Twelve Days of Christmas: Day #7

On the eve of 2011 it seems fitting to take a sneak peek at some of the theatre there is to look forward to in the next twelve months. This year has offered us yet more Hamlets in the form of John Simm and Rory Kinnear, the 25^th anniversary celebrations of the seemingly immortal Les Miserables, Judi Dench’s hotly anticipated return to the role of Titania in A Midsummer Night’s Dream, the shaggy, psychedelic Broadway import of Hair, and Andrew Lloyd Webber’s long awaited Phantom sequel, Love Never Dies – or Paint Never Dries as the West End Whingers famously dubbed it.

So a New Year brings new theatre. Or perhaps, as it happens, not so new. In the musical theatre world there is a noticeable lack of originality, with the main feature of the 2011 openings being the film adaptation. Firstly we have the musical version of Shrek, transferring from Broadway and starring Nigel Lindsay, Nigel Harman and Amanda Holden. Another major opening is Betty Blue Eyes, touted as Cameron Mackintosh’s first original musical in over ten years, yet this is based on the Alan Bennett scripted film A Private Function.  To complete the movie triumvirate, Ghost the Musical opens at the Piccadilly Theatre next summer.

This last show is my 2011 musical to watch. Ghost looks set to be a theatrical extravaganza with technical ambitions to rival the infamous logistics of Phantom, with plans for what should be some truly breathtaking visual illusions from expert illusionist Paul Kieve. Meeting the expectations of scores of devoted fans – and staging that clay sculpting scene – will prove a challenge but it is one that the creative team seem to be rising to. Unlike the unsatisfying carbon copy of Dirty Dancing, the theatrical Ghost experience will be a new and different take on the film according to writer Bruce Joel Rubin.

With the song writing team of Glen Ballard and The Eurythmics' Dave Stewart on board, the score promises to be fresh and exciting and the tunes previewed at the press launch have certainly whetted the appetite. What’s more, the beautifully soulful Caissie Levy, fresh out of Hair, has been cast in the lead role of Molly. For those who remember her heartbreaking rendition of ‘Easy to be Hard’, Levy’s voice alone should make the show worth a visit. Here is a little snippet from the launch to tide you over until Ghost opens in June:

Elsewhere, the plays coming up in the next few months look promising. The Donmar Warehouse brings us the first major London revival of Harold Pinter's 1993 play Moonlight, opening in April, and in the summer Felicity Jones will star in a new version of Schiller's Luise Miller, directed by Michael Grandage. Simon Stephens will be returning to the Royal Court with a new three-parter entitled Wastwater, which is to be directed by Katie Mitchell. My only experience of Stephens' work is Punk Rock, which appeared at the Lyric Hammersmith in 2009 and recently returned for a brief run preceding a national tour, but if this exciting, edge-of-your-seat play was anything to go by then Wastwater could be one to look out for.

There has been considerable buzz surrounding Keira Knightley's return to the stage in Lillian Hellman's The Children's Hour, following her West End debut last year in The Misanthrope. The starry production at the Comedy Theatre has a cast including Mad Men's Elisabeth Moss and American stars Ellen Burstyn and Carol Kane and is set to open in February. Other big names grace the stage at the Old Vic, with Anne-Marie Duff starring in Thea Sharrock's revival of Terrence Rattigan's Cause Célèbre and artistic director Kevin Spacey taking on the title role in Richard III for the final season of the Bridge Project, reuniting him with American Beauty director Sam Mendes. Big names do not necessarily mean brilliant productions, but the lure of famous actors can only be good for London's theatre and such plays may prove to be rare chances to see these stars tread the boards.

Eclipsing all of this, however (at least in my opinion), is the National Theatre's production of a new stage adaptation of Mary Shelley's Gothic novel Frankenstein. The new adaptation by Nick Dear comes to the Olivier Theatre in February, with a mouth-watering cast and creative team. Director Danny Boyle, of Trainspotting and Slumdog Millionaire fame, returns to the theatre for this exciting project and Jonny Lee Miller and the wonderful Benedict Cumberbatch will take on the two leads of Victor Frankenstein and the Creature, but with an enticing twist. Miller and Cumberbatch are set to alternate roles in what looks to be an intriguing move - and possibly an extremely clever marketing ploy. Here is Cumberbatch speaking about the play at the Evening Standard Awards:



This is of course only a very limited selection of the theatrical treats on offer in 2011. There is also a promising season coming up from the Royal Shakespeare Company, a star-studded revival of Noel Coward's Blithe Spirit at the Apollo Theatre, the UK premiere of Broadway hit The 25th Annual Putnam County Spelling Bee (some refreshing originality on the musical theatre scene) and Andrew Lloyd Webber's revival of The Wizard of Oz with Over the Rainbow winner Danielle Hope. For those feeling the strain on the purse strings with all this theatre on the way, Get Into London Theatre are offering discounted tickets to all major productions throughout January and February, and under 26s can continue to get £5 tickets to all National Theatre productions through the Entry Pass scheme.

What are you looking forward to in the next twelve months? Leave a comment with what you think will be the theatre highlights of 2011. A very happy New Year to you all!

Twelve Days of Christmas: Day #6

One of this year's theatrical highlights and indeed one of the biggest musical theatre events of the century was the 25th anniversary of Les Miserables, celebrated by a new touring production and culminating in the spectacular concerts at the O2. I have made no secret of the fact that I am a massive Les Mis fan and in fact marked the anniversary of the musical with my own musings on the occasion. My theatrical offerings for this festive season would therefore not be complete without something to celebrate one of the most important events of this year's theatre calendar.

So feast your eyes and ears on this video of John Owen-Jones, who played the role of Jean Valjean in the anniversary tour cast, giving a stunning rendition of 'Bring Him Home'. Unfortunately I did not see the touring production and I will be limited to experiencing the concert from my living room sofa as I watch the DVD recording. I was, however, lucky enough to see John Owen-Jones as Valjean a few years ago when I first saw the musical at Queen's Theatre and his is the performance that I will always associate with the character. I should warn readers before watching this video that you may need your tissues at the ready! Enjoy.

Twelve Days of Christmas: Day #5

The Christmas season is traditionally a time when theatre turns its attention to the younger generation and this year is no exception. One children's show that has appealed to grown-ups as well as the youngsters is the Royal Shakespeare Company's musical version of Roald Dahl's much loved novel Matilda, currently running at the Courtyard Theatre in Stratford-upon-Avon. The production has received rave reviews and rumours abound about a West End transfer - rumours that I sincerely hope are true so that I can have the opportunity to see this show. Aside from a childhood love of Dahl's witty prose and delightfully grotesque characters, I am intrigued to hear the songs penned for the show by comedian Tim Minchin, an oddly fitting choice with a quirkiness to match the story itself.

My treat to readers today is an interview with director Matthew Warchus in the Guardian, speaking about the challenges posed by this production as well as discussing his past experiences, including the gargantuan project of transferring literary epic The Lord of the Rings to the stage. Warchus seems to like a challenge, as his next project, Ghost the Musical, may prove almost as difficult to bring to life visually on the stage as Tolkien's trilogy. This interview provides an interesting look at a diverse directing career and I find it hard not to admire a man who admits to growing up loving Brecht, Beckett and Andrew Lloyd Webber musicals.

