Category Archives: Theatre

THOROUGHLY MODERN MAN: Carousel, Barbican

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This is the second show I have been to at the Barbican in recent times, and again I was given the impression that it is a theatre I am missing out on.  The Barbican centre, and as a result the theatre inside, has something of that 70s architectural bleakness about it, but being in the minority in this respect gives it a certain charm as a performance venue.  One feature worth mentioning is the massive retractable stage curtain, which consists of two rather noisy pieces of plastic that slide from the top and bottom of the stage and meet in the middle, bringing a whole new meaning to the term ‘final curtain’!

Rodgers and Hammerstein’s Carousel features some of the most powerful music ever written for the stage and the most well-remembered of this writing duo, including the immortal ‘You’ll Never Walk Alone’, ‘If I Loved You’ and the joyful ‘June is bustin’ out all over’.  Therefore it was no surprise to note that the age demographic of the audience was somewhat older than average, however, this should not discourage younger viewers from enjoying what was a fantastic production of this timeless classic.  Opera North’s touring cast did a terrific job with the musical; their intention to present a largely un-altered version of the masterpiece (with the exception of a few injections of modern dance) was clear and committed.  I must confess that I found the whole evening rather lengthy – obviously this is a criticism to be levelled more at Messrs R&H – the fantasy plot in the second act grew rather tiresome for my tastes.  Nonetheless, the performance had some sparkling moments; Claire Boulter’s evocation of Carrie Pipperidge was adorable and appropriately motor-mouthed and excitable; Elena Ferrari’s rendition of You’ll Never Walk Alone was extremely moving, as was the ultimate chorus reprise of the number and; William Kenning’s and Alex Newton’s extended dance sequence in the final act was entirely entrancing.

This would be the perfect evening for a family night out or a nostalgic trip down memory lane with Rodgers and Hammerstein.  Failing either of these scenarios, you really don’t need a valid excuse to go, so book tickets here.

Continues until 15 September.

http://www.barbican.org.uk/theatre/event-detail.asp?ID=12876

Written by a Thoroughly Modern Man, Mark McCloskey.

 

Leave it on the Floor Film Premiere, Leicester Square Theatre

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On a damp, Olympic fuelled Wednesday night a select group of Londoners gathered at the Leicester Square Theatre for the premiere of Leave it on the Floor, a vivacious, colourful musical set around the LA Ball scene. It is an intimate affair with an eccentric, elite crowd of men, women and elaborately dressed drag queens. Creeping through the bedazzled and bejewelled troupe, I felt very underdressed, normal and bland!

Theatrical legend Simon Callow introduced director Sheldon Larry who enthusiastically announced his prized cinematic work. This original musical takes its inspiration from the documentary Paris is Burning. Leave it on the Floor concerns a group of outcast gay, transvestite and transsexual men strutting their stuff in assorted fashions as they compete on the catwalk before a panel of judges. The film documents the trials and troubles of handsome lead Brad, who finds himself a new family at the House of Imminence after being kicked out of home by his bullying mother. We watch as the romance and drama unfold in a musical which manages to be strangely touching.

It is a poignant and memorable narrative and as the film develops, I was amazed to discover how affecting and touching the musical manages to be. Surprisingly even my macho guest admitted to enjoying this unconventional film. The cast are confident and convincing and work together in a collaborative team; stars Ephraim Sykes, Andre Myers and Phillip Evelyn are particularly impressive. The rest of the audience seemed equally engaged, watching fascinated while adjusting their wigs and stockings. The girls toilet queue was an equally shocking show of costume and flirtation as ladies and “ladies” both lined up waiting their turn for a cubicle! I was reminded of my favourite West End musical, Priscilla Queen of the Desert as I admired the extravagant and intricate clothes and immaculate make-up… it put me to shame in my hideously casual boyish attire.

After the viewing guests were treated to a magnificent show from the Supreme Fabulettes and the most hardcore of visitors then went on to continue celebrating at Madame Jojos round the corner.

Leave it on the Floor was on at the Leicester Square Theatre.

Ragtime, Regent’s Park Open Air Theatre

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There is something enchanting about hearing music in a park, it sends tingles down your spine and is particularly affecting. This passionate and energetic production of Ragtime benefitted enormously from the wide open space… the music flowed freely and the show felt more captivating and inclusive.

This production is revived by Timothy Sheader (who has previously won the Olivier ‘best musical revival’ accolade three years running) – he presents a show that is impressively resolved. Regent’s Park has developed quite a reputation with its musical masterpieces: recently Hello Dolly, Into the Woods and Crazy for You have all received rave reviews on this chameleon stage.

The narrative of the present show, based on the EL Doctorow novel, is not always clear. The story begins at the clearing of a rubbish heap, a boy is tuning a radio until the mellow soft hum of ragtime music begins seeping from the speakers. The next three hours offer an overview of America a decade before the First World War. The spotlight is on three families and their quests for happiness and life satisfaction: an immigrant, Tateh and his daughter, Coalhouse Walker (a Harlem pianist), and an incongruous Wasp family.

I found Stephen Flaherty’s music hauntingly touching, with very human melodies. The sadness of the uneven rhythms and the lurching tunes can’t fail to transport the listener. My favourite moment came with the song ‘Daddy’s Son’ sung by the very able Claudia Kariuki (as Sarah): a dreamy song that seems to resonate through the whole park. The cast, spurred on by the tremendous band, work together as a team and I thought the chorus numbers were particularly strong. Of the lead roles it is Rolan Bell as Coalhouse Walker and John Marquez as Tateh who impress particularly: kind, bold men trying to make their mark on the world. David Birrell is less believable as Father despite giving a great performance as Theseus in the parallel show, A Midsummer Night’s Dream.

This production is not without awe-inspiring tricks… Harry Houdini (Stephane Anelli) escapes from a straight-jacket upside down in the air, and Evelyn Nesbit (played by smiley Katie Brayben) swings high over the stage on a precarious swing. It is a balance of these highs and lows that make this show so appealing, capturing our attention from start to end and teaching us a little history along the way. And despite the melancholy nature of this musical, Sheader ensures the audience leaves the theatre feeling spirited and touched by the tale of Ragtime.

Ragtime continues at Regent’s Park until 8 September, book here.