Posts Tagged ‘musical’

Review – The Hamilton Experience, Victoria Palace

Monday 15 January 2018

So what’s Hamilton about?

It’s about finger-wagging bossiness and treating audiences as a slight inconvenience. The theatrical equivalent of restaurants which are happy to profit from big group bookings but can’t cope unless you choose from the menu in advance.

It’s about telling their audience to get to the theatre an hour before the performance and telling them not to try and enter the theatre until their full party has arrived. WTF? We hadn’t been this irritated since we heard our last “See it. Say it. Sorted” tube announcement (let’s not even start on those voiced by children).

It’s about telling us to bring “photographic ID” (according to Ticketmaster’s missives) or “government issued photo ID” (according to the Hamilton website) – so which is it to be? Phil, who confused the government with TFL was only allowed to enter by one of the Victoria Palace wardens as he “looked honest” (note to ticket touts, model yourselves on Phil). Andrew was taking no chances; fearing he might be mistaken for a tout and not allowed to finger the ticket he forked out for a year ago (despite Phil having dealt with the traumas of booking) he promised to turn up with his passport, a utility bill and a letter signed by two Justices of the Peace. Read the rest of this entry »

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Review – Pinocchio, National Theatre

Thursday 14 December 2017

You can’t say the National’s not hell-bent on success with Pinocchio.

Disney have offered up the stage rights of the Oscar-winning score from their 1940 classic animation and promised they won’t interfere. The songs are arranged by Tony/Grammy/Olivier Award-winning musical director Martin Lowe. The book’s by Tony and Olivier Award-winner Dennis (Matilda) Kelly and it’s directed by Tony Award-winner John (Once and the Harry Potter plays) Tiffany. The design team of Bob Crowley (set/costume/puppet co-designer) and Paule Constable (lighting) have 4 Oliviers and 9 Tony Awards between them. Goodness.

The creative table is positively groaning with talent and awards, so how come the National are serving up turkey again this Christmas? Read the rest of this entry »

Review – Everybody’s Talking About Jamie, Apollo Theatre

Thursday 30 November 2017

Everybody has been talking about Everybody’s Talking About Jamie and dusting it with the glitter of 4 and 5 star reviews as though glitter were about to be banned.

Trouble is we’ve seen this sort of brouhaha before. And you don’t have to go back too far to look at the West End’s ever-expanding graveyard of British Musicals that were garlanded with superlatives at the time but were either near misses (Bend it Like Beckham) or totally lame misfires (cf. Mrs Henderson Presents, The Girls, Made in Dagenham). Critics are all too ready to big up the latest crock. Read the rest of this entry »

Review – Young Frankenstein, Garrick Theatre

Thursday 23 November 2017

In which Phil acts as advisor to Mel Brooks.

Phil’s having a half-arsed catch up of shows he missed during his confinement. Or you could say a catch up on the seventies since this is his third in a row that steals from classic movies from that decade (Network, The Exorcist). Though this is less of a catch up than a revisiting. Of sorts. Read the rest of this entry »

Some mopping up – Hot Tin/ Slaves of Solitude / Young Marx

Monday 6 November 2017

For those kind folk (that should probably read as singular rather than plural) who have been interested enough to ask where Phil’s been, here lies the answer. Hip replacement don’t you know, beating Patti LuPone to the crutches by a matter of weeks. He feels Patti’s pain. And he’s just beginning to dip the toe on the end of his newly bionic leg back into the world of theatre that doesn’t come with a surgeon and anaesthetist. Read the rest of this entry »

Review – Follies, National Theatre

Friday 1 September 2017

Earlier in the year we were invited to join the Follies production syndicate.

“Your support is crucial to ensure the play is successfully brought to the stage. We would love you to make this happen. As a thank you we will keep you up to date with the production as it progresses

How inordinately generous of them. If we were to fumble around in our pockets we’d expect a meet and greet with Stephen Sondheim or a glass of fizz with Imelda Staunton to say the least. Read the rest of this entry »

Theatrical Catch Up: From On the Town to The Mentor

Tuesday 27 June 2017

It’s been a while.

Phil’s been busy having a bit of work done. At home. Not on his face. Yet. Read the rest of this entry »

Review – The Girls, Phoenix Theatre

Wednesday 17 May 2017

Saggy, baggy, in need of trimming and tightening up and decidedly over-exposed.

No we’re not talking about the women d’ un certain age disrobing on stage. As if we would be so unkind. We’re talking about the show.

Having been underwhelmed by Tim Firth‘s Calendar Girls both on film (2003) and even more so on stage (2008), Phil had given his latest musical version, rebranded (rather clumsily) as The Girls, a very wide berth indeed.

