Feels fun but falls flat
‘What gives a girl power and punch? Is it charm? Is it poise? No, it’s hairspray!’ This Hairspray has plenty of punch from its performances, but is light on the power and poise and falls, well, a little flat.
Tracy Turnblad is a ‘big’ girl with some big dreams – to dance, and get out of detention – and her gritty, if ditsy, determination to do so is set against the backdrop of segregation and discrimination in sixties Baltimore. Marc Shaiman and Scott Wittman’s score has moments of luminous amusement, from the shouts and shakes of showstopper ‘Run and Tell That’, to the body-and-black-positive belter ‘Big, Blonde, and Beautiful’, to the bold exuberance of the show’s close, ‘You Can’t Stop the Beat’. All this is fun, but the musical force is in its protest anthem, ‘I Know Where I’ve Been’, that reflects its politics, and it’s a powerhouse performance from Brenda Edwards’s respected, motherly Motormouth Maybelle that ends triumphantly with all hand-in-hand.
Yet, the force of Hairspray is blunted by its own flashy brashness, and the focus feels as though it’s on all the wrong colours: Continue reading “Review: Hairspray UK Tour”
Grim and grotesque and gorgeous and gentle
‘It’s so tragic, it must be true’: so goes the tale of Grinpayne, the man with a perpetual grin marked out from ear to ear whose memory of his past is so marred by magic and grief that he can’t remember how he got it. The Grinning Man is a gothic musical that manages to be both grim and grotesque and gorgeous and gentle, so roll up! roll up! to the Trafalgar Fair, and see for yourself how his grin got there.
The Bristol Old Vic production balances the heroics and horror of Victor Hugo’s tale with haunting beauty and hilarious innovation. The Grinning Man amalgamates the mythic and the metatheatric: the streets of Lonnn-donn, the stages of the freak show, the chaises of a corrupt seventeenth-century court, and the trees of a fairytale forest create a folkloric but familiar historical time to face some human truths, but the storytelling is a feast of theatrical talent. From Carl Grose’s gritty but gorgeous prose, to Gyre and Gimble’s magical puppetry – especially James Alexander-Taylor and Loren O’Dair’s impressive performance as Mojo the wolf – to the lyrical and whimsical but rocking music, The Grinning Man‘s many theatrical marvels weave together like the many threads of the tale into a rich and riotous whole.
The Grinning Man revels in horror and hilarity, but also generously reveals its heart and humanity: Continue reading “Review: The Grinning Man at Trafalgar Studios”
Wicked is a richly woven tapestry of top-class entertainment, powerful performances, and unforgettable spectacle
‘Are people born Wicked? Or do they have Wickedness thrust upon them?’ The Wizard of Oz would have us believe the Wicked Witch of the West was born wicked, but Wicked breaks through the walls of L. Frank Baum’s book and the Technicolor musical classic to tell us what really went on in Oz. Based on the book by Gregory Maguire, adapted by Winnie Holzman, it makes use of the politics and ups the playfulness to create its own classic: the ultimate musical about friendship, fighting the good fight, and defying the odds – and gravity.
Wicked is a richly woven tapestry of top-class entertainment, powerful performances, and unforgettable spectacle. Wicked is not so much a prelude but an impassioned and political parallel tale that weaves itself effortlessly and perceptively through the loose threads of The Wizard of Oz: from the silver slippers to the Scarecrow, the musical leaves no stone, or song, unturned. Continue reading “Review: Wicked UK Tour”
The glitz, the glamour, the agony, the tragedy: Ria Jones is the Greatest Star of All
Sunset Boulevard: the glitz, the glamour, the agony, the tragedy. Based on Billy Wilder’s 1950 meta-cinematic masterpiece about damaging Hollywood stardom, Andrew Lloyd Webber’s musical adaptation makes a star of its leading lady. As the iconic, inimitable Norma Desmond, the faded silent-film star and fantasist who’s lusting after a young man, and her adoring fans, to love her again, Ria Jones is ready for her close-up, and it’s a masterclass.
As in the film, the musical opens with a man floating face down in the pool of Norma Desmond’s mansion, but unlike the film, the pool and the unfortunate man are projected onto two moveable panels that then become part of the infamous Paramount lot that Norma loves so much, lending some metatheatrics to the stage as well as the screen. Douglas O’Connell’s projections are not just crafty scenic design – the excitement of the car chase captured in quick cuts; the street outside Schwab’s Drugstore busy with big-shots and bystanders – but, along with Colin Richmond’s grand-yet-just-past-their-glory sets, they are clever storytelling devices. Continue reading “Review: Sunset Boulevard UK Tour”
This is not a moment, it’s a movement
This is it: ‘The Room Where It Happens’. It’s here. ‘It‘ is Hamilton, and after a fortnight of previews, the musical chronicling the finding, founding, and fight for American freedom through the life of founding father Alexander Hamilton, it’s finally open at the Victoria Palace Theatre in London’s West End. With so much hype and hysteria, just what is it about Hamilton that makes us all want to be in ‘The Room Where It Happens’?
Telling history through rap, hip-hop, and R&B, composer Lin-Manuel Miranda makes America’s past matter through contemporary music and a cast-of-colour who play the mostly white political players of the late-18th century. With characters and songs taking their cue both from the founding fathers who wrote America into existence and the rappers and musicians who use real-life experience to write their way to respect, Hamilton fuses the present, the past, and the future – the finale asks, ‘Who Lives, Who Dies, Who Tells Your Story?’ – into a harmonious whole with a heart that beats and breaks and aches. Hamilton tells not only a political history but a private one, with the story centring on the opposing views of Hamilton and his perpetual rival, Aaron Burr (Sir): one waits for it, the other works non-stop; one stands for nothing, the other rises up; one dies, the other survives.
Hamilton, like America, is ‘young, scrappy, and hungry’, a nobody who arrives in New York to be a new man, and Burr, his nemesis, is a waiter who will do anything to win but has much, much more to lose. Hamilton, and history, hangs in the balance between the two men. Continue reading “Review: Hamilton – An American Musical”