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Posts Tagged ‘New London Theatre’

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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When I discovered the master of mush was going to adapt Richard Linklater’s 2003 film I was a bit baffled. Julian Fellowes also seemed an unlikely candidate for the book, and Glen Slater only a bit more likely as lyricist. Only when I read the reviews did I decide to give it a go.

The story concerns failed rock musician Dewey Finn, who impersonates his best friend and temporary landlord Ned Schneebly to get a teaching job at a prep school. He discovers the musical talents of his pupils and decides to mould them into a rock band and enter them into the Battle of the Bands, up against his old band, No Vacancy, which dumped him. He manages to cover up the fact his class have only been studying the history and practice of rock music and rehearsing the band until the day of the contest, when both the principal and the parents find them at it. Dewey disappears, but the kids won’t give up and they find him and persuade him to take yet another risk and perform at ‘the battle’, after which all is forgiven in a sea of goodwill. It follows a similar path as last Saturday’s Strictly Ballroom – allow kids to be themselves and their true talents will emerge.

It’s even more fun on stage than on screen, largely because of the talent and infectious energy of the thirteen kids and their pied piper Dewey. There’s something delightful about seeing pre-teenage kids playing cracking guitar licks, mean bass lines, thrilling drum solos and keyboard pyrotechnics on what sometimes seem like giants instruments, and the singing and dancing (mostly jumping!) is terrific. It’s also very funny, even more so than I remember the film being. I got the alternate Dewey, Gary Trainor, who was no second best – superb – as was Rosanna Hyland, covering the role of the school Principal, with sensational vocals. The kids were ridiculously good.

I surprised myself by how much I succumbed to the infectious charm of Laurence Connor’s excellent production. The master of mush has, at least for the moment, become the master of rock. Great fun.

 

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I’m late to the party with this one, which didn’t turn out to be as much of a party as I was hoping and expecting. Though I accept it is hugely important in the history of musical theatre, it’s very dated and I’m afraid I didn’t think Daniel Evans production did much to breathe new life into it.

It was the first musical as we know them today, the tale of the Hawks family, and in particular daughter Magnolia Hawks, staging shows aboard a boat which moved up and down the Mississippi river to find its audience. Magnolia becomes a leading lady by covering for someone else, falls in love with her leading man and heads for Chicago where they have a daughter, but he lets them down badly and disappears. She returns to her career and then to her home aboard the show boat where they are eventually reconciled many years later.

What was radical at the time was the race and segregation themes, plus alcoholism, gambling and prostitution. This was no song and dancing girls piece. I’ve seen it twice before – the RSC / Opera North at the Palladium around 25 years ago, and a spectacular in-the-round production in the Royal Albert Hall ten years ago – and my recollection is more positive than my impression last night. I can’t help comparing it with the European premiere of Rogers & Hammerstein’s Allegro which I saw just five days ago and which is superior in just about every way – staging, choreography, band and sound in particular. I liked Lez Brotherston’s design, though.

I don’t think it was jaded after four months, in its final fortnight before its early bath, or because there were three understudies in leading roles, as they were all excellent. The reviews had been very positive and the audience reception on the night I went was enthusiastic, so maybe it’s just me……

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