Matilda runs at the Courtyard Theatre until 30 January 2011. For anyone wanting more reasons to see it, have a look at what the critics said in Whatsonstage.com's review round-up.

Twelve Days of Christmas: Day #4

For the sake of nostalgia, today's offering takes a wistful look back at Spring Awakening. Despite a short-lived run at the Novello Theatre in the West End, this show about adolescent angst and sexual awakening based on Frank Wedekind's nineteenth-century play remains one of the most exciting examples of new musical theatre writing in recent years. My selected video is just one of the many entertaining cast blogs recording the production's highs and lows, which can all still be found on the show's YouTube channel. This is Chris Barton's hilarious performance as Adult Woman, although admittedly the joke will be slightly lost on those not familiar with Spring Awakening. Any fans of Chris Barton can currently see him in The Sound of Music tour as Rolf.

Twelve Days of Christmas: Day #3

Nicholas Hytner, who topped
The Times' 'Luvvie Power List'

As we near the end of another year, list-mania has struck. Journalistic institutions everywhere are compiling their highlights of 2010, be it theatre, film, music, sport - we can even turn to ITV to discover what is the best advert of the year should we so wish. One important list that has made waves in the theatre world is 'The Luvvie Power List' of the top 50 most influential figures in theatre, published in The Times recently. Therefore today's post takes a look at some of the responses to this particular list, providing links to a couple of the more interesting articles on this topic.

Whatsonstage.com's Michael Coveney congratulates the website's own editor Terri Paddock for making the list but bemoans the persistent use of the term 'luvvie', a word that he considers to be derogatory and trivialising. Coveney also speculates about who might take over from Nicholas Hytner, the list's number one, when he leaves the National Theatre, suggesting that perhaps some of the female directors on the list might rise to the challenge. I agree that it is about time more women were recognised and rewarded in this field, as female directors are often overlooked in both theatre and film. The tide appears to be turning in the movie world thanks to Kathryn Bigelow's Oscar win this year, so it can only be hoped that theatre will follow.

Meanwhile, Mark Shenton of The Stage shifts the spotlight to some of the lesser known and under-appreciated people behind this country's theatre. The very nature of this form of entertainment means that the majority of the work is done behind the scenes, by faceless names in small print in the back pages of your theatre programme, so it is both refreshing and enlightening to see these unsung heroes recognised and praised. Working in theatre is to a large extent a labour of love, done for the rewards of the job rather than any significant financial remuneration; in that sense of the word, if no other, we might then see the term 'luvvie' as justified.

One notable disappointment of the list, highlighted by Shenton, is the absence of theatre critics from the ranks of theatre's movers and shakers. Surely critical reception is a significant barometer for the success of a show starting out, and productions without the might of large financial backing and big names can sink or swim on the back of reviews. It is encouraging for bloggers everywhere, however, to see the West End Whingers listed, illustrating just how influential non-professional reviewers can be, hopefully the sign of a shift towards greater respect for bloggers in the theatre journalism community.

For those partial to a bit of list-mania at this time of year, there are round-ups of theatre's best bits of 2010 on The Stage, The Independent, Spoonfed and The Telegraph, among many others.

Twelve Days of Christmas: Day #2

Christmas just isn't Christmas without a good pantomime. Oh yes it is! - oh no it isn't! (see what I'm doing here?). This quintessentially British tradition still holds a very special place in the hearts of millions, young and old, up and down the country; it seems we can't get enough of soap stars in tights and men dressed as women. This is usually the first exposure to theatre that we receive as children and people continue to go back year after year to indulge their inner child. Where else can you see a little old granny standing up in her seat and yelling at the top of her voice 'he's behind you'?

Pantomimes are having something of a renaissance at the moment. Rather than being viewed as a vehicle for Z-list celebrities trying to resuscitate their failing careers, panto has carved out a place for itself on the British theatre scene and many respected musical theatre stars can now be seen donning silly outfits for the festive season. This year Daniel Boys is appearing in Snow White in Stevenage, John Barrowman is the eponymous hero of Aladdin in Glasgow, and Over the Rainbow's Steph Fearon stars as Jasmine in another production of Aladdin in Buxton, to name just a few.

So in celebration of the great British pantomime, here is a wonderful article from Lyn Gardner looking at just why pantomimes have been so enduring. There's also a fun blog on A Younger Theatre about why panto may be tacky but there's nothing else quite like it. And for those of you getting panto cravings, I've found a video to keep you going until you can get down to your local theatre. Here is a feature from BBC Breakfast with long-time dame and pantomime favourite Christopher Biggins:

Twelve Days of Christmas: Day #1

To kick off my Twelve Days of Christmas theatre-fest I have a lovely stocking filler of a video to get you all in the festive mood. The first day of Christmas is officially Christmas day which is tomorrow (as if I needed to remind anyone!) but Christmas is a bit of an internet-free zone for me so I'm posting this today instead - think of it as an early Christmas present.

A Christmas themed treat is of course obligatory, so I scoured YouTube for something suitably seasonal and what I came up with was this little gem of a video featuring the very beautiful and talented Jonathan Groff and Lea Michele. Not only is this one to keep all the Glee fans happy, but any Spring Awakening geeks out there like me will know that this pair were also the original Melchior and Wendla on Broadway. Here they are singing at a Spring Awakening Christmas benefit - many festive tidings and enjoy!

Twelve Days of Theatre

Merry Christmas one and all! The big day is nearly upon us and to celebrate this festive season I have decided to treat all my readers to twelve days of theatre-related goodness. On each of the twelve days of Christmas I plan to post a theatrical gift gathered from around the internet; this might be a fun video, an interesting article or a link to a theatre website. I will also write a related post each day for your reading pleasure (or pain, depending on your personal opinion!).

I would love feedback and suggestions for other theatrical treats to be found around the web so please feel free to leave comments. I look forward to searching the internet for some exciting videos and links and hope that you will all enjoy my festive offerings. Check back in a few days time for the first post and make sure that you take a look at the blog on each of the twelve days of Christmas so that you don't miss out.

Any Name Will Do?

Sheridan Smith in Legally Blonde (left);
Samantha Barks in Les Mis (right)

In a matter of hours the tears, the tantrums and the ever controversial sing-off will be over for another year. This weekend marks the X Factor final and by Sunday night one successful contestant will be walking away in a fog of confetti with a record contract clutched proudly in hand. What then of the other finalists? If previous years are anything to go by then we should expect to see at least one rejected contestant treading the boards in Chicago or Les Miserables before the Christmas turkey has gone cold. But is it time for us to vote off stunt casting?

In recent years the practice of casting celebrities in West End musicals has become a matter of hot debate. Helienne Lindvall addresses the issue in the Guardian's Theatre Blog this week, suggesting that it is 'a gravy train that may soon run off the rails'. The reasons she cites for such a prediction are compromises of quality and a noticeable decline in the behaviour of audiences drawn in by starry names, treating an outing to the theatre in the same way they would a night in front of the television. Lindvall also bemoans the consequences for talented performers who are being passed over in favour of minor celebrities. Her opinion on the matter is unambiguous, but for me it is not quite so clear cut.

