Posts Tagged ‘play’

Review – Sweet Charity, Donmar Warehouse

Wednesday 10 April 2019

Hurrah. At last. A proper musical.

Some of us are old enough to remember that 1966 was not only the year of a particular World Cup but also when Sweet Charity emerged. Those were the days, when people really knew what a hummable tune was.

Can you imagine Come From Away or especially Fun Home winning Olivier Awards and Tony Awards five decades ago? No, we can’t either. And Dear Evan Hansen may be fabulously tune-filled but at the prices it’s charging we will probably never know. Don’t be fooled that the “Dear” of the title is just a form of address. We’d welcome a little less ambiguity and suggest they call it Expensive Evan Hansen.

But we digress. This is a show which positively aches with catchy numbers in Cy Coleman‘s music (enhanced by and Dorothy Fields‘ lyrics) – “Big Spender”, “If My Friends Could See Me Now”, “There’s Gotta Be Something Better Than This”, “I’m A Brass Band” and “I Love To Cry At Weddings”. Read the rest of this entry »

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Review – Downstate, National Theatre

Monday 25 March 2019

When a play is described as provocative, thought-provoking, challenging, shocking and in the Dorfman auditorium you’d be forgiven for thinking that we’ve gone completely doolally taken to self-harming and revisited that steaming pile of When We Have Sufficiently Tortured Each Other.

But no. We can now (almost) completely forgive the National for that egregious horror as it has given way to Downstate which comes from the provoking pen of Bruce Norris who previously stepped onto the Whinger podium of greatness when he delivered his brilliant Clybourne Park. Read the rest of this entry »

Review – All About Eve, Noel Coward Theatre

Friday 8 March 2019

There’s a cheeky story about the making of the 195O film classic All About Eve. Phil’s tried to find it on t’internet but all he could come up with was this 14 bumpy facts about All About Eve page. Worth-reading though.

Anyhoo he’ll deliver the story from his rather shaky memory as best he can. George Sanders (Addison deWitt in the film) was married to Zsa Zsa Gabor at the time and his newish wife was constantly turning up on the San Francisco film set to check up on him (well he was filming with Marilyn Monroe) and wanting Sanders to take her out shopping, to which the film’s writer/director Joseph L. Mankiewicz allegedly snapped “Fuck off Zsa Zsa we’re trying to make a movie here”. We’d love to believe it’s true. Read the rest of this entry »

Review – Cate Blanchett in When We Have Sufficiently Tortured Each Other, Dorfman Theatre

Tuesday 22 January 2019

Oh my word. You’d think by now we would know better. Read the rest of this entry »

Review – A Very Very Very Dark Matter, The Bridge Theatre

Friday 19 October 2018

A Very Very Very Dark Matter certainly is what it says on the tin. But in opening that grubby little tin be warned, we might spoil the contents for you. Continue at your peril. Read the rest of this entry »

Review – Company, Gielgud Theatre

Friday 12 October 2018

Gender-swapped roles? Aren’t we not just a teensey-weensy bit over them by now?

This is the week that saw our first female Doctor Who. The National Theatre drops the willies willy-nilly, just because it can. Now Stephanie Sondheim has been thrown the ball, dropped it (or them) and has been persuaded to sanction a change for the central character of Bobby to Bobbie in his 1970 musical Company. If it’s to give actresses (at Whingers’ Towers we still like to call them actresses) more work it’s counter-productive, as three of the lady roles in the show are now played by men. Read the rest of this entry »

Review – Antony & Cleopatra, National Theatre

Friday 21 September 2018

We will assume you know enough about the story of Mr Shakespeare’s Antony and Cleopatra (or Antony ampersand Cleopatra as the National is naming it) that you will not be offended by the spoliers that appear here. After all it’s hardly Bodyguard don’t you know.

So what’s it about?

