanovs attempt to subvert the system which in turn subverts their subversion and gets away scot-free, as do they.
Doctor: Really?
Me: Yes. Who’d have thought that somebody could leave a Soviet Mental Hospital without getting shot?
Doctor: So happy endings all around!
Me: Well, no. Ivanov’s second hunger strike does him in and he dies as Ivanov comes to take him home while Ivanov is off dancing in the streets to an orchestra that doesn’t exist. And the woman at the National’s box office was a total bitch who I’m glad to see replaced by a ticket dispensing machine.
Doctor: Get out of my office. How dare you imply that we should have silent, efficient ticket collection machines who won’t make snarky remarks about queues and pretending to lose your tickets like the glorious staff around the West End?
Where: National Theatre (Olivier)
When: In rep until 25 Feb., Check the NT website for times.
How Much: £10-30 (Travelex Season)
Concessions: £10-25 depending on who you are and when you buy. Day seats for £10, can be booked online and at the BO.
-------------------
RZ Unofficial “Worth Paying”: £15 due to the short run time.
RZ Other Notes: It was tempting to go for a Stoppard double feature this week and take in “The Real Thing” at the Tabard, but time did not permit.
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.
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.
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