‘MOULIN ROUGE! THE MUSICAL’: Karen Olivo & Aaron Tveit. Photo: Matthew Murphy

MOULIN ROUGE! THE MUSICAL
Book by John Logan
Based on the 2001 Twentieth Century Fox film Moulin Rouge!
written by Baz Luhrmann & Craig Pierce & directed by Baz Luhrmann
Music supervision, orchestrations, arrangements & additional lyrics by Justin Levine
Choreography by Sonya Tayeh
Directed by Alex Timbers
Al Hirschfeld Theatre
302 W. 45th Street
877-807-9130, https://moulinrougemusical.com/

By Scott Harrah

Baz Luhrmann’s iconic 2001 film Moulin Rouge! was perhaps the first “jukebox musical” of its kind for Hollywood, released the same year as the ultimate jukebox phenomenon Mamma Mia! on Broadway. In this brilliant stage adaptation, book writer John Logan and director Alex Timbers keep the same storyline but have added many new songs. Set designer Derek McLane has turned the Al Hirschfeld Theatre into a gorgeous replica of the legendary Montmartre nightclub in Paris, complete with a red windmill and glitter galore, like a brothel on steroids.  Moulin Rouge! The Musical “can, can, can” and will give mega-shows like Hamilton and Book of Mormon some stiff competition as far as having hard-to-get, expensive tickets, and the show has already broken box-office records since previews began earlier this summer.

Baz Luhrmann’s brilliantly busy film was always more about style than substance, so if the show’s narrative seems paper-thin and hollow, it’s only because this adaptation is staying true to the film. However, to really enjoy the musical, forget about Nicole Kidman’s Satine, Ewan McGregor’s Christian and John Leguizamo’s Toulouse-Lautrec because the geniuses behind this glorious stage version have completely recalibrated and retooled this reboot for a 2019 audience. Everything about the show is interactive and decadent from the moment one steps inside the Hirschfeld, with men and women sporting corsets and high heels bumping and grinding on stage before the show even begins. The show starts with a proverbial bang, with four sassy ladies belting out “Lady Marmalade,” the cover of the LaBelle song that Christina Aguilera, Lil’ Kim, Pink and Mya and Missy Elliot took to the top of the pop charts when the film opened 18 years ago.

Here, we have the golden-voiced Tony winner Karen Olivo as Satine, and her interpretation of the aging Parisian cabaret courtesan is much darker and less glamorous than Ms. Kidman’s but is equally heartbreaking.  When she descends upon the stage from a swing that comes down from the ceiling, belting Shirley Bassey’s “Diamonds Are Forever,” amped up by powerful mikes, it’s as thrilling as seeing Beyoncé, Madonna or any pop superstar making a grand concert entrance. Ms. Olivo’s lush vocals are one of the musical’s greatest assets. Aaron Tveit—who has come a long way indeed since Catch Me If You Can more than a decade ago—is great as the idealistic, broke young songwriter Christian, yet both he and Ms. Olivo do not have a lot of chemistry together, but somehow they make it work. Come to Moulin Rouge! The Musical for the “wow” factor of the music, Sonya Tayeh’s dazzling choreography and all the eye-popping spectacle, but just like the movie, don’t expect great drama.

The story revolves around how Harold Zidler (the delightful Danny Burstein), the quirky owner of Moulin Rouge, is facing financial ruin with the club in 1899. The only hope of saving the business is the smarmy Duke of Monroth (Tam Matu), who has plenty of cash to invest but demands the affections of Satine in return. This is a problem because Christian falls madly in love with her, so she must choose between him and the villainous duke.

Much of the fun experiencing Moulin Rouge! The Musical, besides Catherine Zuber’s splendid costumes, is hearing all the song snippets from recent hits like Adele’s “Rolling in the Deep” and Rihanna’s “Only Girl (In the World),” to name a few.  Some of the movie’s few original songs remain, most notably “Come What May,” Christian and Satine’s haunting love ballad, but it is truly a shame that Satine’s solo number, “One Day I’ll Fly Away,” was cut as that song was a show-stopper for Nicole Kidman in the film.

In addition, too many newer songs have been added to mention, but the opener in Act II, Lady Gaga’s “Bad Romance,” contains one of the most thrilling pieces of sexy choreography you have seen in a long time.

Other iconic parts of the film, like Australian pop star Kylie Minogue as the “Green Fairy” trilling “The Sound of Music,” could not be included for obvious technical reasons. However, Ms. Olivo does a great job doubling as the little fairy (here, she descends from the ceiling in one number) when Christian decides to drown his sorrows in the trippy alcoholic concoction absinthe.

