Tag Archives: theatre

Barber of Seville, ENO

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Even after reading the synopsis twice the ridiculous narrative of Rossini’s famous Barber of Seville makes little sense. But let’s be honest people flock to see this opera for the magnificent music not for the story.

Having said that, the ENO’s revival is terribly funny and uses the nuances of the complicated tale to include hilariously entertaining episodes. Although the  production is not in modern dress, the modernised English lyrics are extremely clever and fit in perfectly with the comical operetta style.

Celebrating its 25th anniversary year, Jonathan Miller’s classic staging of Rossini’s masterpiece is back at the Coliseum, in my opinion better than ever. The petite cast work brilliantly together to present a seamless performance of music and drama, and revival director Peter Relton has managed to give a new lease of life to Miller’s original version.

The show starts slowly but soon gathers momentum. I was captivated throughout, my attention completely controlled by the characters on stage. Benedict Nelson is a witty and charismatic Figaro, and his voice is elegant and charming. My guest adored David Soar’s depiction of Don Basilio and we both loved Andrew Shore’s magnificently energetic and clever performance as Doctor Bartolo. However it is the leading lady who steals the show. Lucy Crowe sparkles as the coloratura diva, Rosina. Her voice soars and pierces the top stratospheric notes with staggering ease and impressive dexterity. Along with her natural acting ability and good looks, she is an absolute pleasure to watch.

Surprisingly for the first time I found the ENO orchestra a little sluggish under the command of Jaime Martin, a conductor I didn’t recognise. They did pick up the passion once the familiar arias swung into action. Visually the production is a joy, though we would have appreciated perhaps one more scene change. Costumes may be cumbersome for the cast but are worth the effort as they look gorgeous under the lights.

I am always interested in the ENO’s new compositions, but there is only so much tragedy us opera reviewers can cope with… in my opinion it is much more fun skipping home still singing the marvellous tunes of Rossini’s great comic masterpiece.

Continues until Sunday 17 March, book here.

Let it Be, Prince of Wales Theatre

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Let is Be is not a musical – if you are after a narrative explanation of the Beatles’ life as a band it is best to seek out BackBeat. This production is an all-music journey, two hours of the most popular and famous hits. Interestingly only since Michael Jackson died (he owned the rights to a majority of Beatles tracks) have producers been able to use this famous band’s songs in productions. They seem to now be taking full advantage.

There are two bands who share performing duties across the week. I watched Michael Gagliano as John Lennon (guitar and vocals), Ian B. Garcia as Paul McCartney (bass guitar and vocals), John Brosnan as George Harrison (guitar and vocals) and Phil Martin as Ringo Starr (drums). All four men try hard to be convincing as their Liverpudian alter-egos (cue accents and gesturing) and they all have notable talent, but this show doesn’t show that off to the full.

I find that there is little to comment on… the lack of story and acting means it is like watching a good cover band. Indeed in some ways this group of musicians appear more versatile than the original fab four. The cast have character, and the frequent costume and wig changes help… but branding Let it Be as a show doesn’t make sense. I expected more, but once I accepted the lack of drama I began to relax and enjoy the music more.

Occasionally there is a fifth, extra, plain dressed musician lurking in the background providing the orchestral vibe on a keyboard. He a) doesn’t get much credit and b) looks a bit draft when obviously everyone knows there were only four Beatles. It is not well planned and distracts the viewer from believing the band’s reincarnation.

I enjoyed the song choices, most of my favourites and the cast worked hard to encourage the audience to rise to their feet and join in the choruses. Towards the end I even began to have fun.

For Beatles fanatics this is a must see, and it is perfectly adequate as a fun musical night out, but perhaps more of a show for tourists, there is just not enough in ‘Let it Be’ to keep Londoners entertained.

Continues until 19 January, book here.

THOROUGHLY MODERN MISS: Mademoiselle Julie, Barbican

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If you thought London theatre was having a Scandi moment – Hedda Gabler at the Old Vic, and now Miss Julie at the Barbican – you’d be wrong. In fact, this Miss Julie is a Mademoiselle Julie, a Festival d’Avignon production which is very, very French.

It was all in the style. Juliet Binoche’s sensual Miss Julie shimmers in floor-length gold sequins (Alber Elbaz for Lanvin, naturally). The fashionably-dressed party guests, who dance to a soundtrack with just the right mix of Blondie and Madcon, embody Gallic cool. Even the one dressed as a giant rabbit (more on this later) manages to look chic.

But the show-stealer is the set. Laurent P Berger has created a white, light-flooded box divided into three slices by sliding glass panels. The slender white birch trunks, which break up the acting space couldn’t be further from the ‘gloomy forest’ of Jean’s nightmares.

