Spectacular operatic epic
The Heat is On in Miss Saigon! An operatic epic inspired by a Puccini opera, Miss Saigon is visually and vocally spectacular: Madame Butterfly with bargirls and G.I.s, it tells the tragic tale of Kim and Chris, a romance grown and gutted by the violence of the Vietnam War.
Miss Saigon shares more than its music-makers with Les Misérables: from Schönberg’s motif-rich music to Boublil’s overlying lyrics, Miss Saigon is also sung-through, has a thieving entertainer who thrives on surviving – Red Concepción’s Engineer is magnetising – is thrillingly theatrical, and has the same thematic threat of revolution on intimate romance. Yet, far from a French revolution, the Fall of Saigon is a tragedy from only forty years ago: Continue reading “Review: Miss Saigon UK Tour”
An odyssey to the very depths of love, loss, and faith
No man is an island, but many a man is marooned on one. Charlie’s island is his couch in Idaho, just about buoyant on a sea of abandoned bottles, and with little more than a laptop to save him from total isolation. With his work and relationships folding under his vast and ever-rising weight, Samuel D. Hunter’s The Whale is an odyssey to the very depths of love, loss, and faith.
A titanic, two-hour text with no interval, it’s one that’s alive with intertextuality and intellect. Revelatory in its palpable realism and its revealing plotting, it’s a play that never feels like it’s force-feeding us information from the past, but rather lets it unfold naturally as four visitors – loved ones and lost ones – pass through his living room. Everything bar the undulating waves in the intervening blackouts in Laurence Boswell’s production at Bath’s Ustinov Studio is naturalistic, from Tim Shortall’s dilapidated but detailed apartment set to the perspiration on Charlie’s brow under his ample padding, but those waves allow other whales, of the more emblematic breed, from Melville’s leviathans to the Bible’s behemoths, to bask below the dramatic tide.
The literary – but literal – whales swimming past make the play’s title tough to swallow: Continue reading “Review: The Whale at the Ustinov Studio”
A Beautiful jukebox biomusical
Beautiful is a jukebox biomusical: from Brooklyn to 1650 Broadway to Billboard, it charts the charming Carole King’s musical, and romantic, relationships and eventual meteoric rise to fame after finally finding her voice.
The musical is less about King’s life than it is her music and lyrics, but so rich and so resonant are their sound that it’s a moving and lively listen in its own right. This tuneful Tapestry is complimented by a plot that revolves mostly around her creatively fruitful but romantically fruitless relationship with lyricist Gerry Goffin, although, as the tattered piano at the centre of the free-roving set proves, this is more about the music than its makers. Continue reading “Review: Beautiful – the Carole King Musical UK Tour”
A celebration of Cilla Black
‘Something tells me something’s gonna happen tonight’, sings Cilla at the show’s finale, and at the Hippodrome, after a lighting fault and show-halt as two in the audience were taken ill, it’s a line that suddenly felt very close to home. Once resumed, the songs and spirit of Cilla save the evening, but oversimplify the story of a star that deserves so much more.
Based on the TV series, Cilla is a celebration of Cilla Black. Set in, and with a soundtrack from, the sixties, it follows the teenage Priscilla White’s transformation into the chart-topping Cilla Black with a touching tribute to her talent and charm. Kara Lily Hayworth is warm and witty as the Liverpudlian lovely, and her performances of the Cilla classics ‘Anyone Who Had a Heart’, ‘Alfie’, and ‘Something Tells Me’ are perfectly poised between powerful performance and heartfelt homage.
Though it works for Cilla, elsewhere the impressive musical performances feel more like tribute acts and cameos than fully-formed characters in a well-plotted chronicle. Continue reading “Review: Cilla the Musical UK Tour”
Cherry-picked for the Year of Change
‘How much these walls have seen,’ muses the lady Lyuba in a fond but forlorn farewell to her family home; and, as her hand touches the gorgeous green and gilded walls of the Old Vic, her words touch our hearts, too. The Cherry Orchard, Chekhov’s so-called comedy about social change in turn-of-the-century Russia following the serf reform, seems cherry-picked for Bristol Old Vic at this time of redevelopment, in their very own Year of Change.
Tom Piper’s invigorating set envelops the Old Vic into the estate that’s up for sale: the architecture is the orchard, we the trees, and, with an audience also onstage in an uncanny recreation of the auditorium, the action plays out in-the-round and uses every inch of the space, from the stairs up to the pit to the passages behind the stalls. As such, we are in the estate: Continue reading “Review: The Cherry Orchard at Bristol Old Vic”