There are of course some considerable downsides to filling major West End roles with celebrities. Merely by taking a quick glance at the casts of current West End musicals it becomes evident that experienced performers are being somewhat frozen out by 'names'; Sheridan Smith in Legally Blonde, past X Factor contestant Lucie Jones in Les Miserables and Jon Lee soon to go into Jersey Boys, to name just a few. Meanwhile shows such as Chicago and Grease have long been known as 'revolving doors' for celebrities as Lindvall puts it, where it seems that a television appearance is a vital qualification for bagging a lead role. Clearly none of this is good news for the performers who have been grafting for years and are losing out.

What we have to remember, however, is the vital bums-on-seats factor. It cannot be denied that well known names reel in the public and shows ultimately rise and fall on the shoulders of the punters; there has been many an excellent show in the past that has had to close prematurely because it simply does not pull in a big enough audience. Celebrity casting is becoming something of a necessity for a new show starting out in the West End and although it is not ideal, bringing in a recognisable name is surely preferable to a show going under.

As for the downturn in audience etiquette, I am not entirely convinced that this is connected to the casting of celebrities. Although inevitably the inclusion of certain personalities in the cast will attract a different audience, the correlation between this and audience misbehaviour has been exaggerated. Unfortunately there always have been and always will be those who cannot stay quiet for a couple of hours, no matter whether a soap star is up on the stage or not.

The most significant factor that has been neglected in this argument, however, is the calibre of the performers themselves. Celebrity and talent, despite what the harbingers of despair may have us believe, are not mutually exclusive. Although I have not had the luck to personally see Sheridan Smith in Legally Blonde I have heard uniformly positive reviews of her performance and the critics seem to agree. When I saw Jon Lee in Les Miserables a few years ago he more than held his own and in the same musical this year I was impressed by Lucie Jones, who even made me warm to the usually ineffectual character of Cosette.

Another casting practice that has come in for a lot of criticism recently is Andrew Lloyd Webber's series of television searches for the West End stars of tomorrow. Although they arguably steal the limelight from other performers, there is no doubt that talent flocks toward these shows and it is not necessary to win to make a mark on the West End. I saw the wonderful Daniel Boys twice in Avenue Q, bringing warmth, humour and charisma to the stage in a stand-out performance that would have been wasted in Joseph, while Rachel Tucker is an excellent Elphaba in Wicked. Samantha Barks, meanwhile, has improved vastly since she first charmed audiences on I'd Do Anything, delivering a breathtaking performance as Eponine in Les Mis.

Inevitably there will be some stunt casting that brings people to the stage who should never have strayed from the stalls - I will refrain from naming and shaming - but we should resist the temptation to tar everyone with the same brush. The casting process may be evolving, but the pool of talent has not drained. Despite the conveyor belt of excruciating auditions that X Factor presents to satisfy our warped fascination, there is no dearth of talent to be found on these reality shows. Approaching the theatre via an alternative route does not necessarily make such performers less qualified or deserving. We are, after all, the Big Brother generation, bred on reality and talent shows, and for many young people this is as valid an entry point as any.

In The Stage this week Mark Shenton's blog asked who we might consider to be the stars of London's musical theatre scene and looked for those waiting in the wings to fill their shoes. Will our next generation of musical stars be spawned by stage schools or television talent shows? The answer, I suspect, is both.

Review: Christmas Cabaret Ding-Dong, Lauderdale House, Sunday 5 December 2010

Originally written for The Public Reviews.


Lauderdale House’s Christmas Cabaret Ding-Dong, concluding their current cabaret season, did exactly what it said on the tin, delivering classy cabaret together with a heavy dose of seasonal silliness. The cabaret portions of the afternoon showcased the talents of Helena Blackman, Nancy Sullivan and Emma Odell, while the other performers donned Santa outfits, elf hats and fairy wings to bring us a series of Christmas surprises. An eclectic blend of music, comedy and festive cheer, this performance was an enjoyable winter warmer to kick off the Christmas season.

Katie Ventress and Ellen Verenieks, responsible for compiling and directing this festive treat, introduced more than a hint of pantomime to the traditional cabaret format. The performers brought an infectious sense of fun to the proceedings, appearing to have as much of a laugh as the audience as they pranced about in pantomime gear and sang us into the seasonal spirit. Admittedly the afternoon lacked polish, with some transitions feeling clunky, and the interweaved pantomime humour and cabaret did not always sit entirely comfortably side by side. Yet the performance’s flaws were oddly endearing and in the intimate setting the audience felt invited into the fun, even coaxed into singing along at the conclusion of the festivities.

All the stock pantomime characters – the dame, the villain, the prince – made appearances, although Ventress and Verenieks inserted some witty twists. I doubt that there is another pantomime in which the fairy godmother sings Lady Gaga’s 'Bad Romance' and Santa gets a visit from the health and safety inspector. A playful Glee-inspired number concluded the first act in side-splitting style and a cheeky, hilarious reworking of 'The Twelve Days of Christmas' provided one of many laugh-out-loud moments throughout the afternoon.

The pantomime larks were punctuated by some excellent turns from the featured performers, with Nancy Sullivan as one of the highlights delivering simple and heartbreaking renditions of 'To Make You Feel My Love' and the Judy Garland classic 'The Man That Got Away'. Emma Odell brought smiles to the audience with her delightfully comedic version of another Judy Garland favourite, 'The Trolley Song', while Helen Blackman rounded off the afternoon with an exquisite vocal performance. The material was well selected and all three performers shone, but I would have liked to hear more from these talented women, who had regrettably short slots in the performance.

The evening was concluded with a good old Christmas sing-along to warm even the coldest of hearts and send everyone home brimming with Christmas cheer. I could have done with more of the cabaret and less of the ding-dong, but only a true Scrooge could leave such an afternoon without a smile on their face and if the performances of Blackman, Sullivan and Odell are anything to go by then next year’s cabaret season at Lauderdale House could be one to look out for.

Review: Pins and Needles, Cock Tavern Theatre, Saturday 27 November 2010

Originally written for The Public Reviews.

What better way to change the world than through the power of song and dance? Pins and Needles, in attempting to sing ‘a song with social significance’, brought tap dancing and jazz hands to political theatre in its record-breaking original Broadway run. Over 70 years after its conception this witty and intelligent musical revue is no less in tune with society, its Depression-era satire taking on new meaning as we are in the grip of recession and staring down the barrel of government spending cuts.

First created and performed by a labour union in 1937, this entertaining collection of musical skits and sketches has a timely British premiere at the Cock Tavern Theatre. Satire about 1930s American politics and society, far from appearing distant and outdated, is strikingly resonant with the world of today; its comments on right wing politics, big business and manipulative advertising remain current and biting. The Cock’s production has smartly updated the production with some small twists to make explicit the show’s relevance for today, with a certain well known politician making a hilarious appearance.

Director Rachel Grunwald has successfully adapted the piece to the intimate space, with the actors’ every movement carefully executed and economic, while choreographer Nicola Martin’s small scale dances prove surprisingly effective. The small and simple staging is apt, taking the show back to its amateur labour union roots and allowing the music and the sharp, witty lyrics to speak for themselves without being obscured by the kind of flashy theatrical extravaganza lampooned in the Federal Theatre Project sketch.

