Tuesday 22 March 2011

Time for a move!

Just a little note to anyone visiting this page that I have now relocated my blog to Wordpress.

For all my latest theatrical musings, please head over to http://lovetheatre.net/.

Carry on reading!

Tuesday 8 March 2011

The Show Goes On

Originally written for Wessex Scene.

Britain’s politics over the last few months have been dominated by the two c-words: coalition and cuts. It is now over three months since the government released their Spending Review, announcing reductions in all areas of public spending, and the cuts are beginning to bite. One of the hardest hit sectors was the arts, with Arts Council England (ACE) to have its funding slashed by 29.6% over the next four years.

Arts organisations across the country will be forced to tighten the purse strings, but it is smaller regional organisations which are most likely to feel the pinch. In Southampton, our own campus-based Nuffield Theatre is facing up to the challenges of reduced funding and a harsh economic climate. The theatre currently receives funding from a range of sources including ACE, Southampton City Council and the University, but with cuts affecting all these areas there are likely to be hard times ahead.

The Nuffield has recently submitted its application to ACE’s new funding programme, with decisions to be made by 30th March. When grilled by the culture select committee at the end of January, ACE revealed that as many as 600 organisations could have their applications for funding turned down, while many others will see a reduction in the amount they receive.

With cuts to their funding inevitable, the big question is how the Nuffield plans to move forward. Mark Courtice, who is involved in the operations of the theatre, accepts that this will be a challenge.

“There isn’t a magic wand that we can just wave,” he admits. “Theatres look for funding in all sorts of different ways and seek support in lots of different areas. The balance between local authority funding and business funding might change, although the plain fact of the matter is that all funding sources are going to be affected by the current economic climate”.

These tough times present a particular challenge for theatres outside London. Nicholas Hytner, artistic director of the National Theatre, has emphasised the struggle that regional theatres like the Nuffield will face in the current climate of cuts.

“Beyond the capital, theatres will be hit twice over by reductions, both in Arts Council subsidy and local government support,” he commented in The Times. “There is simply no prospect whatsoever of them bridging the gap through private giving, which is, outside of London, in its infancy. Cuts in the arts would hit smaller and regional institutions hardest”.

Courtice agrees that there is less money to be had for regional theatres, but he believes that theatres such as the Nuffield provide a vital service to those within the local community who cannot afford to travel regularly to London.

“The Nuffield offers the chance of seeing really good quality work within easy reach – for some people the only reach they’ve got,” he claims. “It’s a very different ball game and our role is to help a whole community have the benefit of theatre in a way that London simply can’t.”

Even in difficult circumstances, the Nuffield is still presenting a varied and ambitious season. Executive Director Kate Anderson believes in the importance of continuing to present challenging work in a time of recession, a belief that is reflected in the programming. The Nuffield is, for example, one of the few theatres to present international theatre company Cheek by Jowl’s Russian version of The Tempest.

“We know what matters,” insists Courtice. “We always have done, and we’re not going to drop what matters because things are looking a bit different. The creative person knows what matters and finds a way.”

The road ahead is without doubt scattered with obstacles, but they are obstacles which the Nuffield Theatre is determined to overcome. While Courtice admits that the future is looking much less secure, he also has faith that “creative people come up with creative answers”.

“The theatre is a place where the community can discuss the things that matter,” Courtice states. “That’s what we have to be providing, a place for that discussion to take place. A discussion is Hamlet, a discussion is A Midsummer Night’s Dream; this is how a discussion takes place on our stage and it takes place with brilliant lighting, wonderful design and fantastic actors.”

The kind of exciting, challenging programming and engagement with the local community displayed by the Nuffield provides a prime example of how valuable the arts are to our nation and presents a convincing case for why we should protect them against further damage. To support the Nuffield it is vital first and foremost to attend as many productions as possible. For those wanting to take a more active approach there are also plenty of opportunities to volunteer and the theatre encourages those who may be interested to get in touch.

Cuts may be inevitable but this is a story that is far from over. If Britain’s varied and vibrant arts scene is to be protected for future generations, we must support our local arts organisations now. As Courtice puts it, “the discussion must go on, however bloody the financial situation is”.

To find out more about the Nuffield Theatre, book tickets or contact the theatre about getting involved with volunteering visit: http://www.nuffieldtheatre.co.uk/.

For those wanting to pledge their support for the arts, sign up at: http://ivaluethearts.org.uk/.

Friday 18 February 2011

Review: Hamlet, New Theatre Royal Portsmouth, Wednesday 16 February 2011

Originally written for The Public Reviews.

The longest and one of the most often-performed of Shakespeare’s plays, Hamlet is brimming with potential but requires sensitivity to its complexities and nuances to bring it fully to life. Icarus Theatre Collective’s production aims to give this well trodden ground a fresh and accessible twist, yet their interpretation skates over many of the depths of the text and never feels like it is doing much more than simply going through the motions.

True to Icarus’s intentions of presenting a new and fresh production, there has been considerable chopping and changing of the original text, with even the iconic ‘to be or not to be’ soliloquy being drastically relocated to the second half. What emerges, however, is not a radical re-reading; several of the choices feel arbitrary rather than artistic and there is no coherent vision for the production. Director Max Lewendel’s interpretation has taken one step towards radical re-imagining but stopped short and opted for a safe approach, leaving it awkwardly stranded somewhere between traditional and innovative.

