Tag Archives: musical

Sunny Afternoon, Harold Pinter Theatre

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Musicals documenting and celebrating the lives of prominent musicians and bands are increasingly popular: Jersey Boys, Thriller, Let it Be and now Sunny Afternoon, a show dedicated to the hits of the Kinks.

This punchy show enjoyed a sold-out run at the Hampstead Theatre, and has now transferred to the West End’s Harold Pinter Theatre. Based on the music and lyrics of Ray Davies and a new book by Joe Penhall, the production follows the Kinks rise to stardom. The drama is set against the backdrop of Britain in the 50s and 60s and here we watch the ecstatic highs and thudding lows of this iconic band.

As a child I had a group of talented friends from Muswell Hill who formed a band, so moments of this musical really resonated with me. Four ordinary lads from North London strive for success while also trying to remain true to themselves.

The stage is simply set, with a catwalk through the audience in the stalls. We feel excitingly close to the action, and the loud amplified music pulses through the building, so you can feel and hear it. The four boys have been brilliantly cast: George Macguire is a wild, passionate and aggressive replica of Dave ‘the Rave’ Davies, while John Dagleish presents his older brother as a more thoughtful but headstrong lead, Ray Davies. Adam Sopp (as drummer Mick Avory) and Ned Derrington (as bassist Pete Quaife) provide compelling support to the two feuding brothers.

It is interesting to watch the backstory to a band who have influenced generations. Whether you remember the Kinks decades ago or have been introduced to their sound more recently, it is impossible not to enjoy the cast’s riotous renditions of You Really Got Me, Lola, Waterloo Sunset, and of course Sunny Afternoon.

Continues until May 23 2015, more information and book here.

15 YEARS OF DISNEY’S THE LION KING, LYCEUM THEATRE

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Last night the award-winning musical THE LION KING celebrated its 15th anniversary at London’s Lyceum Theatre, where it remains the West End’s best-selling production.

Winning over 70 theatre awards worldwide since its Broadway premiere on November 13, 1997, 22 global productions have been seen by more than 75 million people. In addition to the London and UK touring productions, THE LION KING can currently be seen in New York, Tokyo, Hamburg, Madrid, Sao Paulo, Brisbane and on tour across North America and Japan.

Recently the musical opened in Australia and they celebrated with a surprise singing outburst on the Virgin Flight over to the other side of the world. The proud cast made flight guests feel like the luckiest travellers in the world. I have seen the show several times now, and always leave stunned and silenced by the innovative and beautiful production, ebullient songs and the magical costumes. This time around (sitting close to the stage in the stalls) I noticed the enormous talent, from the adorable kids who carry much of the first half, to the charismatic animals who sing powerfully whilst mimicking their animal’s mannerisms immaculately.

The story is simple and universal, the music is affecting and infectious and the spirit of the show is undeniably wonderful. As the final curtain call music played from the pit I looked up to the African drummers in the balconies, both smiling as if they were just discovering the music for the first time… 15 years on from its debut The Lion King feels as fresh, relevant and magical as ever. It is a musical that never ceases to amaze me, a production that I know will still be going strong in another decade’s time.

More information and book tickets to The Lion King here.

THOROUGHLY MODERN MISSY: Porgy and Bess, Regent’s Park

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While London is experiencing one of its biggest heat waves in recent history, it would seem that there is no better time to sample some of the city’s amazing outdoor entertainments. The success of Timothy Sheader’s seventh season as Artistic Director of Regent’s Park Open Air Theatre is crowned by the current production of Porgy and Bess. The sense of occasion starts from the moment you enter the circular vicinity of the actual theatre; there’s a palpable feeling of suspenseful anticipation in the air as the audience bustle around the different bars and buffets before the bell rings and we are ushered in to the beautiful space that is the Regent’s Park Open Air Theatre. The amphitheatre provides a dramatic setting that is picked up by the minimalistic stage design. The main feature of the set, designed by Katrina Lindsay, is a crumpled copper backdrop slightly reminiscent of a craggy Richard Serra work. This backdrop with sprigs of foliage that merge with the surrounding trees of the park and two rickety metal folding chairs make up the bare set which evokes the humble situation of the inhabitants of Catfish Row.

The production begins with Bess, played by Nicola Hughes who received an Olivier Award nomination in the same role for Trevor Nunn’s 2006 production, strutting around in a ‘happy dust’ daze. Her jutting and inelegant gestures introduce this sophisticated and fresh interpretation of the Broadway classic. It would be difficult to find a member of the 1,000 strong audience who hadn’t heard the opening number of Porgy and Bess prior to the performance but Jade Ewen (Clara) reminds us and impresses with a beautiful and emotive rendition of ‘Summertime’ as she cradles her newborn baby. The rest of the equally strong cast joins Ewen and together build up a wall of sound that one imagines is resounding throughout the rest of Regent’s Park as it fades into twilight.

As the natural light surrounding the theatre becomes more dramatic, so does the production with the introduction of the other main character, Porgy, played by Broadway veteran, Rufus Bonds Jr, as well as the show’s villains, Crown, brought to life by Phillip Boykin and Sporting Life who shone thanks to Cedric Neal’s impressive and wickedly enjoyable rendition of the slippery dandy. Neal’s beguiling charisma and superb voice make his performance of ‘It Ain’t Necessarily So’, one to remember.

Porgy and Bess, often considered to be an opera-musical hybrid due to its demanding music and virtuosic solos, demonstrates Gershwin’s characteristic and wonderful discordance. However, the company’s clever use of props to convey rhythm in this production also highlighted Gershwin’s wonderful use of syncopation and rhythmic incongruity. Chairs and other props were used percussively and this created an interesting and attractive cohesion between the choreography and the music. This production is a striking, refreshing and entertaining rendering of the Gershwin classic and is brought to life by a stellar cast and live orchestra under the direction of Simon Lee. Try very hard to get tickets for this memorable production before the end of the show’s run on 23rd August and also before the end of this beautiful weather when the magical world of outdoor activities closes its door once more on us Londoners for another year.

Continues until 23 August, more information and book here.

Written by a Thoroughly Modern Missy, Angelica Bomford.