theatreJunki

Sweeney Todd the Musical

theatrejunki — Wed, 04 Jan 2012 21:19:25 +0000

Review: La Soirée

theatrejunki — Sun, 27 Nov 2011 21:32:29 +0000

The most daring and outrageous show is back in town for a limited period at The Roundhouse, Camden. I saw this show about a year ago, then in a big-top behind the National Theatre, but now the show returns to it’s previous home, The Roundhouse, with just as much charm and fun second time round. A variety show of circus, cabaret and more, La Soirée features a range of top-notch acts from around the world. I was most excited to see Le Gateau Choclat, a baritone voiced diva with a wardrobe of extravagant lycra suits, who was heralded in Edinburgh last year. Amongst others were the heart-breakingly hilarious physical comedienne Mooky and the roller-skating, tap-dancing, pogo-sticking, modern day Charlie Chaplin, Nate Cooper. This really is a show unlike any other and the perfect remedy to the Winter blues. An ideal Christmas night out, you’ll laugh, you’ll gasp, you’ll squirm, you’ll love it.

La Soirée is at The Roundhouse, Camden until 29^th January 2012.

Carousel: Landor Theatre

theatrejunki — Fri, 08 Jul 2011 11:14:35 +0000

Almost-normal & The Landor Theatre Ltd present

CAROUSEL
Music by RICHARD RODGERS
Book & Lyrics by OSCAR HAMMERSTEIN II

Time magazine’s best musical of the 20th Century, Rodgers and Hammerstein’s 1945 classic, is re-imagined by almost-normal as an intimate post WWII drama with all the music and heart of the original. Based on the Ferenc Molnàr play, Liliom, Carousel explores the irrepressible pull, and consequences, of passionate love, the value of friends and family, and the power of corruption and redemption.

Director: Jeremy Lloyd Thomas
Musical Director: Huw Evans, assisted by Nick House & Tom Turner
Additional Arrangements: Ben Costello
Choreographers: Lainie Baird & Jodie-Lee Wilde
Designer: Rachel Stone
Lighting Designer: Natashka Brown

Cast includes:
Georgia Bevis
Ebony Buckle
Chelsea Corfield
Lee Dillon-Stuart
John Fleming
James Houlbrooke
Chloe Jane
Sean-Paul Jenkinson
Iddon Jones
Sue Kennett
Leonie Macaslin
Ross MacLeod
Charlotte Moore
Jill PattersonJessica Rufey
Richard Vorster

Shows: Friday 8 to Saturday 30 July 2011 (£16 & £14 concessions)
Tuesday-Thursday 19:30: Friday 19:00: Saturday 15:00 & 19:30: Sunday 15:00

Review: Lend Me A Tenor

theatrejunki — Tue, 28 Jun 2011 10:18:49 +0000

Currently on Sunday nights we’re fed a second innings of singing competition ‘Popstar to Operastar’ (does what it says on the tin). As these forgotten stars screech and belt their way through every loved opera, my thoughts lie in the strength of these musical theatre tenors (and sopranos) lending themselves to opera with great aptitude and ability.

The classic musical farce sets the scene in 1934 with the Cleveland Grand Opera who face their demise as visiting Italian opera-star, Tito Merelli fails to turn up. Their production of Verdi’s Otello stands in jeopardy until prompter Max, somehow knowing the show, is shoved on to pose as the orange-faced tenor. The fun only gets going as the confusion continues and Merelli himself appears, him too in his Otello costume and by some strain of pretext, the Theatre Manager is wearing one too.

Ian Talbot’s production does plenty to keep the plot boiling and the farce rising to almost torturous levels. Peter Sham and Brad Carroll’s writing falls foul to the usual problem with many musical farces in that the music does occasionally slow the action, however it holds together well thanks to some delightful numbers. The key ingredient for me is the attention to detail in this production. Paul Farnsworth’s set is glorious, folding and changing like a glorious book to reveal sumptuous rooms and backdrops. And too the fact that the director Ian Talbot was in the cast of Ken Ludwig’s original play, staged in 1986 at the Globe theatre, the very theatre it’s within now that was renamed the Gielgud in 1994 (thanks to Sir Cam).