The small cast struggle to flesh out a play that at times feels too big for them, putting in a collection of adequate but on the whole unchallenging performances, adding little to roles that have already been subject to interpretation upon interpretation. Loren O’Dair stands out from the rest with a touching, vulnerable portrait of the spurned Ophelia, rendering her emotions in delicate shades and doing a great deal with the short time she is on stage, while John Paton as Claudius has an uneven start but improves as the play progresses, adding some colour to what can be a two-dimensional villain.

More so than any other of the Bard’s plays, a production of Hamlet inevitably rests on the shoulders of its eponymous hero. Unfortunately, in this case Giles Roberts lacks the strength to bear this weight, not fully conveying the character’s depth of anguish and mental turmoil despite a few brilliant moments. So lengthy is the hesitation of Hamlet, the ultimate procrastinator, that it requires an actor of great skill and sensitivity to shed light on his protracted inner struggle. Rarely does Roberts achieve a moving sense of the prince’s plight, and with a lack of truthful emotion in several scenes, all too often this performance feels superficial and forced.

Icarus’s attempt at interpretation is patchy, with unnecessary and confused elements such as the use of human statues and the odd, distracting choice to cast female actress Dani McCallum in the role of Horatio. A powerful moment comes at the close of the first half as Hamlet stands poised over Claudius with his dagger raised, the combination of white-clad figures, echoing voices and eerie lighting achieving an impressive effect, but this is a rare diamond swamped in a gloom of mediocrity.

The purpose of theatre, according to Hamlet, is to ‘hold as ’twere the mirror up to nature’. This production, however, falls somewhat short of capturing human passions as they are depicted in Shakespeare’s rich script. While Icarus may achieve their aim of making this text more accessible, there is little to get excited about in this uninspired interpretation.


Sunday 13 February 2011

Review: The Last Five Years, Tabard Theatre, Friday 11 February 2011


Originally written for The Public Reviews.

As small-scale musicals go, Jason Robert Brown’s The Last Five Years is about as intimate as they come. In the tiny space of the Tabard Theatre, the audience are placed as flies on the wall of the five year relationship between successful writer Jamie and struggling actress Cathy, invited into the joys and sorrows of their shared lives. In a unique twist, the couple’s story is told both forwards and backwards; Cathy opens the show at the end of their marriage, her side of the story unfurling in reverse chronology, while Jamie starts at the beginning.

The eighty minutes of this production fly by as we are swept up in the utterly believable drama of Cathy and Jamie’s relationship. Brown has written two characters who are astoundingly and refreshingly ordinary, laying bare the sometimes beautiful and often ugly relationship of two flawed individuals. This is no idealised, hearts and flowers romance. His lyrics flit masterfully between the poetic and the mundane; the characters sing about leaving the toilet seat up or losing weight. There are no truly show-stopping numbers here, but the honest simplicity of the songs is fitting to a show that is moulded entirely around the emotional lives of two people.

The varied score and witty lyrics exploit Lauren Samuels’ full potential, as she belts out flawless high notes and charms with her quirky comic touches, breathing life into Cathy before our eyes. So luminous is Samuels’ performance that she leaves Christopher Pym’s Jamie somewhat in the shadow, despite his best efforts. He brings an overflowing, effervescent excitement to Jamie in the early scenes of their romance but struggles to convey with equal commitment the poignancy of the relationship’s breakdown; while Samuels paints a moving visual portrait of a broken, anguished woman, Pym struggles to achieve the same emotional engagement. Neither can he quite compete with Samuels vocally, with the few cracks in his voice occasionally emerging as the show progresses.

As they move in different directions, Cathy and Jamie never meet except at their wedding, the central hinge of the story. By keeping them apart for the majority of the show, isolated in their own halves of the small stage, the distance between them is emphasised; perhaps, one feels by the end, their relationship failed because they were always two separate parts rather than a unified whole. This is visually mirrored by Ben M Rogers’ beautifully simple set of two identical spaces split down the middle, physically dividing the couple. The ingenious incorporation of video screens showing photographs of the pair provides a timeline for their relationship, as they one by one go dark on Cathy’s side and light up on Jamie’s.

The beauty of Brown’s storytelling device is that it lends a heartbreaking sense of inevitability to the early stages of Jamie’s story, while simultaneously managing to conclude the musical with a wistful shred of hope as Cathy, back in the first bloom of their romance, waves ‘goodbye until tomorrow’. By turns poignant, moving and laugh-out-loud funny, The Last Five Years is a delight of a musical that sings straight from the heart.


Thursday 10 February 2011

Review: A Midsummer Night's Dream, Nuffield Theatre, Tuesday 8 February 2011


Originally written for The Public Reviews.

Successfully reconfiguring a classic is never an easy task, so Headlong Theatre’s bold re-imagining of one of Shakespeare’s best loved plays had its work cut out. In this innovative new production of A Midsummer Night’s Dream, the Bard’s comedy of angst-ridden lovers and mischievous fairies is resituated to 1960s Hollywood, where director Robin Goodfellow is concluding the shooting of his new movie whilst off-screen romance blossoms between stars Theseus and Hippolyta.