On the whole, it worked for me. If it was a bit hard to appreciate the full extent of Julie’s degradation when the lowly kitchen of Strindberg’s play looked like it could plausibly belong to Nigella Lawson, towards the end of the play the set really came into its own as Julie and Jean scurried around like frenzied lab rats under the increasingly bright light.

The transparent set also allowed the party guests to remain onstage, their dancing behind the glass screen getting gradually more languorous and dream-like. That is, until after Julie and Jean’s assignation, when, led by the bunny, they advance menacingly downstage to tribal music. Odd.

The biggest disappointment was the sound. Binoche and Nicolas Bouchard (Jean) wore microphones: fair enough in a theatre the size of the Barbican, but there were occasionally some odd stereo effects and time-lag issues. Worse, when the pair locked in passionate embrace (a frequent enough occurrence in this play), their mics rustled and clunked.

There was lots to admire in this production. Bouchard’s Jean was nicely mercurial, by turns charming and brutal. Binoche played some of Julie’s tantrums for laughs, which came as a welcome relief, but she never became ridiculous. There were moments of real tenderness between the two. But style sometimes threatened to win out over substance in this production.

Continues until 29th September, book here.

Written by a Thoroughly Modern Miss, Lucy Hall.

THOROUGHLY MODERN MAN: Charles Court Opera present ‘The Pirates of Penzance’, Kings Head Theatre

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Charles Court Opera has returned yet again to Islington’s fringe theatre the King’s Head with its latest Gilbert and Sullivan offering, ‘The Pirates of Penzance’.  This is a G&S stalwart that I have heard much about over the years, yet before Thursday had not had the pleasure of watching in its entirety.  This company continues to blaze a trail in the world of fringe opera, not least because of its special connection with the ferociously talented Eaton-Young Piano Duo.  These pianists arrange the orchestral scores complete for piano four hands or two pianos, thereby allowing performances in venues previously inaccessible for opera, without any detriment, might I add, to the quality of accompaniment.

With a cast comprised of a healthy mix of CCO regulars and new faces, the production was at all times sparky and engaging.  John Savournin has once again combined the roles director, choreographer and performer admirably; his silky bass-baritone and comic timing produced an excellent portrayal of the Pirate King.  Another highlight was the comedic trio of Mabel (Alexandra Hutton), Edith (Charlotte Baptie) and Kate (Nichola Jolley); these ladies really captured the naiveté and pliability of three young maidens.  Hutton in particular was extremely effective in evoking Mabel’s ‘blondeness’, through want of a better term – her bright and clear soprano was effectively employed to achieve the character’s personality.  The men also did a superb job; Matthew Kellett’s Samuel was well thought through and humorously received by the audience.  Ian Jervis as General Stanley certainly won the hearts of the auditorium; particularly in his triumphant number ‘I am the very modern of a modern Major-General’.  My other musical highlight was ‘How beautifully blue the sky’, which simultaneously set up the romance between Mabel and Frederic (Kevin Kyle), while allowing Edith and Kate to tickle the audience with their impressive patter-singing.

An extra word of praise must go to Annie Loach’s set design, which made impressive and innovative use of the small space that is the King’s Head Theatre.

CCO continues to provide an effective bridge between top conservatoire education and the professional opera world, while setting itself apart from the pack in the league of G&S productions.  I urge you not to miss out on what will be a fantastic run of performances – book here.

Written by a Thoroughly Modern Man, Mark McCloskey.

THOROUGHLY MODERN MAN: Top Hat, Aldwych Theatre

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Based on RKO’s motion picture starring Fred Astaire and Ginger Rogers, Top Hat arrives in London’s West End having been adapted for the stage by Matthew White and Howard Jacques.  Irving Berlin’s timeless music and lyrics remain largely unaltered, allowing the show to follow the track beaten out by London’s recent revivals such as Singin’ in the Rain and Crazy For You.  I was pleasantly surprised to discover throughout the evening that this film was the source of many old-time songs, such as ‘Cheek to Cheek’ and ‘Let’s Face the Music and Dance’.

The last show I saw at the Aldwych was a dance spectacle in the form of Dirty Dancing, and it was the dancing that stole the show in this production also, though obviously in a very different style.  I was in awe of the stamina of this singing and dancing cast, particularly that of the protagonists played by Tom Chambers and Summer Strallen.  The story revolves around these two lovebirds; Jerry Travers, the seasoned Broadway singing dancer and Dale Tremont, the sassy socialite who captures the heart of the former.  If I am being completely honest, the singing was not always spot on for my money, but the dancing, which was captivating and graceful throughout, more than made up for it.  All due credit must be ascribed to choreographer Bill Deamer for creating such a visual delight.  Standout comic performances were also given by Vivien Parry, who played the even sassier friend of Dale, and Stephen Boswell, who played Bates, a long-suffering butler who drew roars of laughter from the audience with his line delivery and peculiar costumes.

