Featured Post

Same but indifferent: Laughing Boy @JStheatre

Image
Stephen Unwin's Laughing Boy, adapted for the stage from Sara Ryan's Justice for Laughing Boy, is a powerful and moving story about a mother and a family that keeps asking questions despite the victimisation and harassment from the institution - the NHS - that was supposed to protect her son. It's a moving, celebratory account of a life cut short due to indifference held together by a remarkable performance by Janie Dee as Sara. It's currently playing at the Jermyn Street Theatre .  Sara's son, Connor, is a little different to others. He is fascinated by buses and doesn't like things like loud noises. But as he becomes an adult, his seizures and unexpected outbursts mean the family turn to their local NHS for support. Little did they realise they would receive such little care from a service that was institutionally incompetent and covered up thousands of unexplained deaths of people with disabilities, including Connor's. The search for answers about why he

Theatre: A Little Night Music



I was a bit worried about seeing A Little Night Music on Sunday. Well, the last time I went to see a Trevor Nunn show it all ended in disaster (although I ended up with seats with lots of space around me). This time at least I was certain that the material he had to work with was much better. But still, I was a little bit worried. It was less to do with the show and more to do with the company I was with. After having lunch with the Whingers, John and a few others, our party of ten to see it was in a very silly mood.

The two bottles of non-cheap red wine consumed over lunch may have had something to do with it. There was so much banter that anything was a target and everything was hilarious. The production team sat in the row in front of us, taking notes using pens and little notepads looking like they were waiters. John suggested we ask Trevor to take our order for a couple of lattes for the interval. Yes, it was set to be a silly afternoon.

Fortunately all the banter stopped when the lights went up. Well the lights went up in the row in front of us anyway. The note taking continued under the glow of pen lights and mobile phones. It took a while for the stage lights to go up. I think they did not go up until about the third number and it was hard to make out who anybody was until then. Still there was so much to enjoy about this show; the excellent cast, the brisk pacing and the great story.

I had not seen a production of A Little Night Music before but was familiar with the score. I also knew the film Smiles Of A Summer Night on which the musical is loosely based upon. Smiles Of A Summer Night is an Ingmar Bergman film, but is not a bleak film about death (like many of his films) but a very funny comedy. The book and score of A Little Night Music is just as witty and incisive. So it was great to see this production bring out the fact that at its heart this show is a sexy comedy.

There are some wonderful singers in this cast and they all kept the show real while managing the right balance of laughs and pathos. Some in our party had reservations about Maureen Lipmann playing Mme Armfeldt but I figured the role called for a touch of channelling Margaret Thatcher with a bit of Miss Havisham. But particular credit has to go to Hannah Waddingham in the central role of Desiree. Judi Dench played it in the last London production, but by giving this role to Waddingham (who is in her early thirties and looks stunning even eating a bag of crisps), the show makes a lot more sense and gives added power to the story. It was also nice to see Jessie Buckley, runner up in the TV show I'd Do Anything to find the next Nancy for the upcoming West End revival of Oliver! playing the role of the young virgin wife Anne as well.

All told this show looked and sounded fantastic. I would challenge anyone not to enjoy the closing number of Act 1, "A Weekend In The Country". It is helped by the small confines of the Chocolate Factory and the extra intimacy it provides. You know you are seeing the real thing as you are so close to the performers as they deftly handle very tricky music. The production design was another added bonus. A real treat and one not to miss. Press night was 3 December and it will run until March at the Chocolate Factory. Beg, borrow or steal (if the Sondheimistas snatch them all up) to get a ticket while the nights are long... It is worth it...

Popular posts from this blog

Opera and full frontal nudity: Rigoletto

Image
David McVicar's oddly modern production of Rigoletto is back at the Royal Opera House . This modern and minimalist dark production has evolved over the years. It is better lit now but there is still an orgy and full frontal nudity within the first thirty minutes. This enables anyone not in the stalls an excellent view of a flaccid penis and a nicely shaved bush. But as time goes it seems more and more superfluous to the main focus of this tragedy of a court jester who seeks revenge. Here is hoping that the production continues to evolve... Conductor John Eliot Gardiner keeps the music well paced. Dimitri Platanias in the title role sounded great and received a rapturous applause for his interpretation of the role. You get a sense more of the doting father rather than the court jester or cursed man here. Vittorio Grigolo plays the Duke and sounds too lovely to be the cad the role calls for, but it is hard not to like when he is on stage anyway. And it is easier to understan
Read more...

Fantasies: Afterglow @Swkplay

Image
Nowadays no self-respecting gay play can be staged without full frontal nudity of some kind. It feels like the default response for the modern gay play now that gay rights are no longer an issue .   Afterglow, currently playing at Southwark Playhouse , serves it up in spades. From the beginning, three men are in a bed, naked. There’s what appears to be a very brief exhalation of ecstasy, before the obligatory rush to the shower. But the gratuitous nudity and excellent performances can’t conceal this is a pretty conventional and predictable story about a fantasy couple.  The three men in the simultaneous orgasm at the start of the piece are Josh, Alex and Darius. Josh and Alex seem to live in a New York world where they can afford a rooftop apartment in Manhattan while holding jobs as a theatre director and a grad student in chemistry. As writer S. Asher Gelman based it on his own experiences, perhaps gay plays with full frontal nudity are the way to achieve financial security
Read more...

Play ball: Damn Yankees @LandorTheatre

Image
Damn Yankees at the Landor Theatre is one hell of a fun, sexy show. A great cast of dancers and singers give this show about a man who sells his soul to get on his beloved baseball team (and give them a chance of winning) new legs and balls. It also helps to up the ante with the sexiness with some healthy doses of cleavage and legs (and that's just the men). The musical is a retelling of the Faust story set in the 1950s when the New York Yankees dominated the game.
Read more...