Then out trotted the five-star reviews from newspapers (about 8 of them) which suggested he was missing something. In fact one threw down the bold gauntlet of promise that it would make him “cry with laughter”. Read the rest of this entry »

Review – 42nd Street, Theatre Royal Drury Lane

Thursday 13 April 2017

Some believe that size isn’t everything. Clearly not the producers of this revival of 42nd Street. They measure in feet rather than inches.

It arrives with a cast of 55 for goodness sake. 42 of them tapping at once. That’s 84 feet (should your maths not be up to it). When did you last, or ever, see that? They are spoiling us for other shows. It might be time to invest in a Covent Garden cobblers. Read the rest of this entry »

Review – An American in Paris, Dominion Theatre

Friday 17 March 2017

In which Phil thinks he may have seen one of the best looking shows ever (and thinks he must be going soft in his old age too).

Just about filling the vast stage of the newly-refurbished Dominion Theatre, An American in Paris is based on the 1951 movie, with music and lyrics from George and Ira Gershwin respectively. It’s a big, splashy, very old-fashioned romance. If it were a stick of rock, the word “BROADWAY” would run through it.

Thankfully the two Tony-nominated New York leads, British ballerina Leanne Cope and New York City Ballet dancer Robert Fairchild have travelled with it. And travelled well. Though not at every performance. Caveat Emptor. Read the rest of this entry »

Review – Promises, Promises, Southwark Playhouse

Thursday 19 January 2017

cxo6_jfxcae2livWhen The Whingers saw this on the Broadway (with Sean Hayes and Kristin Chenoweth) in 2010 they did an unprecedented thing (well, they may have done it other times but they can’t be bothered to check); awarded separate ratings for the first and second acts. If that’s not an argument against interval departures we don’t know what is. Not that it will stop them of course.

Promises, Promises has more promises in its creatives, than even its title. Music by Burt Bacharach, lyrics Hal David, book Neil Simon and it’s based on one of Phil’s favourite films; the 1960 Billy Wilder film The Apartment starring Jack Lemmon and Shirley MacLaine. Read the rest of this entry »

Review – Dreamgirls, Savoy Theatre

Tuesday 6 December 2016

furthercastingannouncedfordreamgirlsatthesavoytheatreThe was an incident during the extended interval of last night’s preview performance of Dreamgirls.

Police swooped into the Savoy’s gorgeous auditorium creating a fine old brouhaha. It can’t have been good for bar takings. Punters lurked in the stalls craning their necks to see what all the fuss was about.

Had the rozzers been called in to stop the unnecessary and deeply annoying X Factor whooping, applauding and ovating that had been going on mid-songs? We could only live in hope. Couldn’t agree more with Mr Shenton. Read the rest of this entry »

Review – She Loves Me, Menier Chocolate Factory

Tuesday 29 November 2016

slm-220x300You wait for ever for a seductively old-fashioned and tuneful period musical about a shop assistant falling in love, staged handsomely on four turntables and you get two in a row. What are the chances?

Following on the heels of the winning Half A Sixpence comes the Menier’s seasonal offering She Loves Me (book by Joe Masteroff, lyrics by Sheldon Harnick, and music by Jerry Bock).

Essence It’s based on a play by Hungarian playwright Miklós László that inspired the films The Shop Around the Corner, In the Good Old Summertime and You’ve Got Mail. Tinder is yet to be invented and Amalia (Scarlett Strallen) and Georg (Mark Umbers), correspond gushingly in old-style ink (hurrah!) despite never having met, until that is, Amalia wheedles her way into a job at Maraczek’s Parfumerie in Budapest where Georg happens to work. Read the rest of this entry »

Review – Half a Sixpence, Noel Coward Theatre

Tuesday 15 November 2016

half-a-sixpence-noel-coward-theatre-posterNot a glass-half-full version of The Threepenny OperaHalf a Sixpence brings good old-fashioned pleasures, two dazzlingly show-stopping numbers, gorgeous designs, nifty millinery, a musical first for us: a number set in a woodworking class and a gravity-defying new musical star to town. And we haven’t even got to the banjos and spoon-playing. Yet.

The original production was way back in 1963 and it’s not been seen in the West End since. Clearly there was a reason. Now its been revised restructured and tickled into shape at Chichester. Read the rest of this entry »

Review – Side Show, Southwark Playhouse

Tuesday 25 October 2016

side-show-artwork-image-700x455It’s a rum old world sometimes.

Two consecutive off-West End shows featuring poisonous homosexualists (Kenny Morgan, The Boys In The Band), then two in a row featuring a hostess trolley (The Red BarnThe Grinning Man). The latter a musical about a carnival attraction “freak show”. This one is too. What are the chances?

This is the 1997 Broadway flop Side Show (31 previews and 91 regular performances) which was revived and revised in 2014 only to flop again after a seven week run. Is someone trying to tell them something? Read the rest of this entry »