The staying power of a classic musical, for me, lies in how engaging the plot is.  Unfortunately, for my tastes, this plot swung a little too loosely between the sublime and the ridiculous, and I found it unnecessarily long-winded towards the end.  However, the show is a triumph of classic choreography and ensemble performance, and it certainly ticks all the boxes as far as a family-friendly production is concerned.  If you wish to kick back and reminisce about a golden age of Sunday afternoon films, then this is the show for you.

Opens officially from Wednesday 9 May, book tickets here.

Written by a Thoroughly Modern Man, Mark McCloskey.

No Picnic, Tabard Theatre

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It is never a good sign when you sit in a dark theatre thinking, ‘What the hell am I going to write about this?’ Those were unfortunately my thoughts in the opening scene of ‘No Picnic’.

The Tabard Theatre in Chiswick is currently hosting the world premiere of this new work by Greg Freeman, an allegorical comedy which explores the crisis of conscience of teddy bears. And trust me the realisation of the idea is as mad as it sounds.

There have been strange happenings in the woods, teddy bears Alfie, Ludovic and Julius have witnessed a disturbing incident that has seriously shaken their beliefs and very being. It transpires that they witnessed a clown murder or suicide, but as teddy bears (who are apparently unable to lie), they cannot protect themselves against the probable charges. The teddy bears seek the help of a very strange doll who, in return for payment (a clown’s liver), offers various methods of deceit to save their skins.

It was a very bizarre ninety minutes. Freeman clearly intends to provoke our thinking on various moral and belief systems, but the endless repetition causes the play to drag and consequently the messages are confused and inadequately conveyed. It is a shame because visually there are some imaginative ideas; lack of money and resources have restricted the realisation too, causing the production to look a little scrappy and amateur. A huge open book alone provides the backdrop to the action, the heavy pages awkwardly turn to reveal new settings.

The cast, all graduates from Guildhall School of Acting, have a tricky job with Freeman’s non-sensical script. Teddy bears Dan Frost as Ludovic and James Sygrove as Julius are much more convincing once their great furry heads are comically removed; its just a shame we had to wait forty-five minutes to see their human faces. Perhaps it is the eye contact or maybe they are just more comfortable without the claustrophobic headgear, either way the acting from this point on is much more engaging. Rhys King is the most promising actor as the belligerent clown, he also has the best costume, a beautifully pleated handmade newspaper collar, and a menacing melancholic face of make up. I found Helen Russell-Clark infuriating as Greta the weird doll, she flounces about obsessively clutching her skirt and sucking her thumb, character acting taken too far.

Continues until 7 April, book here.

A Midsummer Night’s Dream, Lyric Hammersmith

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I am always intrigued about what makes people laugh at the theatre. Fantastically funny productions are currently excelling on the London stages, ‘One Man, Two Guvnors’ and ‘Noises Off’ are just two examples.

The current production of ‘A Midsummer Night’s Dream’ at the Lyric Hammersmith is anything but conventional. Quirky, alternative and fun, I found it hilarious, as did much of the audience on press night, but my friend didn’t and it made me wonder what makes a show funny. I thought this interpretation had it all: slapstick, chaotic comedy and more subtle, intelligent wit. It is a magical collaboration between Filter theatre company, director Sean Holmes and original members from The London Snorkelling Team band; together they present a wacky reworking Shakespeare’s classic play.

We began the night with funny man Ed Gaughan nervously stepping on stage to announce to us all that the evening, unfortunately would be a waste of time, and we may as well go home. We didn’t of course, instead the audience watched intrigued as the story (and madness) unfolded. Most of the beauty of this production is caused by unexpected jokes and clever innuendo so I don’t feel it is wise to give away too much in this review. The group of musicians and actors tell the basic story breaking for outbursts of original music, and short comic interludes. Pianist, Chris Branch and drummer, Alan Pagan provide most of the musical accompaniment, showing expertise and charisma in one corner of the stage, while having to contend with actors jumping over and around their instruments. The score is rather cheesy but uplifting – we hear love songs, fairy twinkles and all kinds of other enchanting sounds.

The design by Linsbury prizewinner Hyemi Shin is spectacular, seemingly simple but miraculous in its transformation. The action crashes through the walls, floor and ceiling, quite literally, as various parts are made only from brown paper. The male actors reign – Ferdy Roberts who plays Puck, John Lightbody as Lysander and best of all Jonathan Broadbent as Oberon/ Theseus. All three manage to be serious while acting ridiculously silly, and give 100 percent commitment to their roles. The actors seem to revel in the practical jokes that fill the script, the ideas are endless… you are left thinking: ‘why didn’t I think of that?’

All in all it is a marvellous rendition of A Midsummer Night’s Dream… I’m sorry I can’t tell you more, I fear it really will spoil the delight of seeing this production yourself.

Continues until March 17, book here, now.