Review – Magic Goes Wrong, Vaudeville Theatre

Phil thinks he knows a thing or two about magic.

After all it was he who was selected by Paul Daniels to perform alongside him and the lovely Debbie McGee in their Edinburgh show a few years back, taking part in a few tricks and ultimately facing the guillotine. When you’re kneeling with your head trapped in a lunette and staring into a head-catching basket stage nerves are replaced by a certain fear of what happens if something should go wrong.

So Phil has not inconsiderable respect for the sheer technical wizardry involved in Mischief Theatre‘s latest venture Magic Goes Wrong (the second production of their year long residency in the west end), in which the team play a hotchpotch of magicians presenting a charity event that of course goes disastrously wrong. Think Tommy Cooper but with a massive budget.

Review – Goldilocks and the Three Bears, London Palladium

Peter Pan and Snow White are not proper pantomimes according to that doyenne of panto dames Clive Rowe in Time Out. Couldn’t agree more.

The latter was last year’s Palladium pantomime. Goodness knows what Mr Rowe will make of this year’s offering, Goldilocks and the Three Bears.

Yet to Phil, this rarely performed story will always be a pantomime. It was the second one he ever saw, his first was, ahem, Little Miss Muffet. This was, naturally, a few years ago and at the Theatre Royal Bath with Sandy (Can you hear me, mother?) Powell as the dame. How he gasped as the bears’ woodland cottage unfolded to reveal the interior of a two-storey house before his very eyes and how the incredible blue of the linings of the chorus’ costumes forever seared his retinas as the story took a diversion onto a Mississippi paddle steamer. Don’t ask.

Review – The Boy Friend, Menier Chocolate Factory

If you’re looking for a joyously silly, consciously dated piece of fluff of a musical with instantly hummable tunes with a plot flimsier than an election promise then this might just be the show you’ve been looking for.

The Boy Friend is about as far from Dear Evan Hansen as you can possibly get (chorus boys’ DEH striped T shirts aside).

Sandy Wilson produced the music, lyrics and book for this 1953 show, a pastiche of 1920’s musicals apparently, although as the show is in its seventh decade now it’s easy to miss that it was a spoof. It is so gloriously un-PC that even the colour blind casting of Amara Okereke as Polly Browne is sometimes turned on its head by a script that even seems to send that up.

Review – Dear Evan Hansen, Noel Coward Theatre

You might ask what we were doing there.

This is a show where the main characters are teenagers, who have only known a life where their umbilical is a mobile phone, whose visual focal point is a computer screen and the only social they attend is media. They and their friends – in the unlikely chance they have any – have never not known the internet.  And yes, we get the irony of what we’re using right now.

Review – Lungs, Old Vic

Review – Groan Ups, Vaudeville Theatre

In the week where a new theatrical comedy, The Man in the White Suit, was met with general critical grumpiness you’d need nerves of steel to be opening another. And let’s face it you’d be hard pressed to come up with something more hilarious than Coleen Rooney being dubbed Wagatha Christie.

Review – A Very Expensive Poison, Old Vic

As Phil joined the queue to get into the Old Vic he engaged in a discussion with two ladies in front of him about whether they were in the queue for the loos or the theatre. We explained it was the correct queue for the stalls.

“Are you regular?” asked one. “That’s a bit personal” replied Phil. “Oh, no” said she, realising the ambiguity “I meant regular theatregoers”. Much hilarity ensued.

A Very Expensive Poison is not about people’s addiction to theatre. But with seats for this production costing up to £150 for the”charitable package”(add your own gag) and a top price of £140 for “standard stalls” without a whiff of a package for the Old Vic’s next production Lungs, it might as well be.

Review – Hansard, National Theatre

Meet Robin and Diana. They like to argue.

Their bitter and frustrated relationship appears to be nourished by cat and mouse games as they hurl insults at each other and volley them back. In the course of their poisonous disputes long held secrets are about to be revealed. Guests are about to join them and oh, she self-medicates with alcohol.

Mmmm. Sound a little familiar? Sound a bit too Who’s Afraid of Virginia Woolf? All a bit too George and Martha with a soupçon of George and Mildred thrown in?

Review – Blues in the Night, Kiln Theatre

Slightly off putting to visit The Kiln in a heatwave but that’s what we did. Yes, that was last week. We’re hardly quick out of the traps here.

This was our first visit since the the theatre’s new look and peculiar re-branding. We had something of a chequered history with it in its Tricycle days, forever banging on about its unreserved seating policy. Now you can reserve a specific seat, though when we booked they still hadn’t worked out a seating plan so the theatre took it upon themselves to select our seats for us at a later stage. A very queer way to operate if you ask us.

Review – Jesus Christ Superstar, Barbican Theatre

Well yes. Time to fess up. This was our fifth visit to this Regent’s Park production of JesusChrist Superstar. Though only (only?) the third time we actually got to see the show. Our first visit was cancelled due to a power failure and another cancelled due to inclemency.

Review – Present Laughter, Old Vic

You wait a lifetime for a frothy wartime comedy by a gay Sir that opens with someone waking up the worse for wear and wondering who the stranger they picked up last night is and you get two in a little over a week. What are the chances?

First there was Sir Terence Rattigan’s 1943 While the Sun Shine‘s now we have Sir Noël Coward‘s 1939 Present Laughter.

Review – While the Sun Shines, Orange Tree Theatre

Like a lot of life, While the Sun Shines had completely passed us by. Which is surprising to us as it initially played over 1,000 performances and was Terence Rattigan‘s greatest hit.

A 1947 filmed version with the likes of Ronald Howard, Brenda Bruce, Margaret Rutherford, Joyce Grenfell and Wilfred Hyde-White sounds like just the sort of thing we should check out on a wet Sunday afternoon.

Review – Death of a Salesman, Young Vic

In which we get to see Meghan Markle’s father’s Willy.

Before we get into trouble we should elucidate. This is Arthur Millers’ 1949 Death of a Salesman with Wendell Pierce giving us his Willy Loman. It was he who played Robert Zane, father of the character played by the then Ms Markle in Suits. Has anyone actually seen Suits? Does anyone know anyone who has actually seen it?*

Review – Rutherford and Son, National Theatre

Yes, we know we’ve flogged variations of the following “gag” several times but if we’ve learnt anything it’s that there’s very little that can’t be re-recyled.

Q: What’s Rutherford and Son about?

A: It’s about 3 hours 15 minutes.

Well that was according to the worrying email the National sent us prior to our visit sending us into a right old dither. It sounded as if it would drag on longer than Theresa May’s departure. Talk about managing our expectations. On the night it turned out to be a nippier but still lengthy 2 hours 50 mins. It may well be shorter by the opening. It needs to be.

Review – Rosmersholm, Duke of York’s Theatre

Cor. A rarely performed piece of Ibsen gloom which has been dumped straight into the West End without the usual slew of raves from a previous incarnation at an Almeida or a Royal Court to ignite a buzz. And, come to that, no really big name draws like a Dench or a Smith (that’s Maggie not Sheridan) let alone a Waller-Bridge to get those box office tills overheating.

But then this comes from that spunkiest of producers, Sonia Friedman, who rarely seems to put a foot wrong. Just as well really with this tightrope she’s strung herself across St Martin’s Lane. Thank goodness for her Harry Potter safety net.

This production of Rosmerholm claims to be a new adaptation by Duncan Macmillan but we think it’s actually been given a light fingering by Anna Soubry and Chuka Umunna.