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Posts Tagged ‘Ragtime’

Over 150 shows were candidates for my four award-less awards, with Best New Play the difficult category this year, so lets start with that.

BEST NEW PLAY – LOVE – National Theatre

Over a third of the sixty-five candidates were worthy of consideration, which makes 2016 both prolific and high quality in terms of new plays. Hampstead had a particularly good year with Rabbit Hole, Lawrence After Arabia, Labyrinth and the epic iHo all in contention. The Almeida gave us three, with Boy leading the trio that included They Drink It In The Congo and Oil because of its importance and impact. The Globe’s two Kneehigh shows – 946: The Amazing Story of Adolphus Tips on the main stage & The Flying Lovers of Vitebsk in the Sam Wanamaker Playhouse – both delighted. Two more Florian Zeller plays, The Mother and The Truth, followed The Father and proved he’s a real talent to watch. The visit of Isango again, this time with play with songs A Man of Good Hope was a treat.

The Arcola gave us Kenny Morgan, which showed us the inspiration for Terence Rattigan’s The Deep Blue Sea, the Donmar a fascinating One Night in Miami, the Orange Tree hosted the superbly written The Rolling Stone and Dante or Die’s site-specific Handle With Care had an epic sweep in its self storage unit setting. Two comedies shone above all others – James Graham’s Monster Raving Loony and Mischief Theatre’s The Comedy About A Bank Robbery, the only West End non-subsidised contender! The Royal Court provided the visceral Yen and The Children, my runner-up, another fine play by Lucy Kirkwood whose Chimerica was my 2013 winner. Of the National’s three, The Flick and Sunset at the Villa Thalia came earlier in the year, but it was LOVE at the end which made me sad and angry but blew me away with more emotional power than any other. Important theatre which I desperately hope many more people will see.

BEST REVIVAL / ADAPTATION of a play – The Young Vic’s YERMA & the National’s LES BLANCS

I’ve added ‘adaptation’ as a few steered a long way from their source, and Les Blancs could be considered a new play, but it’s just new to us.

Though I saw forty-four in this category, less than a quarter made the short-list. The best Shakespeare revival was undoubtedly A Winter’s Tale at the Sam Wanamaker Playhouse. As well as Les Blancs, the National staged excellent revivals of The Deep Blue Sea and Amadeus, the Donmar chipped in with the thoroughly entertaining comedy Welcome Home, Captain Fox and in Kingston The Rose revived Arthur Miller’s All My Sons, probably the best use ever of this difficult space. Beyond that I was struggling, except to choose between the two winners, which I found I couldn’t and shouldn’t do.

BEST NEW MUSICAL – GROUNDHOG DAY – Old Vic Theatre

Has a shortlist ever been so short? Only twenty contenders but only three in contention. The Toxic Avenger at Southwark Playhouse was great fun and the NYMT’s Brass visiting Hackney Empire hugely impressive, but it was achieving the seemingly impossible by turning Groundhog Day into a hugely successful musical than won the day, though it was sad to see it head stateside, presumably in pursuit of greater commercial gain, after such a short run. I know it will be back, but that doesn’t make me feel any better about a British theatrical institution and a whole load of British talent being used as a Broadway try-out. 

BEST MUSICAL REVIVAL – HALF A SIXPENCE – Chichester Festival Theatre / Novello Theatre

Fifty percent more revivals (twenty-nine) than new musicals is a lower proportion than usual, but a winner has never been clearer. 