The intoxicating glamour of studio-era Hollywood has a certain resonance with the fairy-dust sprinkled world of Puck and Oberon and in the opening scenes, following a clever opening credits projection that neatly establishes the premise, this production’s fresh and fun concept brims with promise. Putting Puck in the director’s chair is an ingenious device that allows for an implicit questioning of the process of creating and observing drama, while confirming the impish rogue as the true overlord of the comic chaos. Sandy Grierson diverges from the traditional route of playing Puck as an excitable, other-worldly bundle of mischief and instead lends him a jaded movie director’s sardonic edge in what is a refreshingly novel interpretation of the character.

In embracing the updated setting, director Natalie Abrahami has taken the opportunity for playful manipulation of the text. The surreal incorporation of songs into the scenes provides some of the production’s most entertaining moments, while the dreamlike elements occasionally slide into the downright bizarre. Whether it is fairies in 3D glasses munching on popcorn or impromptu musical routines, this production continually surprises, delights and perplexes. Credit must go also to movement director Georgina Lamb, who has constructed an engagingly kinetic interpretation of the script that exploits the comedy to its full potential.

The cast take interesting approaches to characters that can easily become rehashed stereotypes, adding extra facets to these well known roles. Christopher Logan as pompous would-be thespian Bottom and Michael Dylan as an excitable Flute bring out the flamboyant theatricality of these hapless aspiring actors rather than emphasising the buffoonery of the labouring class mechanicals against the wit and intelligence of the aristocratic leads. Logan prances about the stage flaunting his dubious performing skills to any available audience, while Dylan has a hilarious, scene-stealing turn as a pouting Thisbe.

From the remaining solid performances, Max Bennett and Oliver Kieran-Jones as Demetrius and Lysander respectively deserve a mention for their skilful comic handling of the characters’ bewitched affection for Helena, making quite the double act. Deirdre Mullins also impresses as a decidedly gutsy Helena, endowing the spurned lover with a greater helping of scorn than despair. In contrast with more vulnerable portrayals, Mullins has an appealing flinty edge that is nicely suited to this modern updating.

Unfortunately, however, accomplished performances, adept handling of the comedy and an abundance of inventive touches do not ultimately save Headlong’s concept from a lack of cohesion. While the 1960s Hollywood glamour is convincingly evoked, the setting and text do not always make comfortable bedfellows. Headlong and the Nuffield are to be applauded for their attempt to achieve a cutting edge make-over of a much revived work, but the end result does not feel as radical as it promises to be and while it is undoubtedly fun, this interpretation never quite finds its voice.


Friday 21 January 2011

Theatre on a Shoestring

As a student of limited funds, I have lost count of the number of times people have asked me how I afford to feed my expensive theatre habit. Admittedly a fair number of my theatre trips are facilitated by free press tickets, but when I do fork out for a night at the theatre I usually manage to keep costs down.

Going to the theatre can break the bank, but if you know how to shop around for the cheapest tickets there are plenty of bargains up for grabs. In the past I have helped a number of friends to find good deals and thought that it would be useful to compile some advice in a handy feature for anyone in search of cheap tickets. At a time when we are all feeling the squeeze, these money-saving hints are applicable not only to students but to anyone wanting to enjoy some theatre on a budget. So read on for my top ten tips on how to satisfy your theatrical needs on a shoestring.

1) Use your youth


Theatres are always desperate to bring in young audiences and if you are under 26 then you shouldn't be afraid to exploit your best money-saving asset - your youth. Arts Council England's A Night Less Ordinary scheme may be winding down as a result of government funding cuts, but there are still free tickets available for under 26s up until March, so get in quick to avoid missing out. Even after A Night Less Ordinary ends, many theatres run their own schemes for young people, so always check out the theatre's website or ask at the box office if they offer any discounted tickets for students or young people.

One of the best schemes out there is the National Theatre's Entry Pass, which offers £5 tickets to all productions, reduced mates rates for under 25s and several exclusive events for members. Similar schemes also exist at the Barbican, the Donmar Warehouse and the Old Vic, and theatres such as the Royal Court and the Finborough Theatre offer discounts for young people and students. This list is far from exhaustive, so it is helpful to keep an eye on youth aimed websites like A Younger Theatre and TheatreFix to stay up to date on all the latest offers and discounts.

2) Go to a preview


Most productions will have a series of previews to make sure that everything is running smoothly before the press night and tickets to these performances will usually be sold at a discounted price. It is worth bearing in mind that the show will not be perfect at this stage, but it is a great opportunity to have a night at the theatre for a reasonable price and have a sneak peak at a new production before the press and the rest of the punters get in.

3) Book through discount websites


There are discount websites cropping up everywhere offering cheap theatre tickets, but it's vital to make sure that you are getting your tickets from a reputable and genuine source. One of the best websites is lastminute.com, which offers discounted tickets for all the main West End shows as well as meal and hotel packages if you're looking for something extra on a special occasion. Tickets to most London shows can also be bought through Whatsonstage.com, with some good deals available for mid-week performances, but steer clear if you want to go on a weekend as there are sometimes hefty booking fees for the more popular nights.

4) Look out for seasonal offers


At different times of the year there are sometimes limited periods of discounts available at certain London theatres. At the moment the annual Get Into London Theatre promotion is running, a great way to see theatre cheaply at the beginning of the year as well as getting involved in various events and activities. The offers are available until 18 February so there is still plenty of time to take advantage of the amazing deals on offer.

5) Go to a mid-week performance


This may be difficult for many people due to various commitments, but if you can get to the theatre in the middle of the week it pays off. As well as the greater availability of discounts, there is also a good chance of being upgraded to better seats if you buy tickets in the upper circle or balcony. This is far from guaranteed, and I would still advise theatregoers not to take this gamble unless they would be happy with the cheaper (and often restricted view) seats at the back of the theatre, but in my experience I have been upgraded five or six times on Tuesday and Wednesday evenings.