There are fantastic performances here from Michael Matus as Tito Merelli, his comedy skills in particular bringing perfection to the confusion of the second Act. Cassidy Janson as Maggie is delightful and given a song to sink her teeth in to with ‘Fling’. Damian Humbley as Max gives gusto to the heroic yet down-trodden bespectacled stand-in and Matthew Kelly as Henry the Theatre Manager sighs his way through the action.

Its a terrific show with the classic feel of 1930’s musical farce, with the orchestra indulgently padded with reeds, gloriously carrying the transition under Colin Billing’s direction, through influences of jazz, into the glamour of 1930s America. Sophie Louise Dann as Diana gave a hilarious rendition of every well-known aria from Tosca to Carmen, clawing her way around the room in the way of an old soprano. More of these satirical opera parodies could be the only thing missing from this production. Regardless of this, it’s an evening of delight and not one to be missed lightly.

Runs until 19th November 2011 at the Gielgud Theatre.

Review: The Magician’s Daughter

theatrejunki — Sat, 04 Jun 2011 18:16:40 +0000

Following on from The Tempest, an RSC and Little Angel Theatre collaboration last month, The Magician’s Daughter unites the two companies again in a new story for 3-6 year olds, inspired by and continuing Shakespeare’s story. Written by former Children’s Laureate Michael Rosen, The Magician’s Daughter tells of the adventures of Miranda’s daughter Isabella, as she discovers the magical island and the characters Ariel and Caliban in her plight to end a long rainstorm.

Little Angel’s blend of puppetry and song makes this a gentle introduction to Shakespeare for young children, as well as a magical piece of theatre for anyone. Having witnessed the brilliant humour and creativity brought to The Tempest, The Magician’s Daughter continues the puppet design and characterisation with a younger audience in mind. Performers Lizzie Wort and Clare Rebekah Pointing showed great adaptability in a multitude of roles and demands in puppetry, as well as a rapport with children in the audience. The themes of The Tempest continue too in this piece, with small insights into the links to Milan by Miranda’s occasional use of Italian and the parallel storm that Isabella seeks to end.

Little Angel Theatre is a truly magical place, situated in a quiet little corner of Islington where they celebrate 50 years of creating truly magical and inspiring puppet theatre. The Magician’s Daughter is a gentle, uncomplicated and exciting story that will both captivate and set-free young minds.

Runs until 10th July at Little Angel Theatre, Islington.

www.littleangeltheatre.com

E4 Udderbelly: Not So Grimm Fairy Tales

theatrejunki — Sat, 07 May 2011 15:40:02 +0000

After their hugely successful 2009 and 2010 national tours of The Little Mermaid and Alice In Wonderland, Uncontained Arts return with another exhilarating interpretation of more much-loved children’s stories. All your favourite Grimm characters …Little Red Riding Hood, Rapunzel, Tom Thumb, a handful of princesses, a whirlwind of witches and one weally, weally wicked wolf…are all brought to life in this energetic, colourful, laugh-a- minute show, with music, surprises,a touch of magic and lots of fun for all the family!

‘A truly memorable experience–the kids were still talking about it hours later’

‘Absolutely marvellous and energetic –a really good interpretation of a classic story!’ MARYPORT TIMES & STAR

Runs Saturday 7th, Sunday 8th and Saturday 21st May as part of the E4 Udderbelly Festival at Southbank Centre. Find out more info at: http://www.underbelly.co.uk/

Review: The Birthday of the Infanta

theatrejunki — Wed, 23 Mar 2011 21:23:03 +0000

It’s the twelfth birthday of the Infanta (that’s a Spanish princess) and for today only she’s allowed to play with other children. We are invited to a celebration and all number of wondrous acts are assembled to play before the great princess. But it is one, an ugly boy who dances, a little fearfully and uncertainly at first but later with great freedom, that most catches her eye. She laughs heartedly, much to the dislike of her elders. The Infanta is beautiful and elegant and the ugly boy is captivated by her. She hands him a flower, a flower that he will never let go of ever again. Though this is a bittersweet story and I’m saddened to say that it does not have a happy ending for there is a great price to pay for mixing with children not of the same rank. And there are great lessons to be learned about the truths of ugliness.