Some of the supporting cast members are not as powerful as others. For example, Sahr Ngaujah (Fela!) seems too strong and able-bodied as Toulouse-Lautrec, the physically challenged painter whose portrayal by John Leguizamo was far superior in the film. However, it would be petty to quibble about the minor shortcomings of this stage adaptation because, thanks to the precise direction of Alex Timbers and his crackerjack team, Moulin Rouge! The Musical is a pop-culture pastiche, and a colorful, energetic, endlessly creative ride from beginning to end. It will certainly enjoy a well-deserved long, vibrant run on Broadway.

Edited by Scott Harrah
Published August 1, 2019
Reviewed at July 31, 2019 press performance.

‘MOULIN ROUGE! THE MUSICAL’: Tam Matu. Photo: Matthew Murphy

‘MOULIN ROUGE! THE MUSICAL’: The company. Photo: Matthew Murphy

‘MOULIN ROUGE! THE MUSICAL’: Ricky Rojas & Robyn Hurder. Photo: Matthew Murphy

‘MOULIN ROUGE! THE MUSICAL’: (left to right) Sahr Ngaujah, Aaron Tveit & Ricky Rojas. Photo: Matthew Murphy

‘MOULIN ROUGE! THE MUSICAL’: Karen Olivo & Tam Matu. Photo: Matthew Murphy

‘MOULIN ROUGE! THE MUSICAL’: (left to right) Jacqueline B. Arnold, Robyn Hurder, Holly James & Jeigh Madjus. Photo: Matthew Murphy

The post ‘Moulin Rouge! The Musical’: It can, can, can! appeared first on StageZine.

‘COME FROM AWAY’: The West End cast. Photo: Matthew Murphy

COME FROM AWAY

Phoenix Theatre

Charing Cross Road

London, United Kingdom

WC2H 0JP

https://comefromawaylondon.co.uk/

By Scott Harrah

LONDON—Come From Away, the sleeper hit musical about the inherent goodwill of humanity and the kindness of strangers during a global crisis, has maintained all the brilliance of the Broadway original in its transatlantic transfer to London’s West End. The show won four Olivier Awards this year, including Best New Musical. For those unfamiliar with the show, it is a musical about what happened when nearly 7,000 people from 38 transatlantic jets were forced to land and stranded in tiny Gander, Newfoundland, Canada on September 11, 2001. For people like this reviewer who witnessed 9/11 firsthand (I saw the first plane crash into the North Tower), the concept of Come From Away seemed implausible at first because how does one make a musical about such a tragic day in American history? Somehow, Irene Sankoff and David Hein, the writers of Come From Away, managed to create a classic story of hope during a grim period in history.

This may not sound like “feel good” material to fill one hour and 45 minutes. A 9/11 musical sounded unbelievable when the show first opened in New York in spring 2017, but it is this show’s ability to surprise and touch even the most jaded theatergoer that makes it so unusual and emotionally powerful. After seeing the show again in London two years after its Broadway debut, the musical still made me misty-eyed.

Most of us never paid attention to the little human interest story (overshadowed in the press by the grisly articles dispatched from Ground Zero in Manhattan, the Pentagon in DC and Shanksville in PA) about how a remote town in Maritime Canada opened its homes and hearts to thousands unable to return to the USA when planes were grounded as U.S. airspace closed on 9/11. The West End version of the musical is exactly the same but with a different cast.

As in the Broadway production, Beowulf Borritt’s barren set of weather-beaten trees and little else vividly depicts Newfoundland. The show opens with the rousing number “Welcome to the Rock” (a reference to the fact that Newfoundland looks like a giant rock in the North Atlantic “between there and here”), and the cast sings in twangy, hard-to-decipher Newfie brogues (a strange hybrid of Canadian and Irish/Scottish dialects). However, this reviewer found the London cast to be more authentic because the actors’ accents have the proper tones of Celtic sounds, perhaps because a U.K. actor has a better frame of reference for speaking like an Irishman or Scotsman. Whatever the case, the British cast and dialect coach Joel Goldes do a fine job of making the townsfolk sound like bona fide Newfies. If you have ever spoken to a true Newfie from “the Rock,” you know they sound more Irish and Scottish than Canadian. In the New York production, the Newfies just sounded like Canadians from Toronto at times (not that it mattered).