Grunwald’s ensemble cast breathe life into Harold Rome’s sparkling lyrics and perform the various sketches with vigour, enthusiasm and comic skill. Among the most effective skits are those targeting the exploitative world of advertising, simultaneously succeeding both as hysterical musical numbers and as disturbingly accurate indictments of our image-obsessed society. The hilarious Matthew Rutherford, Adam Walker and Mark Gillon have us in stitches prancing around as the devils of advertising, while the insecurities of cowering Elizabeth Pruett and Elain Lloyd’s lament that ‘nobody makes a pass at me’ reveal uncomfortable truths about the way in which the media makes us view ourselves.

In the tiny Cock Tavern Theatre there is nowhere to hide and the cast do well in overcoming the challenges posed by such a space. Their performances are infused with humour and wit throughout, although there are a few vocal weak links that cannot be covered up in such an intimate setting. Pruett and Lloyd stand out in particular with some stunning solos and Walker steals the Four Little Angels sketch with a brilliant turn as a hilariously camp Hitler. Some of the more forgettable songs fade away beside uproarious numbers such as 'Sitting on Your Status Quo', but the diverse range of sketches are neatly pulled together by the final song, with a clever added tweak that highlights once more for us the significance of its political jibes. Managing to be both entertaining and politically on-the-button, Pins and Needles is an ideal musical for current times.

Young, Glossy and Sexy: The New Face of Theatre Journalism

Flicking through the magazine racks at the newsagents there is a glossy (or not so glossy) rag dedicated to every mainstream, niche and downright weird interest out there, from Vogue to Angler's Mail. Except, that is, for a fresh and fun publication for young musical theatre fanatics like me.

Theatre journalism is far from a new phenomenon; as long as there have been plays there have been those who have turned their pen to writing about them. Every broadsheet has pages dedicated to the most recent theatre openings and publications such as The Stage cover all aspects of theatre. What is missing, however, is a magazine about musical theatre written by young people for young people. Missing, that is, until now.

M. Magazine, a new online publication launched by a small group of young theatre professionals and enthusiasts on 18 October 2010, hopes to change the face of musical theatre journalism. It calls itself 'musical theatre skewed' and an exciting new twist is exactly what it puts on traditional musical theatre reporting. This is arts journalism as you've never seen it before.

M's editor-in-chief and self-professed 'Anna Wintour' Chris Clegg states that the aim of his editorial team was to create a magazine that is 'high-fashion, beautiful, glossy and fun'. Although the contributors admit that they do not have journalistic training or experience and the writing is not without its flaws, it is the overall concept and the strikingly different approach of this publication that is so refreshing.

Instead of the same established formats and conventions that readers of arts journalism have come to expect, M brings us eye-popping spreads and sexy photo-shoots and even dares to tiptoe across the line into the risqué. Its features unashamedly cater to our internet savvy generation, with the latest issue pointing readers to exciting finds on the web and favourite YouTube videos.

The fresh approach of M points the way for the future of arts journalism if it is to attract young people. Clegg and his team have created a publication that they themselves would want to read and encourage readers to tell them what they want to see in the next issue. There is no shortage of high-quality arts journalism, but it is rare to see writing about theatre that specifically targets a young audience.

One website that does dedicate itself to connecting with young theatregoers and giving us a platform to voice our opinions is A Younger Theatre. A recent article on the website attempts to diagnose the problem of why so many young people do not go to the theatre, something which may be attributed to a myriad of different factors. The root of the problem, however, lies at the level of fundamental attitudes.

Plays are rarely marketed to young people, creating a perception that theatre is aimed at an older section of the population, a perception only perpetuated by the media. To change such attitudes we need websites like A Younger Theatre and exciting new publications such as M which follow a format aimed at young people. Hopefully the success that M has enjoyed so far shows that this kind of magazine has an audience and will encourage others to follow in a similar vein.

Theatre journalism, as M demonstrates, can be fun, exciting and even - dare I say it - sexy.

Read the latest issue of M here.

Review: Richard III, Yvonne Arnaud Theatre, Tuesday 23 November 2010

Originally written for The Public Reviews.

An all-male production of Shakespeare is always an intriguing prospect. In a play such as Twelfth Night it adds another teasing layer to the gender confusion, or sometimes merely the sight of a man flouncing around the stage in petticoats is enough to give an added element of comedy. Propeller, however, do not play for laughs in a Richard III that is sinister, compelling and distinctly bloody.

The absence of female figures casts an even blacker shadow over an already dark play of murder and political intrigue, as Richard schemes his way to the throne and the bodies pile up. In pre-Tudor England, everywhere reigns masculine brutality; glinting torture instruments dangle ominously from Michael Povelka’s metallic, clinical set, men perpetrate bloody murder and masked figures persistently lurk in the gloom, weapons in hand. The young princes are puppets with the faces of porcelain dolls, reducing even the semblance of innocence to nothing more than that – a semblance, a facade.

Dominic Tighe endows Queen Elizabeth with genuinely moving maternal anguish upon the discovery of her sons’ murders but never loses an edge of flinty hardness that is naturally enhanced by Tighe’s sturdy masculine presence. Propeller’s actors never let us forget that they are men, yet their lack of concession to femininity is appropriate to a play which is deeply concerned with the political scheming of men. Women such as Elizabeth and Tony Bell’s wonderfully venomous Queen Margaret are forced to don, as it were, the mask of masculinity in order to wield any power or influence.

The lack of women also projects an image of a sterile, sickening state, an image cultivated by the crowds of sinister masked orderlies and the folding hospital screens that usher in the actors. Pavelka’s design is awash with symbolism: the scheming, murderous architects of England’s destruction wear black, while Robert Hands as the Earl of Richmond is the nation’s literal as well as metaphorical white knight, arriving clad in a dazzling white suit; the royalty drink one another’s blood as England is bled dry by their internal battles. Chilling and fascinating though the central concept is, this production has employed a few too many metaphoric images, threatening to overwhelm the audience with a generous clutch of motifs that it sometimes struggles to keep hold of.

Any production of Richard III, similarly to Hamlet, rises and falls on the shoulders of its eponymous protagonist. As the murderously ambitious Duke of Gloucester, Richard Clothier is a commanding, irresistible puppet-master. He makes a deliciously, maniacally evil villain, all the while retaining an undeniable charm that keeps the audience hanging on his every word. Clothier brings out the consummate actor in Richard, playing other characters off one another, his manipulation punctuated by knowing looks and asides to the audience.

Propeller’s production, under Edward Hall’s able direction, highlights the brutality and drama of Shakespeare’s history. Music is integrated ingeniously throughout, with haunting choral singing filling the spaces between scenes, urgent drum beats building tension and an electric guitar heralding Richard’s accession to the throne. Although the concept is shaky at moments it is an excellently executed interpretation on the whole, with a core of superb performances. Sinister scenes are broken up with enjoyably grim humour but this is essentially a dark production and even as Henry VII takes the crown in the final scene, uniting a warring nation, Propeller’s ensemble of menacing masked men still loom in the shadows.

Doctor, Doctor I think I have Theatricitis!