The Menier gave us a transatlantic transfer of a great Into the Woods and what may prove to be the definitive She Loves Me, but both the Union and Walthamstow’s Rose & Crown provided twice as many quality revivals, with the latter successfully climbing higher peaks with more challenging shows for a small space – Bernstein’s Wonderful Town, Out of This World, Babes in Arms and Howard Goodall’s The Kissing Dance. The Union’s contributions included The Fix and Children of Eden and a trio of cheeky, fun nights with Bad Girls, Moby Dick and Soho Cinders. The Southerland-Tarento partnership provided a brilliant revival of Ragtime and the welcome European premiere, and superb production of, Rogers & Hammerstein’s Allegro (which was also too old for me to categorise as ‘New’). A little gem came and went ever so quickly when the Finborough revived Alan Price’s lovely Andy Capp in it’s Sun-Tue slot on the set of another play. BRING IT BACK! Despite all this fringe and off west end quality, it was the Chichester transfer of an old warhorse with a new book, new songs, thrilling staging, stunning choreography, gorgeous design and terrific ensemble which propelled itself to the top of this category.

That’s it for another year, then. Homelessness, childlessness, timelessness, colonialism and love amongst the working class. There’s a theme there somewhere…..

 

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This is the third Flaherty & Ahrens musical here at the Landor in six months, and this time a European premiere of their latest (2007) show. There was a wonderful revival of Ragtime back in September and Lucky Stiff  just last month was great fun.

You have to admire this pair for the range of their subjects; this time its 16th century Italian Commedia dell’Arte! We follow a troop of street players as they enact scenes and their relationships are revealed. It’s somewhat broad and crude, in keeping with the style it pays homage to (and suggests is the origin of much modern comedy) and there are some nice songs, particularly those of Columbina and Armanda at the start of the second half, which are beautifully sung by Kate Brennan and Jodie Beth Meyer.

Robert McWhir’s staging is excellent, with a lovely period design from Martin Thomas and (yet again) great lighting by Howard Hudson. The opening and closing scenes, with the players behind gauze, are particularly effective. The string / woodwind / piano quintet under Joanna Cichonska, playing new orchestrations by Niall Bailey, produce a sound which is simply gorgeous. I applaud the lack of amplification, but the sound is probably better balanced further away from the band. I’m afraid I thought Mike Christie’s Flaminio was a weak link in the casting, which was otherwise very good, and its a crucial role.

The problem with the evening is the structure of the show – it’s just a series of scenes which hang loosely together, leaving you wanting more of a narrative. It’s the weakest of the six musicals I’ve seen from this pair, but it’s a good production and still worth catching if you’re a musical junkie like me!

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This was Lynn Ahrens & Stephen Flaherty’s first musical, back in 1988. They went on to write a classic – Ragtime (brilliantly revived here at the Landor last year and included in this years Open Air season) – plus some good but less successful shows like Once on This Island, My Favourite Year and A Man of No Importance.

Based on Michael Butterworth’s book, the show tells the somewhat preposterous story of an English shoe salesman who inherits his American uncle’s fortune – provided he takes his corpse on holiday to Monte Carlo! He’s followed by a dog’s home representative who is checking he meets the conditions in full as otherwise they cop the lot. Of course, its musical comedy (farce) so nothing is as it seems and nothing turns out as planned.

Though it’s an early work, it’s a quirky and funny show with some nice tunes. We move from dull English shop and lodgings to the French Riviera (cue intentionally dodgy French accents and jokes about French stereotypes) as plain Harry wheels uncle around between locations followed by equally plain Annabel from the dogs home and uncle’s more manic ex and her brother. There’s even a dream sequence which includes a tap dance!

All the leads are excellent. James Winter and Abigail Jaye both strike the right note as quiet souls at sea in a strange world. Lucy Williamson is a terrific scorned woman, brash loud and somewhat gothic; a great double-act with Miles Western as her less manic but equally mad brother. The stiff (Mark Hayden?) would win any Best Performance by a Corpse award going – on stage for most of the play, he hardly flinched.

Rob McWhir’s production has a cartoonish quality and great pace. There’s a clever set with eleven doors and a descending bed. At the interval, I was puzzled at the lack of a design credit, but witnessing the interval repairs I was less surprised! The cast dealt with the elongated interval brilliantly by including a lyric referencing the bed in the second act opener – delicious!

Its great fun and you only have two more weeks to catch it.

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