The cast’s frenetic energy and the Celtic-themed music command our attention. As is the case with Broadway, the West End rarely gets original shows that are not adaptations of a film or book, and this one is based on real-life events and has a docudrama feel to it. On paper it sounds like it shouldn’t work at all, but the fact that it does beautifully makes Come From Away all the more trenchant. Based on interviews with the people of Gander, Canadian book and songwriters Irene Sankoff and David Hein (a married songwriting duo) have assembled a pop opera that simply tells the stories of the diverse characters stuck in Gander without being trite or sentimental.

There are the “come from aways” (Newfoundland slang for outsiders): Texans, Brits, a Jew, Muslims, Germans, a female American Airlines pilot (Rachel Tucker), as well as the townspeople, ranging from a teacher to an animal rescue worker. The actors play many dual roles. Jonathan Andrew Hume alternates between a gay man and a Muslim Egyptian (with amazing conviction). Other subplots include a budding romance between an older Texas woman (Helen Hobson) and an Englishman (Robert Hands), and the experiences of a neophyte TV reporter (Emma Salvo).

There are jokes about Newfoundland and Canada in general (complete with Tim Horton’s gags), and odd local customs like kissing a codfish (don’t ask). Amazingly, for such a short show, there is also plenty of depth here, and the people aren’t portrayed as stereotypes

Songs like “28 Hours/Wherever We Are,” ”On the Edge” and “Me and the Sky” (Ms. Hobson’s showstopper about being the first woman pilot of a commercial jet) and more jump out at us with the melodic, emotional force we used to experience in old show standards.

In addition to the outstanding cast, expertly directed by Christopher Ashley, there is innovative choreography by Kelly Devine, which contains bits of country and lots of Irish-style Riverdance moves. The narrative is expertly woven through nonstop movement and song.

Come From Away is unlike anything we’ve seen on the West End or Broadway, a musical that celebrates and glorifies humanity, understanding and the reasons to embrace the differences of people we don’t know, while showing how no one is really that different—without coming off hokey or contrived. This is a musical with a simplistic yet sobering message of unity for the divided world of 2019, making the show relevant, topical, and fun. It’s a new type of never-before-seen, uncharted musical territory much like Hamilton was. It deserves to remain a sensation on both sides of the Atlantic.

Edited by Scott Harrah
Published June 18, 2019
Reviewed at performance in London on June 12, 2019

‘COME FROM AWAY’: Rachel Tucker and cast. Photo: Matthew Murphy

‘COME FROM AWAY’: The West End cast. Photo: Matthew Murphy

‘COME FROM AWAY’: The West End cast. Photo: Matthew Murphy

The post ‘Come from Away’: U.K. production also soars appeared first on StageZine.

‘HADESTOWN’: Reeve Carney & Eva Noblezada. Photo: Matthew Murphy

HADESTOWN
Book, music & lyrics by Anais Mitchell
Directed by George C. Wolfe
Choreographed by David Neumann
Walter Kerr Theatre
219 West 485th Street
212-239-6200, www.hadestown.com

By David NouNou

Although it has come late in the season, we have the winner for best musical. Hadestown is a towering theatrical journey to hell. It’s sort of a metaphor for the times in which we live.

Based on the Greek tragedy of Orpheus and Eurydice, and his journey to hell to rescue her back from the dead, this tale is set in New Orleans. Our Orpheus (Reeve Carney) is the sweetest and gentlest of souls who works in a café and Eurydice (Eva Noblezada) is a wandering waif who crosses Orpheus’ path and he falls madly in love with her. To narrate all that happens or will happen is Hermes (the remarkable Andre DeShields). He is like the emcee in Cabaret.

The rulers of Hadestown are Hades (Patrick Page) and Persephone (Amber Gray). Persephone comes up and joins the living every summer. She has a wild time entertaining all by wining and dining but has to return to Hades back in the winter. Eurydice being poor, cold and hungry goes down with Persephone on the false illusion that life will be better down there, only to find the grind and misery that prevails.

There are also the muses who butt into everyone’s lives and not for the good. It is up to Orpheus upon realizing the loss of Eurydice, on how he is going down to Hadestown and how he will rescue her from the grip of Hades.

What makes this journey bearable is the remarkable score by Anais Mitchell. It is jazz- infused, rhythmic, pulsating and palpable. From the opening song “Road to Hell” to the closing number in Act I, “Why We Build the Wall,” the music and lyrics are all arresting and haunting. “Why We Build the Wall” is a chilling reminder of where we’re at in 2019, but in actually it was written years before the ongoing nightmare we live with today. The score is phenomenal throughout till the end, the reprise of “Road to Hell.”