As the winter months draw in and there is a chill in the air it suddenly becomes impossible to take a bus journey without being assaulted by coughs, sneezes and sniffles. But some of you may have noticed another affliction spreading as the festive season approaches, a disease dubbed theatricitis. Symptoms include the following ...

- Spending the last of the month's wages on tickets to that must-see show. Yes, the only groceries left in the flat may be old cheese and tins of baked beans, yes you can't afford to put the heating on, but it's had rave reviews and it has what's-his-name in it who was brilliant in Hamlet. And you can always put on another pair of socks to brave the Arctic of your bathroom in the mornings.

- Relating everyday speech to theatre dialogue or musical lyrics. Example: flatmate struggles to finish a sentence and repeats 'because' several times, prompting me to sing 'because of the wonderful things he does' (Wizard of Oz reference in case you didn't twig). Greeted by a resounding unimpressed silence.

- A bookshelf groaning under the weight of theatre programmes, various play scripts, DVDs of every musical under the sun, cast recordings galore and a hefty tome of Shakespeare. And of course not forgetting the obligatory album/scrapbook filled with tickets.

- Walking down the street and getting strange looks for apparently no reason. Then realising, after considerable racking of the brain, that you are humming a musical score out loud. Oops.

- Becoming known by name at the box office. When phoning Delfont Mackintosh to book Les Mis tickets for my 21st birthday and giving her surname, my mum was actually asked 'is this Catherine?' So fair enough I don't exactly have the most common surname, but this may be a sign that I buy a few too many theatre tickets ...

- Referring to different parts of a room as upstage, downstage, stage right ... you get the idea. This is a particularly severe symptom and one which I have yet to suffer from personally. It may lead to people finally writing you off as certifiably insane.

The cure for this expensive malady? With Christmas on the way there are plenty of festive treats to satisfy your theatrical cravings, with highlights including Festive Fever at Freedom Bar in Soho, Theatre MAD Trust's A West End Christmas and the touring production of Christmas with the Rat Pack. And you never know, you might even get some tickets from Santa to ease the strain on your purse.

There was one last symptom that I forgot: spending your afternoon writing a fairly pointless post for your theatre blog instead of one of the 101 other things you should be doing ...

If you think you might be suffering from theatricitis and have spotted any other symptoms then leave them in the comment box!

Review: Deathtrap, Noel Coward Theatre, Wednesday 17 November 2010

How far would you go in pursuit of literary ambition? This is the question posed by Ira Levin's comedy thriller, with many twists, turns and laughs along the way. Sidney Bruhl (Simon Russell Beale) is a washed-up playwright running out of ideas and desperate for a hit, Clifford Anderson (Jonathon Groff) an eager, brilliant young student with a promising script - a script worth killing for.

From the moment the curtain lifts the play crackles with sinister tension. Rob Howell's well designed set, littered with various ancient murder instruments, hints at a bloody climax before a single word has been spoken. To reveal any details of the thrilling denouement, however, would be a betrayal; as Clifford tells Sidney, the audience should never be aware of significant plot details too early on. Suspense is the essence of this show, with its overwhelming strength being its delicious and unrelenting twists, keeping us teetering on the edges of our seats throughout.

Russell Beale delivers Sidney's knowing one-liners with relish, has impeccable comic timing and is suitably sardonic as the over-the-hill writer, although he never quite imbues the character with a significant sense of despair. Groff impresses as enthusiastic young  protege Clifford, bubbling with barely-suppressed excitement, his eyes sparkling with a constant glimmer of genius and ambition. They are adequately supported by Claire Skinner as Sidney's wife, Terry Beaver as the lawyer and Estelle Parsons in the role of a local psychic, providing hilarious comic relief.

It is clear, however, that Levin prioritised plot over character and despite the best efforts of the cast the motivations of the main players are not always clear. Behind their surface characteristics there lurks little depth in Levin's protagonists, whose other emotions are obscured by ambition and self-interest. Yet this is not a complaint that significantly damages enjoyment of the play. Levin, like Sidney, has little interest in a character and emotion driven narrative and if he had devoted himself to delving into the subconscious of Sidney or Clifford this would be a much less exciting theatrical experience.

Deathtrap is an ingenious and expertly crafted piece of theatre that does not let its audience relax for a moment. Levin's sparkling, witty dialogue can plunge us in the space of seconds from laugh-out-loud comedy to icy suspense, cutting a laugh short with a sharp shock. This is not recommended viewing for those of a nervous disposition; the burliest of men in the audience are to be witnessed jumping from their seats.

Far from merely delivering cheap frights, the show is also dazzlingly clever. Levin shrewdly and amusingly questions his own craft, sending up the conventions of stage thrillers in a drama that is always knowingly self-aware. There is the sense that the play is writing itself around Sidney and Clifford, tapped out letter by letter as they sit at their typewriters. The sudden turns taken by the plot can be implausibly contrived and outrageous, but that is part of the beauty of this compelling, playful and sometimes downright silly play.

The plot contrivances, as well as keeping audiences guessing, are another element of Levin's dissecting look at the thriller genre. The ever shifting relationship between the two central characters is consistently entertaining, but the real star and focus of the action is their script. In Levin's thriller, the play's the thing.

Review: Dirty Dancing, Aldwych Theatre, Saturday 6 November 2010

As a member of the female sex, it is almost blasphemy to not like Dirty Dancing, a singing-into-your-hairbrush chick flick classic. So I will go ahead and begin this review by predictably admitting that I am a fan of the film. I own it on DVD and have watched it more times than I can remember, though I have not - thankfully - attempted to do the famous lift while intoxicated (though I am sure there are many others who have!). I approached the stage version, however, without great expectations.

It would not have been my first choice of musical to see and I have to admit that had it not been a group trip I probably would never have got around to seeing this show and would not particularly regret it. Yet, as a fluffy, fun, girly outing to the theatre, this show, much like its big screen parent, delivers without fail.

Stephen Brimson Lewis has done wonders with the set design, finding pleasing and ingenious solutions to the staging difficulties presented by the film. The stage smoothly revolves, rises and falls to create new settings, while a screen behind the actors suggests the changing locations. The scene changes are seamlessly handled, although the scenes themselves are sometimes fleetingly short, a reminder of the show's cinematic origins that does not work as well on stage as on screen. Overall, however, the film is slickly recreated on stage.

Recreated seems an apt word, as this is almost a carbon copy of the 1987 movie. The scenes are the same, the central dances are the same; Hannah Vassallo as Baby even sports Jennifer Grey's slightly frizzy hairdo. I could have mouthed along almost word for word with the dialogue. I am also slightly dubious of its claim to be a musical, as it might better be described as a play with a few songs, most of which function as background music rather than being central to the scenes.

The cast, with Vassallo and Johnny Wright as the leads, do well, but it is the dancing that is the real star of the show. More dances have been added for the stage and Kate Champion's choreography crackles and fizzes across the floor. It is when Johnny dances with partner Penny, played by Nadia Coote, that the moves really come alive, with some truly breathtaking steps and lifts. Quite rightly, the dancing steals most of the scenes.

