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Posts Tagged ‘Geilgud Theatre’

Every time I see a new production of a Sondheim musical, I think its his best, so here we go again! There hasn’t been a major London production of Company for 22 years, though we have had some fine fringe ones. Director Marianne Elliott’s reinvention, with Sondheim’s approval and involvement, changes 35-year-old New York male singleton Bobby to female Bobbie, the three girlfriends to boyfriends and one couple, Paul & Amy, about to be married after living together forever, have become gay couple Paul & Jamie. It makes a 48-year-old show feel fresh and bang up to date.

It’s Bobbie’s 35th birthday and there’s a surprise party planned. We meet her and her three casual boyfriends and her best friends, five couples who fret about her lack of a long-term relationship whilst making attempts at match-making and harbouring some jealous thoughts about her freedom. She’s at that age where she’s trying to reconcile her love of independence with her mid-thirties body-clock, which is where this production works even better with the change of gender. The normality of a gay marriage is the other change which works in its favour and choosing this particular couple, about to be married with one party having second thoughts, is inspired. Each couple has their own story, and they’re interwoven with Bobbie’s three casual romances and all the issues and pressures of being single in your thirties.

The production is highly inventive, with a terrific design from Bunny Christie. Each song and each scene seems to be a showstopper. The boyfriends trio You Could Drive A Person Crazy was deliciously interpreted by Richard Fleeshman, Matthew Seadon-Young and George Blagden. Individually, Fleeshman shines as airline steward Andy in his bedroom scene with Bobbie where they sing Barcelona, the destination of his forthcoming flight, and Blagden as PJ delivers Another Hundred People superbly. Liam Steel’s choreography comes into its own in the staging of Side By Side / What Would We Do Without You, which becomes a slick series of party games. With Jamie a gay catholic, Getting Married Today rises to new manic / comic heights and Jonathan Bailey brings the house down. Broadway royalty Pattie Lupone sings The Ladies Who Lunch like I’ve never heard it before, fabulously. Left alone on a bare stage, Rosalie Craig’s Bobbie sings Being Alive, the song that is the emotional heart of the piece, and her tears are matched by the audience; she’s wonderful as Bobbie.

As a Sondheim fan, being in a full house that roars its approval is a joy. Watching Patti Lupone leave the stage hugging Rosalie Craig felt like one generation of performers nurturing the next, as Marianne Elliott thrillingly passes on this masterpiece to the next generation too. A triumph for all concerned.

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The Best Theatre of 2017

Time to reflect on, and celebrate, the shows I saw in 2017 – 200 of them, mostly in London, but also in Edinburgh, Leeds, Cardiff, Brighton, Chichester, Newbury and Reading.

BEST NEW PLAY – THE FERRYMAN

We appear to be in a golden age of new writing, with 21 of the 83 I saw contenders. Most of our finest living playwrights delivered outstanding work this year, topped by James Graham’s three treats – Ink, Labour of Love and Quiz. The Almeida, which gave us Ink, also gave us Mike Bartlett’s Albion. The National had its best year for some time, topped by David Eldridge’s West End bound Beginning, as well as Inua Ellams’ The Barbershop Chronicles, Lee Hall’s adaptation of Network, Nina Raine’s Consent, Lucy Kirkwood’s Mosquitos and J T Rogers’ Oslo, already in the West End. The Young Vic continued to challenge and impress with David Greig’s updating of 2500-year-old Greek play The Suppliant Womenand the immersive, urgent and important Jungle by Joe’s Murphy & Robertson. Richard Bean’s Young Marxopened the new Bridge Theatre with a funny take on 19th century history. On a smaller scale, I very much enjoyed Wish List at the Royal Court Upstairs, Chinglish at the Park Theatre, Late Companyat the Finborough, Nassim at the Bush and Jess & Joe at the Traverse during the Edinburgh fringe. Though they weren’t new this year, I finally got to see Harry Potter & the Cursed Child I & II and they more than lived up to the hype. At the Brighton Festival, Richard Nelson’s Gabriels trilogycaptivated and in Stratford Imperium thrilled, but it was impossible to topple Jez Butterworth’s THE FERRYMAN from it’s rightful place as BEST NEW PLAY.

BEST REVIVAL – ANGELS IN AMERICA / WHO’S AFRAID OF VIRGINIA WOOLF

Much fewer in this category, but then again I saw only 53 revivals. The National’s revival of Angels in America was everything I hoped it would be and shares BEST REVIVAL with Who’s Afraid of Virginia Woolf. The Almeida’s Hamlet was the best Shakespearean revival, with Macbeth in Welsh in Caerphilly Castle, my home town, runner up. Though it’s not my genre, the marriage of play and venue made Witness for the Prosecution a highlight, with Cat on a Hot Tin Roof and Apologia the only other West End contributions in this category. On the fringe, the Finborough discovered another gem, Just to Get Married, and put on a fine revival of Arthur Miller’s Incident at Vichy. In the end, though, the big hitters hit big and ANGELS IN AMERICA & WHO’S AFRAID OF VIRGINIA WOOLF shone brightest.

BEST NEW MUSICAL – ROMANTICS ANONYMOUS

Well, I’d better start by saying I’m not seeing Hamilton until the end of the month! I had thirty-two to choose from here. The West End had screen-to-stage shows Dreamgirlsand School of Rock, which I saw in 2017 even though they opened the year before, and both surprised me in how much I enjoyed them. Two more, Girls and Young Frankenstein, proved even more welcome, then at the end of the year Everybody’s Talking About Jamie joined them ‘up West’, then a superb late entry by The Grinning Man. The West End bound Strictly Ballroom wowed me in Leeds as it had in Melbourne in 2015 and Adrian Mole at the Menier improved on it’s Leicester outing, becoming a delightful treat. Tiger Bay took me to in Cardiff and, despite its flaws, thrilled me. The Royal Academy of Music produced an excellent musical adaptation of Loves Labours Lost at Hackney Empire, but it was the Walthamstow powerhouse Ye Olde Rose & Crown that blew me away with the Welsh Les Mis, My Lands Shore, until ROMANTICS ANONYMOUS at the Sam Wanamaker Playhouse at The Globe stole my heart and the BEST NEW MUSICAL category.

BEST MUSICAL REVIVAL – A LITTLE NIGHT MUSIC / FOLLIES

Thirty-two in this category too. The year started with a fine revival of Rent before Sharon D Clarke stole The Life at Southwark Playhouse and Caroline, or Change in Chichester (heading for Hampstead) in quick succession. Southwark shone again with Working, Walthamstow with Metropolis and the Union with Privates on Parade. At the Open Air, On the Town was a real treat, despite the cold and wet conditions, and Tommyat Stratford with a fully inclusive company was wonderful. NYMT’s Sunday in the Park With George and GSMD’s Crazy for You proved that the future is in safe hands. The year ended In style with a lovely My Fair Lady at the Mill in Sonning, but in the end it was two difficult Sondheim’s five days apart – A LITTLE NIGHT MUSIC at the Watermill in Newbury and FOLLIES at the National – that made me truly appreciate these shows by my musical theatre hero and share BEST MUSICAL REVIVAL

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