The cast is superb, headed by the indefatigable Andre DeShields, a theater legend. His Hermes is the velvet protector of the lost. Patrick Page is spine chilling as Hades, especially when it comes to singing “Why We Build the Wall.” Amber Gray’s Persephone is sheer delight and can lure anyone to go down to Hades with her. Eva Noblezada was enchanting in the 2017 revival of Miss Saigon, and she is in good voice here. Reeve Carney is guileless as Orpheus.

Director Rachel Chavkin has outdone herself here. Her Natasha, Pierre & The Great Comet of 1812 overloaded the senses to distraction, but here she has brilliantly modulated the proceedings and is greatly abetted by the overwhelming set by Rachel Hauck.

The nightmarish story is not necessarily uplifting, but the theatrical experience is priceless.

Edited by Scott Harrah
Published April 22, 2019
Reviewed at April 21, 2019 press performance.

‘HADESTOWN’: Amber Gray & cast. Photo: Matthew Murphy

‘HADESTOWN’: Eva Noblezada & cast. Photo: Matthew Murphy

‘HADESTOWN’: (left to right) Amber Gray, Patrick Page & Reeve Carney. Photo: Matthew Murphy

‘HADESTOWN’: Eva Noblezada & cast. Photo: Matthew Murphy

‘HADESTOWN’: Amber Gray & cast. Photo: Matthew Murphy

‘HADESTOWN’: Patrick Page & Amber Gray. Photo: Matthew Murphy

‘HADESTOWN’: Reeve Carney. Photo: Matthew Murphy

‘HADESTOWN’: (left to right) Jewelle Blackman, Kay Trinidad & Yvette Gonzalez-Nacer. Photo: Matthew Murphy

‘HADESTOWN’: Andre De Shields. Photo: Matthew Murphy.

‘HADESTOWN’: The cast. Photo: Matthew Murphy

The post ‘Hadestown’ is one hell of a great musical appeared first on StageZine.

‘KNOCK KNOCK’: Niv Petel. Photo: Tai Kwun Centre for Arts & Heritage, Hong Kong

Special Event Review

KNOCK KNOCK
Written & Performed by Niv Petel
Artistic Advisor: Maia Levy
Set & Costume Designer: Rhiannon White
Original Light Design by Oliver Bush
United Solo Festival on Theatre Row
410 West 42nd Street
(212-239-6200), www.unitedsolo.org
http://www.knockknockplay.co.uk/

By Scott Harrah

Israeli performer Niv Petel’s one-man show Knock Knock is a provocative depiction of what a parent experiences raising a child in Israel, a country with mandatory military service starting at age 18. Mr. Petel performed the show in New York on November 12^th as part of the 2018 United Solo Theatre Festival before continuing on to Philadelphia.

The show opens with Mr. Petel humming a haunting, eerie tune while via expressive mime, pretends to be a soldier sewing himself up. It is a jarring opening to the show but sets the grim tone for a sober subject: The reality of any parent raising a child in Israel, knowing that, because of compulsory service, all children can die once they reach 18 and go into combat.

Mr. Petel portrays Ilana, an army liaison officer. He faces the audience as Illana, as if we are her son, Elad. We see Illana act out through mime, dialogue, props like hats and sunglasses and simple lighting, the early days of Elad’s life. To portray Elad as a baby, Mr. Petel has a towel wrapped up cleverly to look like an infant.

In this world where every child is destined to be a soldier, Illana is a metaphor for most Israeli parents. The story focuses on Elad’s life as a baby up until he is old enough for combat. We see Illana’s frustration about the inevitable as Mr. Petel performs numerous short physical sequences. Although it’s not always clear what he is doing—with his fluid body movements and staccato sound effects—he is like an ebullient Middle Eastern version of the late Robin Williams.

Some of the most powerful, moving scenes involve Ilana making a video call to Elad when he is finally away serving and she is unable to reach him. The horror on Illana’s face is heartbreaking.

The title Knock Knock refers to the job Illana has in the military. She must knock on the doors of parents and inform them that their child has been killed in combat. For a solo show actor as gifted as Mr. Petel, it is truly a treat seeing him act out Illana and Elad and hearing all his own sound effects. He’s often like a human jukebox, able to replicate different types of music and sounds.

Expository narrative is needed to bond with the audience because it is such an intimate experience. Some spoken background information might make the show more accessible to U.S. audiences because most Americans are unfamiliar with how the Israeli military works and may not know all the political details of what it is like to live in Israel, a country in which Illana says people either learn to live with the fighting or “in spite of it.”