Trestle Unmasked present a magical style of physical storytelling and enchanting theatre. Never could one imagine a one-woman play, even less one performer, to maintain so engagingly, a story with such variety and number of characters. Georgina Roberts is a wonder, bringing such life and physicality to any number of characters and even creatures, with apparent ease and returning to them with instant recognition. Her portrayal of the twelve year-old Infanta is particularly terrific with delightful inquisitive shyness and alluring beauty. Trestle’s ability to develop such beautiful and imaginative theatre through combining all aspects of story, physicality, choreography, music and design is pure brilliance. For young people, the imaginative and at times gently participatory nature of this performance is compelling and the intense relationship between the audience and the single performer is fascinating.

The story was written by Oscar Wilde and inspired originally by a Velasquez painting ‘Las Meninas’. The painting shows the Infanta in centre with her attendants arranged around her in the room. In the background is seen a character seemingly observing quietly from the shadows and it is this character imagined in Wilde’s story to be the ugly boy. The storyteller is said to be within the painting also. Picasso appeared to have a great affection for this painting, taking his own impressions with over fifty attempts.

This incredible story is merely a seed however, set to grow in the imagination of those lucky enough to hear it. The great depths and questions explored within its rich text and more elaborately in this stunning piece of theatre, are set to draw lines of parallel between the princess with her father, distracted in mourning for her mother, looked to for her royalty, and the ugly boy, unwanted by his father and looked at for being different.

This piece sets your imagination alive for an imagination fuelled by a story told by Trestle is one both captivated and set free at the same time.

Runs until 27^th March 2011 at the Unicorn Theatre and touring until May.

www.trestle.org.uk

Written on behalf of The Public Reviews www.thepublicreviews.com.

Review: The Last 5 Years

theatrejunki — Sat, 12 Feb 2011 11:58:22 +0000

An emotionally powerful and intimate musical, The Last 5 Years charts the relationship of Cathy and Jamie, the story beginning with Cathy at the start of their five years together and Jamie at the end. Through a collection of inter-cutting scenes, almost entirely through-composed, we watch Jamie move forward in time as Cathy moves backwards, the two characters only meeting once in the middle of the show where time reaches the same point for their wedding.

Cathy is a performer who has been turned down by a theatrical agent and her career is struggling. Jamie is a writer, his career beginning to soar with the publication of his first book. Jamie’s commitment to his writing creates a divide between the two and as Cathy moves to Ohio for a summer job, Jamie goes to visit her and proposes. Following their marriage, Jamie finds his vow to Cathy straying as he gains new popularity through his writing and he becomes unfaithful. At the end of the play we see Cathy bidding Jamie goodbye, glowing with happiness after their first date, and Jamie saying goodbye as he ends their five-year relationship.

The concept and writing of the piece is fantastically strong, with the textural complexity and the beauty of Jason Robert Brown’s score supporting the emotional charge of the story with perfection. The orchestration for piano and small strings gives a distinctive style and quality to the music and Lee Freeman’s musical direction is near spot-on. Ben M Rodgers’ design is strong with a nice concept however it lacks a little further inspiration and detail, not entirely serving the director with any room for variation. Drew Baker’s direction was rather literal at times and often repetitive, with more reasoning and deeper thought needed as it never felt fully informed about the decisions in the piece.