Unfortunately, I feel that the creative team have missed an opportunity to do something special with this in the transition from screen to stage. With the addition of new songs and some true musical numbers incorporating both singing and dancing this could have gone from an enjoyable copy of the film to a stage show in its own right. In comparison with what has been done with Priscilla Queen of the Desert, for example, Dirty Dancing falls a little flat. What it lacks is that something extra that makes the theatre experience a world apart from the movie.

That said, by the finale you no longer care. As everyone cheers at the iconic words 'nobody puts Baby in a corner' and we see that eagerly anticipated lift, you will leave the theatre on a natural high. For those looking to save some money I might suggest that you sit at home with the DVD, but watching it on a television screen will never give you the atmosphere of the auditorium, which is what you really pay for. It might not be the time of your life, but it is a very enjoyable night out.

Dare to Scare: The Art of Theatrical Frights

Time to risk injury carving faces in pumpkins and don ridiculous outfits replete with buckets of fake blood; Halloween is here once again. Those too old to trick-or-treat and visit haunted houses might seek their Halloween thrills elsewhere and one place to satisfy their lust for horror is the stage. 


Theatreland has plenty on offer for those looking for a few frights, with two spooky plays - the long-running Woman in Black and the Duke of York's Ghost Stories - currently in residence in the West End. Ghost Stories even put on a special midnight Halloween performance last night for those who had not already had their fill of terror. But what exactly does it take to give audience members the chills?


For me it is the unseen which is the most powerful. Plays can never compete with the CGI and special effects available to film and too much blood on stage can be frankly embarrassing. Traditionally it is ghost stories that have the most success, perhaps aided by tales of haunted West End theatres. The Woman in Black, which this summer celebrated 21 years in the Fortune Theatre, is an excellent example of how successful a ghost story brought to stage can be.


I saw The Woman in Black several years ago as a GCSE Drama student and I was dubious to say the least. Could a play really be that scary? In the wake of scores of horror movies, today's youth don't scare very easily and I refused to see how a stage play, without the aid of the special effects at the disposal of film-makers, could terrify an audience. As others who have seen the play will not be surprised to hear, I left the theatre with a very different opinion.


The beauty of this play is that it draws on the reserves of imagination, always showing just enough but not too much. Without giving anything away, one of the most effective elements of the production is its use of sound effects; the concept is simple but the result is terrifying. Although I thought that the screams of some of my fellow audience members were a bit much (you might have worked out by now that bad audience behaviour is one of my pet hates) I was genuinely spooked and vividly remember waking up in the middle of the night after seeing it in a fit of terror. Well, that might be a slight exaggeration, but I was scared.


It is those plays that can touch on our deepest psychological fears that are more successful than those that merely attempt to shock. An example of truly disturbing theatre is Martin McDonagh's The Pillowman, an excellent student production of which I recently saw and reviewed. Very little is actually depicted on stage, but as we hear Katurian telling his twisted stories our imaginations do all the work - this is the genius of McDonagh's writing.


Of course there are also plays that do not purport to belong to the horror genre but scare nonetheless. I found the Lyric Hammersmith's Punk Rock utterly terrifying at moments, perhaps because the events, rather than being a far-fetched ghost story or thriller, were chillingly believable. I am also someone who jumps very easily, so anything with a gunshot is sure to make me leap out of my seat in shock. My heart was even thumping in fear for about five minutes after the climax of Blood Brothers.


I am far from having a formula for scaring audiences, but my general conclusion is that less is usually more. If anyone has any more suggestions of fright-inducing plays or perhaps if any readers braved last night's performance of Ghost Stories, please leave a comment.


Happy Halloween!

Five Reasons to Start a Theatre Blog

This week is a very exciting week for me and for anyone else blogging about all things theatrical.  This week, as I was informed by the twittersphere, is Theatre Blogger Week.  Hurrah!  So in between frantically writing essays and trying desperately to think of a dissertation title (blind panic is the phrase that comes to mind!) I have taken some time to think about all the things I love about theatre blogging.

It has not been very long since I dipped my toe into the rather large pool of theatre blogs, but I would like to share my limited wisdom with the world and in particular with anyone else out there thinking of blogging about their theatre experiences.  Here are just five of the many reasons why theatre blogging rocks and you should all go out and do it:

1. Sharing your passion.  I personally have massive respect for anyone who has a passion for anything.  It might be, like me, that your passion is theatre, or it could be books (another passion of mine), music (ditto), sports, stamp collecting – whatever floats your boat!  You might even have a passion for something slightly bizarre that not many other people understand (such as my flatmate, who has an interest bordering on obsession with hurricanes ...).  But there is probably someone else out there who feels as strongly as you do about this particular thing and would like to hear your ramblings on that subject.  Obviously I'm especially interested in reading blogs by other people who are passionate about theatre, but whatever your interest, share it with the world; sharing is good.

2. Getting bitten by the writing bug. I’m someone who has loved writing for pretty much as long as I could hold a pen, but I’ve spoken to other people who never thought about writing until they started a blog and then realised that they loved it.  Writing can be extremely therapeutic and even if not many people read what you’ve written (as I suspect may be the case with my blog) there’s still a lot that you can get out of it.

3. Engaging with others. This goes back to my first point about sharing your passion. Once you have discovered these wonderful people who have the same interest as you it’s great to read what they have to say about it and respond with your own thoughts and vice versa. Like sharing, communication is good. So if you have an opinion about anything I’ve written in my blog, leave me a comment – I dare you.

4. Constructive feedback. If, eventually, you get enough readers that people in the industry start to notice your little blog, it's a great way to show the actors and creative teams behind our wonderful theatre that you appreciate what they do for a living. In these dark days for the arts when funding cuts threaten our theatres we all need to show our support in whatever way we can, and blogging can be a great way of illustrating to those who control the purse-strings just how many people value theatre and how much it contributes to British society. Unfortunately I don't yet have anywhere near the number of readers to make much of an impact, but a girl can dream!

5. Doing what you love. I love theatre. I love writing. So as something that combines two of my greatest loves, theatre blogging is pretty much perfect. I have also found that since starting this blog I have been engaging with the theatre I see far more than I did in the past and it is a spur to go out there and see more and more shows. For me (and this is after only a couple of months) theatre blogging has been such a rewarding experience and I would recommend anyone with an interest in theatre to try it for themselves.

So go on, give it a try, write a blog of your own, whether it's about theatre or anything else you want to write about (perhaps even hurricanes!). If anyone reading this already has a blog and can think of more reasons why it's amazing then please leave a comment. And as it's Theatre Blogger Week it would be great to know about other interesting/funny/wacky theatre blogs out there.

Review: Southampton Theatre Group's production of The Pillowman, Annex Theatre, Wednesday 27 October 2010

Once upon a time Martin McDonagh wrote a disturbing, haunting play called The Pillowman. A sinister tale concerned with the ancient craft of storytelling, it is the perfect play to stage at Halloween, against the backdrop of chilling ghost stories whispered between friends. McDonagh questions the impact that literature can have upon its readers, as his protagonist Katurian is arrested in a police state following a series of child murders that bear an eerie resemblance to his dark short stories.

The first scenes of the play hover in the murky zone between fact and fiction, with the line between storytelling and reality repeatedly blurred. It is not always clear where Katurian’s fabricated fictions end and the truth begins, whilst his police interrogators Tupolski and Ariel frequently employ deceit in an effort to force him into a confession. Interwoven into the plot are terrifying retellings and enactments of Katurian’s stories, one of which, under the veil of fiction, exposes his own horrific childhood and begins to explain his twisted tales.