Knock Knock ultimately has a universal theme that has nothing to do with the Israeli-Palestinian conflict. It shows what parents of all nationalities, ethnicities and religions experience when their child is either sent off to war or placed in some type of danger.

Published November 16, 2018
Reviewed at November 12, 2018 performance.

‘KNOCK KNOCK’: Niv Petel. Photo: Chris Gardner

‘KNOCK KNOCK’: Niv Petel. Photo:Tai Kwun Centre for Arts & Heritage, Hong Kong

‘KNOCK KNOCK’: Niv Petel. Photo: Tai Kwun Centre for Arts & Heritage, Hong Kong

‘KNOCK KNOCK’: Niv Petel. Photo: Tai Kwun Centre for Arts & Heritage, Hong Kong

‘KNOCK KNOCK’: Niv Petel. Photo: Tai Kwun Centre for Arts & Heritage, Hong Kong

‘KNOCK KNOCK’: Niv Petel. Photo: Tai Kwun Centre for Arts & Heritage, Hong Kong

‘KNOCK KNOCK’: Niv Petel. Photo: Tai Kwun Centre for Arts & Heritage, Hong Kong

The post ‘Knock Knock’: A child & the military in Israel appeared first on StageZine.

‘TINA’: Adrienne Warren as Tina Turner. Photo: Manuel Harlan

TINA
Book by Katori Hall, Frank Ketelaar & Kees Rins
Directed by Phyllida Lloyd
Choreographed by Anthony Van Laast
Through July 20, 2019
Aldwych Theatre
Charing Cross Road
London, United Kingdom
(0845 200 7981), www.tinathemusical.com

By David NouNou

Tina Turner is a force of nature, a hurricane. There are very few artists where you just mention their first name and you see their entire portfolio appearing in your mind. Tina is among those superstars: Aretha, Barbra, Cher, Diana, Donna and Meryl (I threw her in just because she is my favorite actress of all time), just to name a few; no need to say their last name as it would be redundant and stating the obvious.

Tina the Musical is more than a jukebox musical about an artist and her song portfolio inserted into it to recapture nostalgia. Tina actually has a book that is logical and makes sense of the artist’s life. Of course their will be portions or parts that would be missing, that is the nature of a musical; you have to stay on course to hold the audience’s attention

Starting out in Nutbush, Tennessee, her birth place, singing in her father’s ministry, abusive father, deserted by her mother, living with her grandmother and savior, moving to St. Louis at 16 and reconnecting with her mother, marrying Ike and her tumultuous relationship with him, attempting suicide, from stardom to the depths of poverty and depression, going out on her own and rebuilding her career in the record industry and sold-out concerts around the world, to the supernova she is today. It is all here. There is an important aspect that is just mentioned as a blip, and that is her conversion to Buddhism. In fact, it was an integral part of her life; her faith in Buddhism was her salvation.

In addition, there are also her songs that are sung intact and not just snippets: “River Deep, Mountain High,” “Proud Mary,” “Nutbush,” “Let’s Stay Together,” “Private Dancer,” “What’s Love Got to Do With It,” and many more. What is unique here is that the songs come in sequence and are not randomly inserted for the sake of “keep the musical moving” as in the current misconceived Broadway production of Summer – The Donna Summer Musical which I’m sure will no doubt move to London in the near future. The Brits can’t get enough of songbook musicals.

As I stated earlier Tina, the singer, is bigger than life, so the performer that plays her has to capture that essence of Tina’s magnetism. It is not enough to just sing the songs well; you have to transform to be Tina. At the performance we attended, unfortunately the incredible Tony-nominated Adrienne Warren who portrays Tina was on holiday. Being familiar with Ms. Warren’s work, from seeing her in New York in Shuffle Along and Bring It On, I can only imagine the fiery charisma she brings to the character of Tina. At our performance, the role of Tina was played by Aisha Jawando. Credit is certainly due to Ms. Jawando for giving a good performance, singing all the songs well, and the high energy she emits. Unfortunately, she lacks the Tina sparkle that is so unique to Ms. Turner.

A cautionary word to our readers: In London, unlike New York, when a star, lead, or performer is not performing at that performance, there are no announcements, or inserts in the souvenir brochures (what we call Playbills in New York), so you have no idea of which actor is out. We found out about it accidentally as we were picking up our tickets. A big discredit to Ms. Warren, but we enjoyed the show regardless. We can’t wait for Tina to cross the Atlantic and land on Broadway with Ms. Warren as Tina.

