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Prayers and thoughts: The Inseparables @Finboroughtheatre

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The Inseparables brings Simone de Beauvoir’s posthumously published novel to life. It traces a lifelong friendship between Sylve and Andrée, two unconventional girls who grew up in a stifling world where being a woman meant getting married or entering a convent. With a quick pace and engaging performances from the two leads, it is a journey back into the 20th century that captures two unconventional women trapped in a conventional world that will have you reflecting on how much or little things have moved on in the last century. It’s currently playing at the Finborough Theatre .  We’re introduced to Sylve praying for her country, France, to be saved from the war and indoctrinated into the world of faith and obedience. But too smart for all that, her life was full of detached guilt and boredom. But when she meets Andrée, a new arrival at her school, she is struck by how different she is from everyone else. She was burned in a fire and had a passion for life that nobody else she knew...

Cat people and corns: Grey Gardens @swkplay

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Perhaps the central message in Grey Gardens is that no matter what you do, no matter how much you fight it, you will turn into your mother. Particularly since Jenna Russell (in a a star turn) plays both Little Edie and Big Edie in this show, based on the the Beales of Grey Gardens It’s only early in the year, but this has to be one of the funniest things to happen on stage in London for 2016. It also serves as a wonderful vehicle showing just how darn funny Russell can be. Grey Gardens is a musical based on the documentary of the same name. The documentary, released in 1975, caused a sensation with its frank depiction of two old cat women living in squalor with cats and raccoons. They also just happened to be related to Jacqueline Onassis.

It’s not where you start: Songs for A New World @St_JamesTheatre

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Twenty years after it first premiered Off-Broadway, the song-cycle / revue Songs For A New World at the St James Theatre serves as a useful introduction to composer-lyricist Jason Robert Brown’s early work. It’s initially exciting to watch four accomplished performers (mostly) handle his vocally demanding work. But the effect of 90 minutes of his music straight through makes you feel as if you are trapped in a world that is a bit repetitive. It starts out spectacularly with the opening number “The New World”, a song about starting over. And then there is a song about endings, another about loss, and another about new beginnings. By the half way point, the limitations of the music become apparent.