Theatre Group’s production, ably directed by Rob McGough and Sam Gray and produced by Hannah Griffiths, works wonders with a basic space. The Annex Theatre is transformed into the gloomy, intimidating interrogation room, faintly lit by a single, flickering overhead lightbulb. In a master stroke, audience members enter the auditorium in almost complete darkness, the only light illuminating a distressed and blindfolded Katurian on stage, establishing a tense atmosphere from the outset.

In an impressive cast, Richard Copperwaite in particular stands out as the central character of Katurian, convincing both as the cowering captive and the disturbed master storyteller. At crucial moments his horror is utterly believable and he adds the softness to Katurian, particularly in the scenes with his brother, which is necessary to invite audience sympathy. But it is when he is narrating Katurian’s gruesome stories that he is at his best, with a menacing glint in his eyes that has the power to truly terrify.

He is well supported by fellow cast members Irene Babille and Sam Beath as interrogators Tupolski and Ariel respectively. Babille brings a contained anger to the character of Tupolski which occasionally spills over in excellently judged outbursts and she inserts one brief moment of subtle vulnerability as a counterpoint to her otherwise consistent cynicism. In the early scenes Beath comes across as a relatively two-dimensional ‘bad cop’, but as we gradually learn about his past the performance becomes more nuanced and his anger assumes a tragic air. Alexis Forss also does well as Katurian’s mentally disturbed brother Michael, lending childlike innocence to the role whilst handling the dark comedy successfully, but there were moments where he did not entirely convince.

Although I found McDonagh’s play clever, chilling and thought-provoking, I was ultimately unsure what he is trying to say about storytelling and morality. His question about the power of literature to influence others is never effectively answered; one wonders if his aim was to be provocative rather than to engage with larger issues.

Perhaps we are intended to make our own conclusions, but I am still formulating mine. In the meantime I will have to hope that the nightmares remain at bay.

Review: Les Miserables, Queen's Theatre, Saturday 16 October 2010

It is no secret that I am a fan of Les Miserables - a quick glance at my post in honour of the musical's 25th anniversary will tell you that much. So I was in two minds about reviewing my most recent outing to Queen's Theatre this weekend; I would hardly be writing from a wholly objective standpoint. But I have placed my doubts aside to set down my impressions of the current production of Les Mis, a production that has been slightly neglected of late, standing in the shadow of its anniversary sister production.

Saturday's performance had much to recommend it. Good thing number 1) excellent audience behaviour. This is completely unrelated to the production itself, but considering that last time I went to see Les Mis my fellow audience members repeatedly changed seats, talked during the performance and answered mobile phone calls (I've expressed my ire regarding this in a previous post), this made a vast difference to my experience. Of course this might have had something to do with the fact that I was sitting in the dress circle (thanks to my wonderful parents!) rather than right at the back of the theatre ...

Good thing number 2) some outstanding performances from the cast. Simon Bowman is an excellent Jean Valjean, providing the heart of the show and delivering a deeply moving rendition of 'Bring Him Home'. For me John Owen Jones will always be the ultimate Valjean and he is a hard act to rival, but Bowman comes very close. Another highlight is Samantha Barks' heartbreaking Eponine, her impressive performance coming as a pleasant surprise; from the initial promise she showed in the BBC's 'I'd Do Anything' she has improved almost beyond recognition.

The production design has barely changed since I last saw the show, the set with its masterful revolving stage as effective as ever. There is arguably slight overkill with the dry ice, but in moments such as the sewer scene this proves extremely evocative of the setting. Striking images abound, with the sight of Enjolras' body on the barricades wrapped in the red flag etched vividly upon my memory.

Of course the show is not without its weaknesses. Despite excellent comic timing, Martin Ball's Thenardier is somewhat lacking and his vocals are underwhelming, whilst I found Alistair Brammer's Marius a little halting. I have also always thought the staging of Javert's suicide disappointing, lacking the visual impact to back up the emotional punch of the music.

Nevertheless, my verdict is that after 25 years Les Miserables is still fresh and capable of delivering the same emotional impact to audiences night after night, as the overwhelming standing ovation testifies. For me at least the magic has not faded.

The Spending Review: Curtain Call for the Arts?

Originally written for Wessex Scene.

With the Spending Review due on 20 October 2010, public services across the country are bracing themselves for deep and potentially damaging cuts. In the arts community, particularly in the wake of the shock abolition of the UK Film Council, there is concern about whether the delicate arts ecosystem will survive the spending cull.

Against the backdrop of a huge budget deficit, all public services must expect to receive cuts to their funding and the arts should by no means be exempt. However, the arts budget comprises only a tiny portion of overall public spending and the expected cuts of between 25% and 30% could have a disastrous impact on the arts industry.

So are the arts about to take their final bow? If you value the arts in your local community there are still ways to get involved and protect a vital part of British culture.

One of the most high profile campaigns to rally against the cuts is the I Value the Arts initiative, led by the National Campaign for the Arts (NCA). This campaign urges the public to pledge their support for the arts by registering on their website (ivaluethearts.org.uk) and sends email updates to supporters letting them know about how arts provision in their area may be affected.

Another campaign that is gaining momentum is Save the Arts, backed by leading artists including Anish Kapoor, Damien Hirst and Tracey Emin. More good news for arts lovers comes in the form of an online petition started by Luisa Summers which has attracted the attention of David Cameron. Despite the government’s abolition of the E-petitions system, the Prime Minister has promised to debate arts funding in parliament if Summers’ petition garners over 100,000 signatures.

However, even if these campaigns achieve some success, the British arts community will inevitably be forced to adapt to the economic climate. The silver lining is that the looming cuts are prompting innovative funding solutions for the future.

One alternative to the economic crutch of public spending is greater investment from individuals. This is the model followed in the USA, where nearly all arts funding comes from private philanthropy, and could be adopted to a greater extent in the UK if public funding is withdrawn.

Broadway is breaking new ground by introducing crowd funding for Ken Davenport’s new production of Godspell, allowing individuals to make a minimum investment of $1,000 (roughly £640) rather than the usual $50,000 to $100,000. For this sum, investors will be credited as producers and could even profit if the show is successful. If this scheme proves popular we could eventually see a similar approach to theatre funding in this country.

As well as a greater focus on fundraising, the Guardian’s Lyn Gardner has suggested that collaboration and cooperation within the arts community could be a way of riding out the economic storm. The National Theatre, for example, is in discussion with other theatres including the Royal Court and the Lyric Hammersmith about sharing functions such as box office and storage, recognising its responsibility to support the wider British arts scene.

There are positive omens for the future of the arts. The National Theatre has shown the way for others with the phenomenal success of War Horse, which made £2.5 million surplus last year, proving that the arts can still be commercially profitable even in these difficult times. Arts organisations might also look to the example of the Royal Opera House, which raised an impressive £19 million last year from donations and sponsorships alone.