Edited by Scott Harrah
Published July 8, 2018
Reviewed at June 21, 2018 performance in London

‘TINA’: Adrienne Warren & cast. Photo: Manuel Harlan

‘TINA’: (left to right) Hannah Jay-Allen, Adrienne Warren, Perola Congo, Sia Kia as the Ikettes. Photo: Manual Harlan

‘TINA’: The cast. Photo: Manuel Harlan

‘TINA”: Kobna Holdbrook-Smith & Madeline Applah. Photo: Manuel Harlan

‘TINA’: Adrienne Warren & Jammy Kasongo. Photo: Manuel Harlan

‘TINA’: Adrienne Warren (center) & cast. Photo: Manuel Harlan

‘TINA”: Adrienne Warren & Kobna Holdbrook-Smith. Photo: Manuel Harlan

‘TINA’: Adrienne Warren & Lorna Gayle. Photo: Manuel Harlan

‘TINA’: Adrienne Warren. Photo: Manuel Harlan

‘TINA’: Adrienne Warren. Photo: Manuel Harlan

‘TINA’: Kobna Holdbrook-Smith. Photo: Manuel Harlan

‘TINA’: Aisha Jawando. Photo: Manuel Harlan

‘TINA’: Jammy Kasongo. Photo: Manuel Harlan

‘TINA’: Baker Mukasa & Kit Esuruoso. Photo: Manuel Harlan

‘TINA’: Ryan O’Donnell. Photo: Manuel Harlan

‘TINA’: Gerard McCarthy. Photo: Manuel Harlan

‘TINA’: Jason Langley & Kayleigh McKnight. Photo: Manuel Harlan

The post ‘Tina’: Turner’s life & hits | London Theatre appeared first on StageZine.

‘BAT OUT OF HELL:—THE MUSICAL’: Andrew Polec & cast. Photo: Specular

JIM STEINMAN’S BAT OUT OF HELL: THE MUSICAL
Book, music & lyrics by Jim Steinman
Choreography by Emma Portner
Directed by Jay Scheib
Through January 5, 2019
Dominion Theatre
London, United Kingdom
https://www.batoutofhellmusical.com/

By Scott Harrah

Meatloaf was an iconic rock singer in the 1970s, with a string of classic hits featuring his larger-than-life persona and soaring vocals, but it was New York composer/producer Jim Steinman that wrote and conceived Meatloaf’s songs and helped turn the singer into a superstar. Mr. Steinman also composed mega-hits for everyone from Aussie pop group Air Supply to Bonnie Tyler (“Total Eclipse of the Heart”), Celine Dion and others.

This jukebox musical featuring both Meatloaf hits and classics by Air Supply, Celine Dion and others has had many successful incarnations throughout the United Kingdom, most recently in England at the London Coliseum in summer 2017, and a brief stint in Canada at Toronto’s Ed Mirvish Theatre from October 2017 to January 2018.

Bat Out of Hell: The Musical takes nearly all of Meatloaf’s big hits and attempts to weave them into a puerile narrative about a watered-down version of Peter Pan, set in an apocalyptic city called Obsidian and centers on the tale of Strait (Andrew Polac), who seeks eternal youth and has romantic designs on Raven (Christina Bennington), much to the disapproval of the young woman’s wealthy parents Falco (Rob Fowler) and Sloane (Sharon Sexton).

The narrative is often confusing and makes little sense. In addition, too much is happening on stage (but it all certainly looks spectacular, with Patrick Woodroffe’s high-tech lighting and Jon Bauser’s futuristic sets.) Many scenes are mostly shown on video screen projections by Finn Ross, because dramatic scenes unfold behind opaque curtains on various parts of the set. This might be great for a rock or pop concert, but it becomes tiresome in a West End musical.

The best aspect of the show is Emma Portner’s trenchant choreography. The dancers are always in perfect sync, and really flesh out the themes of all the hit songs. Show standouts include Rob Fowler as Falco; and Rhianne-Louise McCaulsky (the understudy for Zahara at the performance we saw).