6) Become a friend of the theatre


This applies more to regional theatres than the West End, but if you have a local theatre that you attend regularly then it can be worthwhile to sign up for a membership. The benefits can include free and discounted tickets, priority booking and member only post-show talks with cast and creative teams. For those looking for similar deals without the restriction of one theatre, the Whatsonstage.com Theatre Club offers all this and more for various different London-based productions at the cost of £30 a year (or £35 if paying by debit or credit card).

7) Get a deal on the day


If you have the freedom to go up to London for the day and do not have a specific show in mind then this can be a good option. There are various deals on offer at the TKTS booth and other vendors in Leicester Square, though once again be wary about who exactly you are buying your tickets from. It is also important to do your research and make sure that you are actually getting a discount off the normal price. As well as discount ticket booths, there can be discounts found direct from the box office, along with the possibility of returns for popular shows. For students there is yet another benefit of youth at shows such as Wicked where they offer cheap best available tickets on the day for those able to produce student ID.

8) Know what you are buying


When shopping around, one of the best ways of assessing whether you are really getting a good deal is to find out exactly what you are likely to get from the seats on offer. The website Theatre Monkey has used the experiences of real theatregoers to give advice about the best and worst value seats in all the major West End theatres, with helpful colour coded seating charts and comments from members of the public. Whenever booking tickets from anywhere I always refer to this website to help me decide if the tickets are worth the amount that the vendor wants to charge.

9) Go directly to the theatre


If you are really struggling to find any offers, as will often be the case if you want to go on a weekend, it can be best to book directly through the theatre rather than using a middleman such as Ticketmaster. This is not always possible as increasing numbers of theatres are now booking only through external ticket websites, but tickets for productions at all Delfont Mackintosh theatres, for example, can be booked through their website. Going direct to the theatre usually means a reduced booking fee or none whatsoever, as well as the guarantee that the tickets you are buying will turn out to be the real deal rather than a scam.

10) Be prepared to give up some time

Dedicated bargain hunting will take more time but it will be worth it if you save the money. Always compare a few websites, look at what deals are available and make sure that you are getting your tickets from a proper source. My tips do not by any means cover every single money-saving trick out there, so see what you can find for yourselves.

Got any other tips for theatregoers in search of a deal? Leave a comment.

Saturday 15 January 2011

Interview with Lauren Samuels

Originally written for The Public Reviews.

You clearly had an interest in performing from a young age. When did you first get bitten by the theatre bug?

My mum first put me into dance lessons when I was about two years old and when I was seven I started attending local drama classes, so it was about then. I started seeing shows at the local theatre and it wasn't long before I joined the youth theatre there and started to do amateur productions. I was probably about seven or eight when I decided that this was what I wanted to do for the rest of my life. The first professional show that I saw was Phantom of the Opera, which my mum took me to see when I was ten, and the second one, funnily enough, was Grease. I remember watching the performers up on stage and deciding that was what I wanted to do for a living. To have got there is amazing.

You are best known for being a finalist on the BBC’s Over the Rainbow last year. What was the highlight of that experience for you?

I would definitely say meeting Andrew Lloyd Webber. He helped me so much with my performing and to be able to sing in front of him live on national television was just a dream come true.

Did you find it all intimidating when you first met him, considering what a legend he is in the musical theatre world?

Absolutely, when we were going to sing privately to Andrew I was so nervous I wanted to cry! It was so nerve-wracking, but once you get over it he’s such a normal man and it was fine.

What did you take away from the experience of doing Over the Rainbow?

I learnt a lot about myself as a person. As well as the singing, you’re putting your personality out there every week and you’re going to get negative feedback as well as positive feedback. I became much stronger as a person and I think you need to be strong in this industry, because you’re going to get a lot of knocks. So it was great for character building. I also made loads of friends who I’m still in touch with and got some great contacts through Andrew and the judges.

Do you have a favourite song that you performed on the show?

I loved singing 'The Man That Got Away' because it’s one of Judy Garland’s songs and she’s just a legend. I was so nervous to have been given it but I really enjoyed getting my teeth into such a difficult song. I also enjoyed singing 'Sway' because I got to dance with all the boys, which was fun. I loved all of them.

Almost immediately after Over the Rainbow you were cast as Sandy in Grease. How have you found the experience of playing the lead in a big West End musical?

It’s been unbelievable. When I was told that I’d been offered that role I remember I was on the way to the hairdressers in the middle of a London street and I was just screaming and jumping up and down on the phone! It was really nerve-wracking going into a big West End cast as my first West End job and having just come out of a TV show, so I was nervous about how they were going to be towards me, but they’ve all been so supportive. The whole cast are like one big family. It’s great to step out there every night on that stage as a West End lead; it really is a dream come true and I give 110% every night.

How did you deal with the challenge of putting your own stamp on such an iconic role?

It is difficult, because everyone loves the film and that’s why they come to see the musical. But Sandy’s a great role, I have a great script and great songs and my costumes and wigs are fantastic. I just enjoy playing a role that is so famous. It was nerve-wracking to step out on that stage to begin with, but now it’s just fun. The audience are always up on their feet and clapping, so it’s great to know that they are having a great time watching it as well.

