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.
Showing posts with label american musical. Show all posts
Showing posts with label american musical. Show all posts
Monday, 26 January 2009
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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