The Meatloaf classics are all here, from “Bat Out of Hell” and “I’d Do Anything for Love (But I Won’t Do That), “Two Out of Three Ain’t Bad,” “You Took the Words Right Out of My Mouth (Hot Summer Night), plus Air Supply’s “Making Love Out of Nothing At All” and the Celine Dion standard “It’s All Coming Back to Me Now.” The reason for the other songs not originally performed by Meatloaf is that Jim Steinman wrote hits for many artists over the years. The Meatloaf songbook and other Steinman-penned hits always had the rock opera-style orchestrations and soaring vocals that lent themselves to music videos and over-the-top spectacle. Case in point: Ms. Dion’s 1996 smash hit “It’s All Coming Back to Me Now,” purportedly inspired by Emily Bronte’s Gothic novel Wuthering Heights, and best known for a romantic music video in which Celine wore bodice-ripper period costumes and traipsed around an 1800s estate carrying candles, like a pop-music version of Cathy searching for Heathcliff on the Moors. (Meatloaf also recorded a less successful version of the song.)

Act I is actually weaker than Act II. Meatloaf’s all-time greatest hit “Paradise By the Dashboard Light,” the classic about losing one’s virginity, should be performed like the nearly nine-minute rock operetta that made it a golden oldie, but here the song is done with scattershot orchestration and minus the requisite passion and melodrama.

By Act II, the Meatloaf songs are performed with the proper instrumentation and soaring backup choruses that are the Meatloaf and Jim Steinman trademark, but one leaves the Dominion Theatre feeling like something is missing. Jukebox musicals are tricky to pull off on both sides of the Atlantic because one really needs to have a solid story (like Tina, currently playing in London at the Aldwych) to really capture the essence of any great pop artist.

Bat Out of Hell: The Musical certainly rocks the U.K. and the audience at the performance we caught seemed to enjoy the show. The production’s narrative is perhaps too hollow for a Broadway transfer to New York, but it’s flashy and razzle-dazzle enough perhaps for a Las Vegas run. If you are in London this summer and enjoy the Meatloaf songbook, it’s still a fun evening.

Edited by Scott Harrah
Published July 2, 2018
Reviewed at June 22, 2018 performance in London

‘BAT OUT OF HELL—THE MUSICAL’: Andrew Polec & cast. Photo: Specular

‘BAT OUT OF HELL—THE MUSICAL’: Andrew Polec & cast. Photo: Specular

‘BAT OUT OF HELL—THE MUSICAL’: Andrew Polec, Christina Bennington & cast. Photo: Specular

‘BAT OUT OF HELL—THE MUSICAL’: Christina Bennington, Andrew Polec & cast. Photo: Specular

‘BAT OUT OF HELL—THE MUSICAL’: Danielle Steers & Wayne Robinson. Photo: Specular

‘BAT OUT OF HELL—THE MUSICAL’: Rob Fowler & Sharon Sexton. Photo: Specular

‘BAT OUT OF HELL—THE MUSICAL’: Sharon Sexton & Rob Fowler. Photo: Specular

‘BAT OUT OF HELL—THE MUSICAL.’ Sharon Sexton. Photo: Specular

‘BAT OUT OF HELL—THE MUSICAL’: Wayne Robinson. Photo: Specular

‘BAT OUT OF HELL—THE MUSICAL’: Danielle Steers. Photo: Specular

‘BAT OUT OF HELL—THE MUSICAL’: Danielle Steers & Andrew Polec. Photo: Specular

‘BAT OUT OF HELL—THE MUSICAL’: The cast. Photo: Specular

The post ‘Bat Out of Hell’: Meatloaf musical rocks U.K. appeared first on StageZine.

‘EVERYBODY’S TALKING ABOUT JAMIE’: The cast. Photo: Alastair Muir

EVERYBODY’S TALKING ABOUT JAMIE
From an idea by Jonathan Butterell
Inspired from the 2011 documentary film Jamie Drag Queen at 16
Book & lyrics by Tom Macrae
Music by Dan Gillespie Sells
Directed by Jonathan Butterell
Choreographed by Kate Prince
Through September 28, 2019
Apollo Theatre
Shaftsbury Avenue WC2
London, United Kingdom
(0330 333 4809), www.everybodystalkingaboutjamie.co.uk

By David NouNou

Everybody’s Talking About Jamie is an original musical that is a delight from start to finish. It is fresh and relevant. Among its many outstanding features is the score by Dan Gillespie Sells and Tom Macrae. It is lively, energetic and extremely catchy. The book by Mr. Macrae is a tad bit long and could use some trimming.