Your next project is Jason Robert Brown’s musical The Last Five Years at the Tabard Theatre. Moving from a big West End theatre like the Piccadilly to a small fringe venue is a massive change. Which kind of venue do you think presents the bigger challenge to a performer?

It is going to be very different and I’ve never done a fringe production before. The Piccadilly holds about 1300 people whereas the Tabard holds about 80, so it is going to be much more intimate – the audience are going to be literally at my feet. I think it’s going to be very nerve-wracking in a sense, but I’m so looking forward to it. I’ve got a great passion for Jason Robert Brown’s music, and it is going to be really challenging because it’s all sung. I’m looking forward to getting my teeth into something so unbelievably different to Grease, I can’t wait.

As you say, The Last Five Years is a very different musical to Grease. What first attracted you to the show?

I was first introduced to it when I was at drama college and someone gave me the CD. I just thought it was beautiful and listened to it continuously. Then I went to see it when it was on in the West End a couple of years ago and I loved it, so when I got told about it I had to say yes instantly. It’s the kind of musical that is made for a small theatre. I’m really looking forward to doing something so intimate, with the audience so close.

Could you tell us a little bit about the show and your character?

The show follows a man and woman throughout their five year relationship. My character Cathy is, funnily enough, a struggling actress, while her partner Jamie is a successful writer, so she struggles with being in a relationship with a successful working man while she can’t seem to get a job. Cathy’s story is told from the end of their five year relationship and Jamie starts at the beginning. I start in a very sad, low place, having just finished with Jamie, and he starts in a very happy place having just met Cathy. It’s just the two of us, there are no gimmicks or costumes or flash sets, it’s just our ability. I’m really looking forward to taking on the challenge and hopefully I’ll pull it off.

Jason Robert Brown is hailed as a big American musical theatre talent but we are not quite so familiar with his work over here. Are you excited about the prospect of bringing this musical to UK audiences?

He’s a massive composer in America and I was actually lucky enough to meet him when I was at drama school and he came to do a masterclass with some of the students. It was great to be involved in that and to hear him talk about his work. He is a fantastic writer and his music is similar to that of Stephen Sondheim; it’s difficult, it’s meaty, it’s passionate. So I am looking forward to bringing his music to town and I hope that audiences will love it.

Since appearing on Over the Rainbow you must get recognised quite a lot. How have you dealt with the overnight fame that the show produces?

It’s strange, because people tend to just stare and I think I have something on my face but then I realise that they must recognise me from the show. But it’s nice, because people come to the stage door after Grease and they say how much they enjoyed Over the Rainbow and how much they enjoy Grease. The fans are lovely, so it’s great to have that support and recognition.

Apart from Dorothy, do you have any other dream musical theatre roles that you would like to play in the future?

My absolute dream is to play Eponine in Les Miserables. I’ve been to see the musical hundreds of times and one day I would love to play that role. I just hope that I get that opportunity. When I’m older I’d also like to play Elphaba in Wicked, which would be interesting having done the Dorothy show.

You have so far appeared on television, as a lead in a West End musical and on the London fringe all within twelve months. What would you like to do next?

When you list everything I’ve done I can’t believe it, I feel like the luckiest girl in the world. I’d like to do more musical theatre shows, for the West End and the fringe, and I have a dream to do Broadway one day. Who knows, maybe some television. I would also love to do a play; I saw Romeo and Juliet at the open air theatre in Regents Park and to do something like that would be fantastic. I just love everything to do with performing so hopefully I’ll get the opportunity to do lots of different things in the future.

Lauren stars in The Last Five Years at the Tabard Theatre in Chiswick from 9 February to 5 March.

Friday 14 January 2011

Review: Priscilla Queen of the Desert, Palace Theatre, Thursday 13 January 2011

Three drag queens, buckets of glitter and staggeringly high heels - what could be more theatrical? It is a wonder that this quirky Australian film did not make it to the stage earlier; it was simply begging for a musical make-over. Now about to go into its third year at the Palace Theatre, Priscilla Queen of the Desert is still as glitzy, euphoric and outrageous as when I first saw it eighteen months ago.

The show tracks the adventures of drag queens Tick/Mitzi and Adam/Felicia and transsexual Bernadette as they travel across the desert in their bus, the eponymous Priscilla, to do a drag show in Alice Springs. Unbeknownst to Felicia and Bernadette, the journey is one of particular personal significance to Tick, who is journeying west to meet his young son for the first time.

As Tick, Ben Richards provides the emotional core of the show, struggling to face his impending head-on collision with fatherhood. He can deftly manoeuvre between brash, camp drag queen exterior and moments of genuinely moving pathos, while boasting an impressive voice in the musical numbers. Don Gallagher too brings a subtle balance of attitude and vulnerability to Bernadette, equally able to deliver a cutting put-down and an emotional speech.

Yet the serious moments are fleeting in this breakneck whirlwind of sequins and feathers. The scenes are strung together by a series of classic, crowd-pleasing disco hits such as 'I Will Survive' and 'Boogie Wonderland', paired with hilarious and often ridiculous dance routines. After the sight of an interesting array of mourners and a coffin spun around the stage in one uproarious dance extravaganza I will never be able listen to 'Don't Leave Me This Way' with a straight face again.