Lauren Samuels as Cathy demonstrates amazing vocal ability, clear and powerful emotion, though a little more subtlety is needed at times within the intimate space of the pub theatre, this is not aided however by a poor sound design. Christopher Pym’s Jamie is captivating with great vocal tone and ability, with his emotional levels reaching the mark by the later numbers. Overall the depth of the emotion and the delicate intricacy required at times is not quite reached, however I have no doubts that this will be achieved as the show settles in.

Runs until 5th March 2011 at the Tabard Theatre, W4 1LW.

Review: Clybourne Park

theatrejunki — Sat, 29 Jan 2011 11:01:03 +0000

Challenging the bourgeois values is the flavour of Bruce Norris’ Best Play winner. The play is a riotously funny yet troubling confrontation with the issues of race and poverty in America. The first act is set in 1959 and the second in 2009, with a tight symmetry and almost parallelism between the two parts. The comparison of racial acceptance and tolerance is given a wonderfully satirical approach whilst Norris strips away the camouflage of politeness to show the racism at the core, both then and now.

The first act sees a white, middle-class couple about to move from their Clybourne Park house to escape the memory of the suicide of their son. The proposed sale of the property is to a black family, causing quiet controversy amongst neighbours. The second act, fifty years later, is set in parallel, with a white couple planning to rebuild the house but accused by neighbours of destroying the history of an ethnically rich community.

The emotional charge within the performance is immersive and the command of such a difficult subject is fascinating. The apathetic outlook of the character at the centre of the debate in the first act begins to trouble the audience, but when the same actor in the second act confronts again by way of a racist joke, the audience are almost writhing with discomfort. The play is hugely sensitive but incredibly faces the biggest issues with the use of insensitive humour. The writing is clever with the linked details between then and now bringing a warming familiarity to the second act.

Dominic Cooke’s production is brilliantly acted with Sophie Thompson showing her great versatility and comedic ability, with the audience instantly adoring her character in the first act. The quality of performance from all is encouraging and the two (or one I suppose) sets from Robert Innes Hopkins bringing another brilliant play to the West End. Howl with laughter at the wonderfully effervescent humour but you’ll need a moment to think when the curtain falls.

Runs until 7^th May 2011 at Wyndhams Theatre.

Review: Double Falsehood

theatrejunki — Wed, 26 Jan 2011 23:50:51 +0000

Claimed ‘lost Shakespeare’ Double Falsehood, currently on offer at Southwark’s Union Theatre, is a story unfamiliar with our modern sensibilities; servant girl Violante, innocently raped, pursues her attacker Henrique for marriage to clear her disgrace. Henrique meanwhile attempts to steal away his friend Julio’s fiancée Leonora, Julio becoming mad over the loss of his love. The idea of restoring honour and with such determination seems lost within the world we know, though the deep psychology in this play makes this and every journey understandable.

With much debate, Double Falsehood was recently added into Arden’s Shakespeare Complete Works having deemed there was enough evidence in the text. It has not been staged since 1727 but director Phil Willmott talks of his keenness to “stand it on its feet” so that it may be debated in a real form and presented for its merits. But is it Shakespeare or not? The plot reeks of the Bard with its themes of revenge, parenthood and women disguised as men, but the structure not so and the poetry, well, isn’t there. Even so, perhaps it’s the strength of the production here, but its a well weaved piece of writing that makes for a terrifically good piece of theatre.

Willmott’s production is carefully simplistic and cogent, though we are assured we are presented an uncluttered, as-published play. The design is admirably satisfying without a sniff at pretension and the Union’s intimate space is used very well, probably the best I’ve seen. The cast are strong with particularly enjoyable performances from Adam Redmore as Henrique and Jessie Lilley as Violante, with the excellent use of a Liverpudlian accent.

A thoroughly captivating evening of theatre: traditional, yet suitable for a modern audience, without the distraction of some contemporary hashing. Hats off to Phil Willmott.

Runs until 12th February 2011 at the Union Theatre, Southwark.