THOUGHTS: Gone With The Wind

First Preview Power Strikes Again!

It's late and the RZ is a very tired blogger who has just sat through a particularly long and muddled musical. Some proper prose (including a worth paying) may be forthcoming, but here are some basics based on the notably unfinished show that the RZ saw tonight:

-The current runtime is 4 hours 6 minutes including interval.
-The RZ managed to hold out until 11PM before turning his phone on to check the time. He was not the only one doing so.
-There will (thankfully) be cuts.
-The cast, including Darius Danesh, are fine. Not amazing, but fine.
-Some of the accents, however, are like what real cockneys think of Dick Van Dyke
-The score is boring. Most of it is slow and attempts to be sweeping, but the RZ guesses that there isn't enough of an orchestra to pull off a properly lush sound. None of the songs stood out, but some reminded him of better songs from better shows.
-There are some laughably bad lyrics like "Wounded soldiers are physical wrecks, but at least they're members of the opposite sex".
-There is a LOT of narration. Everybody takes turns spewing dates and season changes and announcing the locations and how this or that character is feeling or what they're thinking.
-If the RZ was handling the edits, the narration is the first thing he'd cut.
-The author really tried to incorporate everything from the book. Something has to go because everything drags.
-Even though the first act is the shorter one, the RZ suggests summoning Officer Lockstock to enforce the rules on too much exposition.
-The second act is preachy. One song is the black cast singing "Every child just wants to be loved."
-The song about Haliburton...er...Reconstruction is painfully bad.
-The set is impressive when you enter, but pretty minimal by Napier's standards. There's a revolve for "interiors/house" and some platforms that are punted on and off stage. After a while the sets are as dull as the music. Is this really the same man who gave us the visual wonderments of Time, Starlight Express, and Cats? Or a reduxed rehash of Les Miz?
-The burning of Atlanta is a couple flashing lights and some fencing getting pushed over.
-The audience were racing like mad to catch their trains. Hopefully the cast made it home as well.
-The audience seemed to be OK with the show in general but almost everyone said it needed cuts.
-They hired child actors to appear in two scenes.
-Bonnie is a voiceover and has the lamest "death by horse" ever onstage. Aren't the crew from Handspring done with their run at the National yet?
-The act break is roughly in the middle of part 3 from the original novel.
-Mark Shenton was in the row behind the RZ, and the critic from the Daily Mail was also present.
-Did the RZ mention that it was four hours long?

In short: Unless you're a huge GWTW buff or a nerd for going during previews, wait until the press reviews are out because the edits could make everything more cohesive and add some much needed energy.

REVIEW: "Peter Pan - El Musical"

(Apologies for the poor quality photo...the flier got rather beaten up in the RZ's pocket and he does not have the best lighting options.)

First and foremost, the RZ wishes to mention that he supports the Musicians Union vs. the producers of the West End run of Peter Pan - El Musical. There are no live musicians playing at Peter Pan, and while such practice isn’t uncommon in Spain (and 100% the norm in France where the only live music at the musicals is in the foyer), it’s not standard here in England and the Garrick is under contract to the MU.

That said, the RZ got his tickets for free this time and had few qualms about taking advantage of seeing a production he wouldn’t have been so inclined to pay for with this knowledge.

So how does this continental take on a very English classic hold up?

First and foremost, this Peter Pan is a visually attractive show. The few sets (a pair of doubling constructions), are pleasantly cartoony, especially the London bedroom where our story begins, with books piled high and one of those artificial fires you see at novelty shops. The lighting is a jewel box of colour, from the opening laser show to the final battle, and on the whole is very pretty. Asthmatics should approach with caution, though, as stage fog mania is in full force at the Garrick. On the downside, there is a dearth of flying scenes - once we reach Neverwhere there is, in fact, no flight (and the scene where they depart features painfully visible wires).