The cherry on the top of all this camp extravagance is Jon Tsouras as the flouncing, flamboyant Felicia, sustaining a feverish energy that rarely wilts and gifted with wicked comic timing [note: this role is usually played by Oliver Thornton]. Matching the theatricality and excess of the performances and almost stealing the show are the wonderfully imaginative and over-the-top costumes, designed by Tim Chappel. Expect platform heels, a kaleidoscope of bright colour and some truly magnificent wigs.

For pernickity types, the show could be criticised for a slightly fluffy storyline and a few shaky Australian accents, but I find myself blissfully overlooking any faults this musical may have. Priscilla is pure, unadulterated, infectious fun - the perfect guilty pleasure. What's more, beneath the wigs and frills there is an utterly believable friendship between the central trio that holds the show together and without which the rest would merely be a dazzling façade. 

For an uplifting, feel-good theatrical experience look no further; Priscilla is a giant glitterball of fun with a great beating heart.

Wednesday 12 January 2011

Get Your Gleek On

Yes, it's time to dig out your pom-poms and show tunes - Glee is back. With the exception of those who have spent the last twelve months living a hermit-style existence of total isolation, it has been impossible to escape this US television phenomenon, which returns to the UK's screens this week with a second season. It has turned its young cast into overnight stars, catapulted long forgotten hits back into the charts and spawned countless imitations. But just what is it about a band of high school misfits belting out power ballads that has had such an extraordinary impact?

The story itself is nothing particularly new. It is Fame meets High School Musical, with a dash of The Breakfast Club on the side. Enthusiastic high school teacher Will Schuester (Matthew Morrison) takes over the school show choir – or glee club, hence the title – and recruits a motley crew of jocks, cheerleaders, geeks and wannabes in an attempt to win the national championships. Every stock American high school stereotype makes an appearance and it is classic underdog-wins-the-day drama. So how is this show any different from the scores of other American dramas that appear and rapidly disappear from our screens?

What makes Glee so appealing is that it has no illusions about what it is. It is playful with stereotypes, never taking itself too seriously and subtly sending up the conventions of American high school dramas. Also key to its success is one woman powerhouse Jane Lynch as the deliciously evil Sue Sylvester, whose presence alone makes Glee worth watching. The magic ingredient, however, seems to be the music. The impossibly slick musical numbers (what high school can really stage those theatrical extravaganzas?) are the highlight of each episode and the show has broken The Beatles' record of number one singles with tracks released from the episodes.

Perhaps we should not be overjoyed that a group of American youngsters singing covers have toppled the Fab Four from their dominance of the charts, but there are still lots of reasons to be gleeful about this series. From the perspective of a musical theatre fan, Glee has done a lot for the genre. Musicals are generally marketed within a sort of bubble, rarely reaching those who were not fans of the genre in the first place, making it difficult to bring in new audiences. This is beginning to change with the rise of television casting shows, but I would venture to claim that Glee has done more for the musical than the efforts of Andrew Lloyd Webber and the BBC.

Although Glee's soundtrack is mainly dominated by pop covers, they have managed to smuggle in a sizeable smattering of musical theatre. The first season featured songs from shows such as Les Miserables, Cabaret, Wicked and Funny Girl, while the second season goes one better by centring their entire Halloween episode around The Rocky Horror Picture Show. There is also true musical theatre calibre in the form of cast members Lea Michele (Rachel) and Matthew Morrison, as well as guest appearances from Broadway stars Idina Menzel, Kristin Chenoweth and Jonathan Groff.

It is perhaps too early to gauge any tangible effect on the musical theatre industry, but the show is undoubtedly introducing a new audience to this material and the hope is that it will translate to more bums on seats for theatres. Glee's popularity with younger audiences could bring a whole new generation to musical theatre, a consequence of the show's success that can only be a good thing.

In the Radio Times, Emma Brockes states that 'musicals aren't supposed to be cool' and although admitting that the show has brought the musical back to the fore of entertainment, she questions whether Glee really has made the musical fashionable. There is no barometer to measure how cool or not the musical may be, but Glee has certainly brought it back to the mainstream. Who would have guessed that wacky cult musical Rocky Horror would one day be brought to prime-time American television and legions of teenage viewers?

So give in to the guilty pleasure and join me in embracing gleek-dom. There may be many more bright days ahead for the musical as long as we don't stop believing ...

Friday 7 January 2011

Review: The Potting Shed, Finborough Theatre, Thursday 6 January 2011

Originally written for The Public Reviews.

Is it best to let sleeping dogs lie – or sleeping plays, for that matter? Family secrets, lost memories and a crisis of faith are the themes running through Graham Greene’s neglected play, now revived for a second time at the Finborough Theatre as part of their RediscoveriesUK season. The season aims to excavate forgotten plays by British writers, presenting the first London production of psychological drama The Potting Shed for 40 years.

In the intimate space of Finborough, the claustrophobia of a family suffocated with secrets is tangible. Paul Cawley is James Callifer, a man estranged from his family and with a disturbing lack of childhood memories, mysteriously haunted by the potting shed at the bottom of the garden. As he returns home on the eve of his father’s death in search of answers, the scene is set for bitter confrontation and shocking revelations.

In James’s long and painful quest for the truth about his childhood, Cawley effortlessly weaves between agitated frustration and raw grief, his frenetic movements hinting at a man teetering on the brink of madness as he delves deeper into the repressed memories of his youth. It is a stretch of the imagination, however, that this is a man who initially feels, as he states in the first scene, nothing; Cawley’s performance is all too feeling.

