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Posts Tagged ‘Lizzy Connolly’

The programme for this caught my imagination this year, so I booked for six of the eight showcases of new musicals at the Turbine Theatre. The first was cancelled, so I ended up seeing five. Each was around an hour long, with no set but some costumes and props.

I started with Jet Set Go!, not exactly new, a reworking of an eleven year old Edinburgh fringe show by Pippa Cleary & Jake Brunger, who went on to give us a superb adaptation of The Secret Diary of Adrian Mole which I saw in Leicester, the Menier & the West End. It’s a very funny piece set on a transatlantic flight (and during their stopover in NYC) exploring the lives of the crew. Great fun, with a brilliant cast, in which Lizzy Connolly and Samantha Thomas shone with show-stopping comedy numbers.

The Assassination of Katie Hopkins wasn’t new either, having had a full production at Theatre Clwyd in 2018. I’m not sure this unstaged one hour version did it full justice, but the originality of the score and the suitability of the subject matter to the form left me wanting to see a full production. MD Mark Dickman did a fine job playing Mark Winkworth’s score on solo piano and the cast of six delivered Chris Bush’s lyrics with relish.

The festival hit a high note with veteran musical theatre partnership Stiles & Drew’s new musical adaptation of the film Soapdish, whose writer, Robert Harding, also responsible for the show’s book, made the transatlantic journey to be part of it. The premiere league cast included Louise Dearman and Laura Pitt-Pulford, who squeezed every ounce of comedy from this hilarious piece about a soap star and her nemesis. It was great to see Alice Croft and Nic Myers, Arts Ed students who wowed me there in Freaky Friday last month, in this exceptional cast. I can’t wait to see a full production.

Another established writer, Jason Carr, better known as an orchestrator, arranger and accompanist, was responsible, with Poppy Burton-Morgan, for the fourth offering, Coldfront. This is a very different, original two-hander set on a park bench where an unlikely relationship unfolds. The songs were nice, but there was a little too much sung dialogue and the performances weren’t well matched, though it was good to see Anna Francolini again.

The final showcase wasn’t new either, the third iteration over 12 years of Craig Christie’s Eurobeat, a satire / homage to that contest. They weren’t able to camp it up as much as it needed, with no set and few costumes, though Daniel Jacob was excellent as the glittery drag host Marlene Cabana. The four entries – Spain, Ukraine, Norway and Vatican City (!) – were very good, but there were only four, plus one for the compere.

For some reason, I was expecting brand new shows as work-in-progress from people new to musical theatre, so with only two out of four shows not produced before and those from established writers, one which had been workshopped twice before, it didn’t really fulfil my expectations, though I didn’t dislike any of them, the performances were excellent and I had a lot of fun.

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It was touch and go at the Open Air Theatre on Tuesday, with the rain continuing until minutes before the start, but apart from a short break to mop the stage it went ahead, and the warmth from the stage just about made up for the chill in the air. OAT continues it’s pre-eminence in musicals revivals with this wonderful production of Bernstein’s rarely performed musical comedy, which I’ve only seen in ENO’s 2005 production, and we all know opera companies rarely do musicals well because they are, well, opera companies.

Three sailors arrive in New York on 24 hours leave, determined to make the most of it. Chip wants to see the sights, but Gabey and Ozzie prefer more hedonistic options. Gabey falls in love with a poster girl on the subway and they set about finding her, splitting up to visit the locations mentioned in the poster. Chip finds Hildy who’s just been fired from her job as a taxi driver and Ozzie finds anthropologist Claire in the Natural History Museum, and eventually Gabey finds his poster girl Ivy at Carnegie Hall. They all plan to meet for a date, but Gabey is stood up by Ivy. He eventually learns where she is from her music teacher and sets off for Coney Island to find her, whilst the others go on a bar crawl that gets seedier as they go.

Betty Comden & Adolf Green’s book and lyrics are much funnier than I remember and Bernstein’s score is better than I remember too, proving to be much more than its most famous songs New York, New York (not THAT one) and Some Other Time, and there’s a fantastic 15-piece band under MD Tom Deering to do it full justice. Drew McOnie’s hugely successful transition from Choreographer to Director / Choreographer continues and his staging of this is thrilling, with the balletic dancing so true to Jerome Robbins simply sensational. Peter McKintosh has designed a three-story set inspired by the opening and closing scenes at the dockyard which transforms into streets, subway trains, taxi, museum, apartment and nightclubs, with gorgeous bright and colourful costumes. When we get to Coney Island, the transformation takes your breath away.

Danny Mac, who plays Gabey, doesn’t have a strong voice, but it has a nice tone, he’s a good actor and his dancing is outstanding. Samuel Edwards is a great Ozzie and Lizzy Connelly a superb Hildy. Jacob Maynard has taken over the role of Chip after Fred Haig’s accident, and I thought he was terrific. Then there are two extraordinary professional debuts from Siena Kelly as Ivy and Miriam-Teak Lee as Claire – wow! The whole ensemble is wonderful and contributes much to an exciting, uplifting evening.

Not the best conditions for an evening at the OAT, but one of the best shows I’ve seen there. Go!

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The cast list for the 1979 Trevor Nunn production for the RSC reads like a who’s who of British actors, including Zoe Wanamaker, David Suchet, Juliet Stevenson and the now departed Richard Griffiths and Ian Charleston. Suchet also featured in Edward Hall’s 2001 NT revival. It’s no co-incidence that it’s the RSC & NT that have staged this 1930 Kauffman & Hart comedy, the first of their eight collaborations, in London – it requires big resources. The RSC production famously ended with 15 minutes of song and dance by the full ensemble plus band, which sent you home hopping and skipping. This is a scaled-down, shorter adaptation by Hart’s son for 13 actors playing 22 roles. Mind you, it still needs 8 costume makers and 5 wig technicians!

So here we are another 15 years on, and its the turn of contemporary powerhouse The Young Vic in a fine production by Richard Jones with designs by Hyemi Shin, featuring Harry Enfield’s stage debut. He play’s silent film mogul Glogauer, who finds himself competing with the talkies which he first turned down. As soon as he sees the first talkie, Vaudevillian Jerry Hyland is inspired to sell his act with May Daniels and George Lewis to head West for part of the new action, initially running an elocution school (to teach the formerly silent to talk), until Glogauer comes under the spell of George, who ends up running the studios, himself under the spell of the pretty but talentless Susan Walker, who becomes an unlikley star.

It’s a satire on Hollywood and it’s great fun. Enfield is very good, as indeed is fellow comedian Kevin Bishop as Jerry (though he does have stage acting experience). Favourites Claudie Blakley and John Marquez are on fine form as May and George. Amanda Lawrence gives us another of her show stealing turns as Glogauer’s secretary Miss Leighton and there’s great work from Lucy Cohu as columnist Helen Hobart, Lizzy Connolly as Susan and Adrian Der Gregorian in no less than four roles. The star of the show, though, is Nicky Gillibrand’s magnificent costumes and Cynthia De La Rosa’s wigs, hair and make-up!

Huge seasonal fun.

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