The score, despite not being live, is also quite pleasant - lots of fun, energetic theatre-pop that would make for a fun cast recording (samples are on the website), but traditionalists and fans of the Charlap and Leigh version will take issue. Unfortunately, the music does suffer from pre-recording, coming across as narrow and compressed through the speakers. In line with first preview standard, the mics were turned up too loud on some performers, and none of the vocals (which were live) ever truly blended with the scoring underneath. In what may be a first, group numbers were more evenly balanced than solos - everybody gets equally overblown in the RZ's experience. And there is, in fact, one bit of live music as the residents of Neverland’s Indian Village (in all its pre-PC glory) bang black-lit drumsticks in a percussive dance scene.

Another aural annoyance could be written off as a first preview glitch, but the RZ expects the problem to continue: Cristina Fargas wears a lovely pair of earrings as the narrator and Mrs. Darling, but they’re the dangly sort that tapped her headset mic every time she moved her head. As such, her rather nice voice was met with dread after the first number, and the problem remained all night (though she was noticeably fumbling with the earring late in the second act to try and stop it). The RZ hopes that she gets permission to go on without the dreadful things.

Miguel Antelo is an impish Peter, as childish as expected but lacking a certain charm - there’s never a doubt that Isabel Malavia’s Wendy will leave Neverland at the end (it is, after all, the preferable alternative to doing laundry for and minding a dozen Lost Boys). Miguel Gamero is maniacally over the top as Captain Hook, and Pedro Espadas lands the laughs as straight man Smee. Imma Fernández plays Lost Boy Tootles as a loveable scamp with a big belty voice, and she gets a worthy number late in the first act.

So, what we have here is a (mostly) pretty, (generally) inoffensive, and (overall) well played take on a perennial favourite. The question left to address is whether or not this Peter Pan really is something for London Families sick of Disney to enjoy in the West End.

In the RZ’s opinion? Probably not, and it’s for the show’s selling point as much as any of the other issues responsible: without a reminder of the plot details beforehand, young children will have difficulty following the details of a surtitled production - especially one as shoddily titled as this one.

Again, the RZ hopes that he merely had to suffer first preview tech issues, but the surtitle display was insanely problematic and unprofessional. Lines were oversimplified or frequently missing in part or whole (a scene where Captain Hook verbally spars with his pirates went entirely untranslated), and when there was a translation it ran anywhere from one to multiple lines behind what was happening on stage. There’s enough visual clues to piece together the metaplot, but the details are lost.

Also, as previously mentioned, this Peter Pan does maintain the Native American stereotypes of Barrie’s original, and the more culturally sensitive may have issues with it. That said, the RZ grew up before the politically correct movement and enjoyed the relevant scenes as a product of their era (as did his companion, a Bangalore native).

When all is said and done, though, Peter Pan - El Musical is a pantomime without the callbacks (although the infamous “save Tinkerbell” scene is preserved) or the anarchy (the women playing Lost Boys provide the cross-dressing). It’s bright, simple and fun, yet in the end it's an entirely forgettable evening. There are worse options available, but there are others which are far, far better.

Where: Garrick Theatre
When: Until 27 April. M, W-Sa @ 19:30, W/Sa @ 15:00, Su @ 16:00
How Much: £20-£45
Concessions: Registered Spanish students can advance book for £30. Best available day seats for other students and seniors for £20.
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RZ Unofficial “Worth Paying”: £12.50. No live music shifts the scale to 50% of top ticket at the high end of the scale. This is a fun but mediocre show.
RZ Other Notes: Patrons sitting in the front stalls should bring earplugs, though he has been told that levels are better in the circles. If Peter Pan sells well in spite of its problems, perhaps we could get surtitled Elisabeth when the new German tour comes to an end...or maybe hell will freeze over first.

REVIEW: "Jersey Boys"

Oh Jersey Boys. You made this cynical musical fan admit that jukebox shows could be decent when he first saw you back in 2006, but that was a world of mindset away. Now, in your newer, bigger London home, you seem... different... somehow.

The script is still the same, American humour and all, and perhaps part of the issue is the obviousness of the foreign tourists laughing at the jokes when the locals are oddly silent (minus, of course, the Ringo joke at the end) or dealing with a theatre that holds 600 people more than in New York. Perhaps it’s the feeling of being in on the gig as the audience stumbles for the first time through Act One, still maintaining an old locomotive’s slow yet steady acceleration, and then watching as they facepalm one after another as the crowd begin to recognise the songs and make the association with the band whose name nobody can remember and whose material none shall ever forget.