Imagination is something that is required in quite a considerable dose to swallow all the improbabilities of Greene’s plot. Although the portrait of a family falling apart at the seams is carefully painted in subtle shades by this solid cast, the script leaves gaping holes that, at times, make the psychological motivations of the main players somewhat incomprehensible. As questions of faith take precedence in the latter stages of the play, there are elements of the past that are left oddly untouched, leaving the end impression of a jigsaw puzzle with a piece still missing.

Despite the downfalls of the plot, the production successfully evokes a taut atmosphere of 1950s reserve, with Eileen Battye standing out as the embodiment of the older generation’s carefully contained emotion in the role of James’s mother; it is very much stiff upper lip and sweeping anything unpleasant under the carpet. Meanwhile, James’s inquisitive niece Anne, played as a deliciously precocious child by the impressive Zoe Thorne, turns detective to unravel the mystery.

This is a mystery, however, that is a little too protracted. There could hardly be more cryptic dialogue skirting around the all-important potting shed, so that before long we too want to shout with James ‘what happened there?’. When the secret is unveiled, at the close of the second act, it is slightly underwhelming and is followed by a slow third act that never quite delivers. Those expecting a dazzling denouement will be disappointed.

Greene’s play begins promisingly, sketching out a mouth-watering mystery and slowly building anticipation, but his plot unfortunately fizzles out in the final third. An odd piece, The Potting Shed succeeds as an interesting exploration of the nature of faith and an effective portrait of the 1950s family, just not as a consistently engaging story. Although this is not perhaps a play that urgently needed to be unearthed, Svetlana Dimcovic’s direction and the excellent performances of the cast, including a notable turn by Martin Wimbush as a disillusioned priest, wring all that they can out of the slightly lacklustre script. One can begin to see why this play has not been performed in 40 years, but the team at the Finborough make an impressive effort to bring it back to life.


Wednesday 5 January 2011

Twelve Days of Christmas: Day #12

The tinsel is coming down, the baubles are being wrapped away for another year and my series of theatrical offerings is at an end. For my last gift on this, the twelfth day of Christmas, it would be a missed opportunity not to make a glaringly obvious Twelfth Night reference. So I have predictably turned to Shakespeare for inspiration and today's focus is the National Theatre's upcoming production of the Bard's comedy.

This production, running from 11 January, is particularly special as it marks the recent 80th birthday of Peter Hall, one of the country's great directors, the creator of the Royal Shakespeare Company and former director of the National Theatre. As well as celebrating his 80th birthday and his return to the National Theatre, the production will see Peter Hall directing his daughter Rebecca in the role of Viola.

The Independent ran a special feature in celebration of Hall's 80th birthday back in November, which is my final treat for theatre lovers. The article, written by fellow director Richard Eyre, discusses Hall's long career, his achievements with the RSC and his continuing appetite for work. There are also comments from the likes of Judi Dench (who was reunited with Hall last year for an excellent production of A Midsummer Night's Dream at Kingston's Rose Theatre, one of my theatrical highlights of 2010), Ian McKellen and Timothy West about the great man and his work.

I hope that you have enjoyed my twelve days of theatrical treats and ramblings. Keep reading the blog for many more fun features and theatre reviews throughout 2011 - it's going to be an exciting year.

Tuesday 4 January 2011

Twelve Days of Christmas: Day #11

Today as I was ambling around the internet in search of something to share with all my lovely readers I came across, by a pleasing turn of fate, a piece of writing that made me want to leap off my seat and shout out 'yes, that's exactly how I feel!' (I fortunately restrained myself from doing so). On West End Wendy, another theatre blog, there have been compiled Ten Commandments of Theatre - all the dos and don'ts for those rookie theatregoers who can't quite remember to switch off their phones or clap at the end of a song. Many audience members I have been sat next to in the past might take note.

Bad behaviour in the theatre is something that I sadly keep returning to in my blog. Far from wanting to moan, I wish I could be given a reason to stop writing about this particular topic, but a night at the theatre uninterrupted by incessant chatter or the ongoing battle with the mobile phone seems to be an impossible dream. Sometimes I feel like turning around to people in the audience and asking them if they actually realise that they have paid money - usually quite a reasonable sum of money - to see the actors on the stage in front of them perform and that said money might be better spent if they could hear the actors speak. But of course that would be an extremely rude interruption of the show.

Among the rules outlined by West End Wendy, the most persistent infringements in my experience have been use of mobile phones, providing a running commentary for the show (yes, we can see what's happening, we are watching the play too) and taking photographs during the performance. I might add a few more slightly less obvious but I believe necessary rules:

  • Do not file your nails. An odd one I realise, and perhaps not obviously irritating, but when the persistent scrape, scrape, scrape cuts through a quiet scene of emotional dialogue it makes you want to scratch your own eyes out. I'm all for keeping your nails in shape but there's plenty of time for grooming outside of the theatre auditorium.
  • Stay in your own seat. For some inexplicable reason, a couple in front of me at Les Miserables felt the need to switch seats every ten minutes during the show, each time obscuring my view without fail. Surely the quality of a seat doesn't alter that much during a performance?
  • Drink responsibly (I think I might have stolen this phrase from somewhere ...). Yes, a trip to the theatre is a night out and having a relaxing drink is par for the course. But when people have had so many plastic cups of wine that they start singing along (very loudly) and shouting at the actors then it might just be one drink too many ...
Rant over. Breathe. My own complaints aside, it was refreshing to see someone write down all those little bits of theatre etiquette that are so often disregarded by theatregoers. Someone should frame it and put it up in every theatre. It will also give you a giggle, so take a look, enjoy, and perhaps memorise it for your next theatre visit ...