It’s about 3 hours 30 minutes. Yes, we’ve used this gag before but we’re assuming that our demographic are of an age (or drink so much) that they won’t remember such things. Read the rest of this entry »

Review – The King and I, London Palladium

Tuesday 18 September 2018

In a relatively theatre-free summer Phil’s last two and a half theatre outings have been to revivals of popular musicals which were turned into successful films starring the original stage star. Rather scarily Phil saw both these stage productions with the aforementioned stars. Read the rest of this entry »

Review – Home, I’m Darling, National Theatre

Friday 27 July 2018

Tricky.

How do you discuss Home, I’m Darling without giving away a key reveal? Well those who reviewed Tamara Harvey’s production when it was at Theatre Clwyd gave it away willy-nilly, but then it is mightily hard to talk of it without doing so. Fortunately we saved reading those reviews until after we’d seen it.

Statistically, of course, most readers won’t ever get to see it anyway so why should one care so much? Despite this, however, we will still endeavour to give away as little away as possible. Which means this will be a faster read for you and you can move on to better things. Read the rest of this entry »

Review – Exit the King, National Theatre

Tuesday 24 July 2018

“Stop this infernal pantomime!” shouts one of the Queens in Patrick Marber‘s version of Eugène Ionesco‘s Exit the King.

How many of us in this preview audience must have been thinking exactly the same? Yes, we’re nailing our colours to the mast straight away and saying what a dreadfully dreary evening this is. Even if it’s only 1 hour 40 minutes it feels much, much longer. Still, you can pass the time glancing round the audience and seeing if those on the ends of rows are slipping out discretely. Yes, some did. Lucky bastards. Read the rest of this entry »

Review – Allelujah!, Bridge Theatre

Wednesday 18 July 2018

You have to hand it to The Bridge Theatre for jumping the gun. The publicity tells us that “Alan Bennett’s new play Allelujah! is as sharp as The History Boys and as funny as The Lady in the Van“. Err, we’ll get back to you on that.

Notice there’s no mention of Mr Bennett’s last two offerings, The Habit of Art and People. We can’t imagine why. Read the rest of this entry »

Review – The Inheritance, Young Vic

Thursday 19 April 2018

What can we say about The Inheritance that you might not have already heard?

That the publicity on the tin calls it a “hilarious and profound heartbreaker”.  We are unable to disagree with that even if the contents are in two parts and spread over 7 hours. Read the rest of this entry »

Review – Fanny & Alexander, Old Vic

Friday 9 March 2018

A front of curtain prologue, performed by a precocious whippersnapper warning us that we are about to see “the longest play ever” was never going to be music to our ears.

But we had been warned. Fanny & Alexander was running close to 4 hours at early previews. Max Webster‘s production is now a tighter Fanny at a relatively sprightly 3 and a half hours. Read the rest of this entry »

Review – The Scottish Play, National Theatre

Wednesday 28 February 2018

Phil’s only seen seen The Scottish Play once before. And that was some 30 years ago.

To put that into some kind of a context his tally of other shows runs roughly thus: 42nd Street (5 times), Into the Woods (5), La Cage Aux Folles (5), Follies (8), and Sweeney Todd (8). Shows where his priorities lie. Read the rest of this entry »

Review – Dick Whittington, London Palladium

Thursday 21 December 2017

If we say Andrew can’t get enough Dick (he’s off for more Dick with The Krankies in Manchester this weekend) you get a measure of the entendre to expect in this year’s Palladium panto.

You’d expect Dick Whittington starring Julian Clary as The Spirit of the Bells to have more dick gags than you can shake an, obviously very large, stick at. What we didn’t expect were so many references to musical theatre; FolliesElaine Paige‘s radio show and her back catalogue of most famous show tunes, Half A Sixpence (Charlie Stemp and Emma Williams from that show play Dick and Alice Fitzwarren respectively), Hello Dolly! (Stemp is heading to Broadway shortly to appear in it) and even the mega-hyped Hamilton are all referencedYou may wonder exactly who the show is aimed at. Not kiddies at all, but musical people of a certain age. Not that we complain. Read the rest of this entry »