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”
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”
Heartbreakingly, beautifully human
‘After great pain, a formal feeling comes –’: what pain – grief, loss, despair – is up for interpretation, poet Emily Dickinson wasn’t explicit, but for anyone who has experienced that fearful, emotional paralysis in the aftermath of pain, it’s undoubtedly true. Theatre Ad Infinitum’s tender and infinitely touching Translunar Paradise expresses these feelings without uttering a word. As a husband bids goodbye to his wife, their heart-breaking, beautifully human memoir is told through mime, music, and movement as a mask – literally – for his grief.
The formality of everyday life unfolds even after death: hunched, hobbling and breathing heavily, the husband returns home and makes tea, but even seemingly simple moments are haunted by what’s missing. Consciously or instinctively, he takes out two cups, even though only one is needed now. As the widowed William – as well as the writer and director – George Mann is weary and restless, tapping his fingertips to the ticking of a clock, but his performance isn’t without moments of muted humour, as when he hurriedly spoons a small mountain of sugar into his teacup.
Yet, Translunar Paradise intersperses formality with lyricism Continue reading “Review: Theatre Ad Infinitum’s Translunar Paradise (2018 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”
A show in the spectacular superlative: comedy touched with melancholic charm
Clowning belongs in the circus: beneath the big top, behind a big, red nose and between comics, not accomplished actors… yet Slava Polunin and his Snow Show are unequivocally proving that clowns really belong on the bright lights and beauty of the stage in his breath-taking blizzard of a performance.
Slava’s Snow Show is a show in the spectacular superlative: the brightest lights, the boldest ambition, and the biggest, ahem, bouncing balls. And yet, from the most outlandish and loudest laughs come the quietest moments of comedy touched with melancholic charm. Continue reading “Review: Slava’s Snow Show”