If you have any amusing stories of bad theatre behaviour to share then leave a comment. 

Monday 3 January 2011

Twelve Days of Christmas: Day #10

What good is sitting alone in your room? Come hear the music play ... Yes, it's time for a post dedicated to the wonderful and sometimes wacky world of cabaret. For those of you for whom cabaret conjures up nothing more than images of Nazis and Liza Minnelli in a bowler hat, today's treat is a bundle of videos to show you just what London's cabaret scene has to offer. Recently cabaret has had a new lease of life and is now an ideal platform to showcase the musical theatre talent that the capital has to offer, as well as providing an opportunity to playfully bend the rules - and a great night out to boot.

One regular cabaret night is Kinky Kabaret at Soho's Freedom Bar, which regularly attracts big names from the world of musical theatre. Whilst Hair was in town some of the cast made a visit and here is a little snippet from that night, a performance from Gavin Creel and Steel Burkhardt:



My second video offering comes from another regular cabaret series at Lauderdale House, the Christmas special of which I recently saw and reviewed. Here is a performance from one of their previous cabaret afternoons featuring Ramin Karimloo, currently starring as the Phantom in Love Never Dies, singing one of my favourite songs from Les Miserables:



I will round off my selection of cabaret performances with one of the most high profile London cabaret events, the Live in the Delfont Room series at the Prince of Wales Theatre, which has played host to Patina Miller, Daniel Boys and the cast of Les Miserables among others. This is the dazzling Hannah Waddingham performing in one of their series of special one-off shows:



This is only a fleeting glimpse at all that the unique cabaret format encompasses; as well as singing, cabaret performances can include dancing, comedy and burlesque. For a more comprehensive look at London's cabaret scene, check out the regular section of M. Magazine devoted to reviewing the capital's cabaret shows and giving tips for all the best cabaret venues and nights. In the last year cabaret seems to have gone from strength to strength and long may it continue into 2011. This art form is theatrical, glamorous, fun, sexy and occasionally outrageous. Don't take anyone else's word for it, go out there and see for yourselves. After all ... Life is a cabaret, old chum, come to the cabaret!

Sunday 2 January 2011

Twelve Days of Christmas: Day #9

As we embrace a new year of theatre, I have dedicated my blog to looking ahead at what 2011 has to offer. Today, however, I would like to focus on a show that is not set to open this year but is fully deserving of a place in the West End. Top of my theatre wish list of shows to transfer to London this year has to be acclaimed Broadway musical Next to Normal, which is unfortunately closing on Broadway this month.

This rock musical centres on a mother suffering from bipolar disorder and the struggle of her family to cope with her condition. It has won three Tony Awards as well as the coveted Pulitzer Prize for Drama and although I have not had the opportunity to see it myself, it has an amazing score and all the evidence points towards it being an outstanding show. I have written before about my desire for more original, exciting musical theatre writing, of which there is sadly not enough of making it to the West End right now; Next to Normal could fill this gap in our musical theatre scene.

Perhaps if enough people show their support for this musical then someone will see that there is the demand for it to make a transfer to the West End. This is a difficult time when producers are unlikely to take risks and following the early closures of other rock musicals such as Hair and Spring Awakening the prospects for Next to Normal are far from encouraging, but a girl can always dream!

If you have yet to discover Next to Normal then take the time to check it out because it is truly worth it. With this in mind, my treat for readers today is a selection of recordings from the score of Next to Normal. Charlotte Wakefield, who I'm sure many of you will know as Wendla from the original London cast of Spring Awakening, is a big champion of the show and has posted recordings of several of the songs on her YouTube channel. I had a listen to these after seeing her impressive performance in the Next to Normal medley at last year's Whatsonstage.com awards, which first brought this musical to my attention. Unfortunately I cannot share the videos here but they are well worth a look if you head over to her channel; a favourite of mine is 'Everything Else'.

For any of you lucky enough to be heading over to America, the show is now on a national tour and all the information can be found on their website. If anyone has been fortunate enough to see the show then feel free to post a comment with your thoughts. It would also be great to know what other shows people would like to see coming to the West End this year.

Saturday 1 January 2011

Twelve Days of Christmas: Day #8

Like everyone else I am feeling the effect of one too many glasses of champagne seeing in the New Year, so I beg mercy and take a back seat in my blogging role today, for which I hope my readers can forgive me. Traditionally the beginning of the year is a time to make resolutions and one of my top aims for the next twelve months is to see theatre, theatre and more theatre. I have squeezed more plays and musicals into 2010 than any other year of my life so far, but looking at all the round-ups of what the year has had to offer I can only pause to think with regret of what I have missed.

Yesterday's post looked forward to some of the theatre that might form part of my resolution this year, and following from that here is a comprehensive selection of what to see in 2011 from Lyn Gardner in the Guardian . But taking a moment to look back, the video I have found today is from one of the best shows of 2010, the Broadway transfer of Hair. Here are the long-haired, breathtakingly enthusiastic and downright wonderful cast at their best performing at the Tony Awards:



If you too were blown away by Hair then show your support and vote for them as Best Musical Revival in the Whatsonstage.com Awards.