Seriously, though, Jersey Boys has made it across the Atlantic with few hitches and speed bumps, and while it’s not a sellout - yet - the producers are counting on word of mouth to make this show a hit, and if last night’s first preview crowd is anything to go by, a hit they shall have. While some of the material hasn’t translated (and may be subject to change during previews - nothing was altered for this first performance), the core story of rags to riches, brotherhood, and the trials and tribulations of fame is universal. So are the songs, catchy as ever and more lush than when done live originally, thanks to the joys of pit singers and expanded arrangements. Des McAnuff’s kinetic Dreamgirls-inspired staging is still as fresh and energetic as it was in 2005, and the punters up front were more than happy to join the party, dancing along to the final number and singing along during the encore.

Of course, the heart and soul of any transfer is the cast. While Ryan Molloy is slightly more nasal and lacks the power John Lloyd Young did on Broadway, he’ll certainly grow into the role with time, and as he is starting with a six show week, is less likely to destroy his voice doing it. Glenn Carter is a pushy Tommy DeVito, but his accent needs work and he (like the production in general) lacks the edge and confidence of his American counterparts. Rounding out the group, however, are two solid and likely to be underappreciated performers: Philip Bulcock as the quiet Nick Massi, and Stephen Ashfield as the boyish, brainy Bob Gaudio (whose real life counterpart is in town supervising previews). The ensemble are already up to a solid, engaging level, but can still benefit from notes and refinements during the preview period.

Barring any unforeseen difficulties, Jersey Boys will undoubtedly be giving a sharp, exacting performance in time for the March 18 press night. In some ways, the RZ is thrilled: the American musical is riding high and reminding the West End that well crafted entertainment is still out there, but in others is depressed, wondering when a worthy new production will sprout domestically from the UK. In the meantime, keep the imports coming until one does.

Where: Prince Edward Theatre
When: M-Sa @ 19:30, Tu/Sa @ 14:30
How Much: £20-£40 through 18 Mar., £32.50-£60 after
Concessions: Students can get 50% off 60 min. prior and subject to availability (read: when it’s not well sold). Restricted view seats in the upper circle are £20 including some in the first few rows (yay for safety bars).
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RZ Unofficial “Worth Paying”: £42.50
RZ Other Notes: This is a hard one to assign the value to. On the one hand, it’s a smartly presented, well constructed crowd pleaser and every musical fan should see it once. On the other hand, Hairspray will stick with you longer and provide a more satisfying overall experience. If you’re British, the value listed is probably accurate - some of the material clearly went over peoples’ heads (perhaps they should watch The Sopranos more?). On the other hand, American tourists may find it well worth the full £60 just because it buys a decent seat, whereas a ticket of equal value in New York will set you back £175+ as a premium and £60 gets you a restricted side view or chopped off rear seat. Then again, the US tour almost certainly provides a better overall value with lower prices than either production and a reportedly excellent cast.

Continuing on the UK vs. US theme, the question raised in the RZ’s classroom, on the message boards, and in the minds of the producers really is whether or not the British public will take to the show enough to keep it running in the barn that is the Prince Edward. After going to last night’s preview, the RZ still isn’t sure, but is leaning towards the positive side: if word of mouth can get people to give in and buy tickets over the next three months, the show will be a hit and if the advance stays up for six months, will definitely stay put. On the other hand, if ticket sales are respectable but not mind blowing, the RZ could see Jersey Boys transferring to the Novello as the message boards predict, as it may maintain a healthy extended run in a smaller house (building the hype of a harder to get ticket as a result) while, say, Oliver comes in from TV casting to take the Prince Edward.

While the public will probably be converted to this show’s cause, the RZ is doubtful that the London critics will be equally entranced. Jersey Boys is well written and entertaining, but lacks the depth and layers that Billington, Spencer, de Jongh, etc. seem to require from anything that goes near a stage. While the local critics lack the power they do in New York, they are undoubtedly more demanding. The RZ also suspects that comparisons to Buddy, the biopic musical about legendary rocker Buddy Holly, will be unavoidable in the press.