No one can predict exactly what will be the long-term effects of the approaching cuts, but there is little doubt that the arts are a vital part of the make-up of Britain, both culturally and economically. This cornerstone of British culture needs to be preserved, and the easiest way for the average person to protect the arts for the future is to invest personally in them with their custom.

So see the next play at the Nuffield, take a look at an exhibition in the John Hansard Gallery or go to the ballet at the Mayflower. No matter what the government announces on 20 October, the show must go on.

One Day More - Les Miserables at 25

It was love at first sight (or, more accurately, first hearing). At the age of fifteen, Les Miserables was the show that made me fall blindly, head over heels in love with the musical. My secondary school staged a production of the show and for a whole term I immersed myself in the world of Jean Valjean, Marius and Eponine. At one point I knew the words to the entire soundtrack and given the chance today I could probably still sing along to most of the songs – unfortunately for anyone within earshot. In the midst of the show’s 25th anniversary celebrations, I feel that I should dedicate a blog post to the musical that first ignited my love of the genre.

It is a strange thought that Les Mis is older than I am, starting four years before I was even born. Twenty five successful years in the West End is no mean feat, and the extraordinary longevity of Les Mis is even more impressive when contrasted with the recent spate of musicals posting closing notices. I for one am ecstatic that this musical is still very much alive and kicking, but how long is too long?

Biased as I may be, I can see that Les Mis is not without its faults. Victor Hugo’s dauntingly long novel, one of many weighty tomes on my ever-growing ‘to read’ list, must have been a challenge to condense down into two and a half hours. When the show opened this was one of the main complaints of several less than favourable reviews; how advisable is it to reduce a 1,200 page book into a two act musical? Relationships take priority over politics and it is perfectly possible to leave the theatre deeply moved by Jean Valjean’s struggle but unenlightened about the 1832 uprisings.

Michael Billington, asked if he repents his initially cool review of Les Mis in 1985, maintains that he views the show as little more than ‘spectacular Victorian melodrama’; a simple, crowd-pleasing tale of good and evil that should not masquerade as anything more serious. I admire him for at least sticking to his guns. Looking at the clutch of four star reviews for the Barbican anniversary production, one does wonder if the critical turnaround has been influenced by the intervening 25 years of phenomenal success the show has enjoyed.

However, I must disagree with Billington about what he terms the ‘melodrama’ of Les Mis. I am sure that the show inevitably lacks much of the political and social punch of Hugo’s book, but a novel and a musical are two very different beasts. When Hugo wrote the novel it confronted issues of its time that when staged today appear as distant history to audiences. This was never intended to be a deeply political show and would not work as one. The aim of theatre, in the words of Hamlet, is ‘to hold as ’twere the mirror up to nature’ – an aim in which I believe Les Mis, by reflecting the ever-changing image of human nature, succeeds.

The element of the show that has theatregoers rising in a standing ovation at the end of every performance and leaves them choked with emotion and eager to return is the emotional resonance of the characters’ plight. By reducing the musical to a showdown between the ‘good’ Valjean and ‘evil’ Javert, Billington is unjustly simplifying a drama that is essentially about the human condition. I challenge any audience member to not sympathise with Javert as his existence is thrown into turmoil after the light is shone on the misguided principles by which he has lived his life. This is no melodrama of black and white.

Unfortunately I was not at the 25th anniversary concerts at the O2 (I have my limited student budget to blame) but from what I hear they were pretty spectacular. One does wonder how Cameron Mackintosh will top this year’s birthday celebrations if Les Mis reaches another significant milestone. I also wonder if a time will come when Les Mis outlives its welcome in the West End.

But for now Les Mis is stronger than ever. I will be returning again to the first musical to capture my heart in a couple of weeks’ time at its permanent home in Queen’s Theatre and I am just as excited as I was five years ago hearing those beautiful, haunting and rousing tunes for the first time. Les Mis lives for ‘One Day More’ – and many more days after that I suspect.

In Defence of the Musical

This Saturday, by pure chance, I picked up The Independent. Pure chance because I usually read The Times at the weekend, more out of habit than anything else, and the only reason I was flicking through the pages of The Independent was because the local shop had sold out of my newspaper of choice. But it was a very happy little turn of fate, because as I perused their Saturday magazine I came across an article that made me want to jump up and down in joy; an article entitled ‘How I Learnt to Love Musicals’.

I felt like personally thanking Michael Bywater. Thanks to the high culture vs low culture divide, it is not fashionable for theatre critics to stand up for the musical. A fanciful sub-genre of theatre, light entertainment for the masses - this is the position to which musical theatre is often relegated. The adjective frequently assigned to the musical is 'commercial', that dirty, damning word in the arts world. Yet theatre is, let's face it, a business. As much as I wish it could be otherwise, money does to a certain extent make the world go round (anyone else having sudden visions of Liza Minnelli and Joel Grey in Cabaret?) and to be a commercial success does not necessarily mean sacrificing quality and integrity.

There are also many musicals that are not commercial hits, some deservedly and some not, just as there are successful and unsuccessful plays. Musical theatre is too often judged purely on the basis of a clutch of jukebox shows and film spin-offs, which does not begin to do justice to the range and variety of the musical. I would also like to stress that I am not trying to disparage the aforementioned types of musical; I like Jersey Boys and Priscilla just as much as the next person. These shows are pure entertainment and there's nothing wrong with a bit of entertainment. There are times when all of us want to lose ourselves in sumptuously silly storytelling and hum along to some comfortingly familiar tunes.

But musicals can also confront contemporary issues and provoke serious thought. I will take as examples two musicals that have recently had critically acclaimed (though sadly short-lived) West End runs: Hair and Spring Awakening. I should probably mention that these are two of my favourite musicals, so I am a bit biased, but nevertheless I hope that my points will stand. Hair, when it first opened in 1967, sang to the tune of America's youth and tackled controversial current issues, notably the Vietnam War. Although its most recent incarnation comes over 30 years after the end of the Vietnam War, Claude's poignant fate still prompts questions about the justification of any conflict - questions that seem particularly relevant in the light of the news reports we hear every day from Afghanistan. Likewise, despite its nineteenth century German setting, Spring Awakening's themes of sexual awakening, teenage depression and the often deplorable way we treat our youth are just as current today (see my review of Punk Rock if you need any further proof).

So in my opinion critics need to take a leaf out of Michael Bywater's book and take time to appreciate the musical. For me it is a little baffling why there is still such a huge gulf between opera and musical theatre, when essentially they both unite music and drama. I understand of course that the music itself differs greatly, but why is opera held in such high opinion and the musical in such low? I must admit that, cultural heathen that I am, I have never been to the opera. I would love to go one day, hopefully soon, but I doubt that it will instantly displace my love of the musical. Surely it is possible to embrace both?

Thankfully musical theatre seems to be going from strength to strength. Bywater suggests that this is a symptom of the recession - musicals cheer us up. He might well be right about that. The main current threat to the musical is not a lack of punters but a lack of new musicals making it on the West End. Few producers are willing to take risks in these tough times and with good reason, as the unfortunate commercial failure of Spring Awakening illustrated. What the musical really needs now is people who are willing to push the boundaries and bring exciting new musical theatre to audiences.

But whatever the future of the musical, I don't see it going away any time soon. Which for me, Michael Bywater and musical lovers everywhere is very good news.