Inspired by the true story of Jamie Campbell, the setting has now shifted to Sheffield, England. It deals with the final semester of a high-school class that is about to graduate. They are in the process of getting their evaluations of what their field of work is going to be, and center stage at his desk is Jamie New, a 16-year-old boy (Luke Bayer, understudy) reading a copy of Vogue. When it is his turn to answer what profession he wants to get in, Jamie answers performing. His teacher tells him to “get real” and his aptitude test says he is going to be a welder. Well, that doesn’t sit well with Jamie because in reality he wants to be a drag queen but doesn’t have the nerve to announce it.

There are two people in his life that Jamie can confide in: his mother, Margaret (Josie Walker) and his BFF, a Pakistani schoolmate who wants to be a doctor, Pritti Pasha (Lucie Shorthouse).  And both are very supportive and encouraging of his future plans. His father abandoned him years ago when he saw Jamie prancing in his mother’s dress.

Thus starts Jamie’s journey to achieve his dreams. The road is a bumpy one. There are the usual school bullies who jeer, but there is also support from an owner of a drag boutique named “Victor’s Secret” Hugo Battersby ( Phil Nichol), formerly known as Loco Chanel, the world’s foremost drag queen and now a drag shop owner. He takes Jamie under his wing and introduces him to the world of drag and his first flaming red dress. As Jamie gets deeper into his endeavors, his fight becomes harder. The message here is he is a fighter and a survivor. He has friends that have his back and when you are only 16, climbing this steep path in red Jimmy Choo stilettos, who can ask for anything more? In an ideal world Jamie would be a perfect poster boy for the LGBTQ community.

The concept and structure of this musical is very British in nature and presentation. For Americans, it may take while to understand all the colloquialisms and the regional dialect.  What makes this musical so endearing is the score, choreography and the cast. With each song, the story is propelled forward. It explains each character vividly. The songs are full of joy and hope but the melancholy songs are written for Jamie’s Mom, Margret. “If I Met Myself Again” and the heart-wrenching “He’s My Boy” is a lament that every mother sings about her son, gay or straight, or just plain different.

The entire cast is splendid. However, there are three standouts. Luke Bayer, although the understudy, makes an incredible Jamie. There is so much joy and enthusiasm in him; his charm is off the charts. His mother, played by Josie Walker, is the epitome of every single mom trying to make sense of how to raise her son and at what point did she go wrong. The third is Lucie Shorthouse who brings a new meaning to being a cool Muslim BFF. She infuses the character with depth and heart.

Jonathan Butterell’s direction is concise but could have used some editing but it is Kate Prince’s choreography that keeps the dancers on point and precise.

If you are in London this summer, Everybody’s Talking About Jamie is a must.  Due to its exacting setting, this is one of those musicals that would have a hard time transferring to Broadway. Even if you changed the setting to a rural American city, it would lose its essential native charm. This is one show that is meant to be seen in its natural setting and that is London.

Edited by Scott Harrah
Published June 28, 2018
Reviewed at June 21, 2018 performance in London

‘EVERYBODY’S TALKING ABOUT JAMIE’: John McCrea & Josie Walker. Photo: Johan Persson

‘EVERYBODY’S TALKING ABOUT JAMIE’: John McCrea & Lucie Shorthouse. Photo: Johan Persson

‘EVERYBODY’S TALKING ABOUT JAMIE’: John McCrea. Photo: Alastair Muir

‘EVERYBODY’S TALKING ABOUT JAMIE’: John McCrea, Photo: Johan Persson

‘EVERYBODY’S TALKING ABOUT JAMiE’: Josie Walker & Shobana Gulati. Photo: Johan Persson

‘EVERYBODY’S TALKING ABOUT JAMiE’: Josie Walker, John McCrea, Shobana Gulati. Photo: Johan Persson

‘EVERYBODY’S TALKING ABOUT JAMIE’: The cast. Photo: Johan Persson

The post ‘Everybody’s Talking About Jamie’ is a gender-fluid musical gem | London Theatre appeared first on StageZine.

‘WITNESS FOR THE PROSECUTION’: The chamber at London County Hall. Photo: Sheila Burnett

WITNESS FOR THE PROSECUTION
By Agatha Christie
Directed by Lucy Bailey
Through January 9, 2019
London County Hall
London, United Kingdom
www.witnesscountyhall.com

By David NouNou

My knowledge of Witness for the Prosecution is based on the brilliant 1957 Billy Wilder movie of the same name. It is my favorite courtroom drama. It was presented on Broadway in 1954 and unfortunately never revived. Upon learning it was being done while we were in London, it was my first choice of seeing a show there.

Knowing all the twists and turns of the movie and remembering the unforgettable and brilliant cast headed by Charles Laughton, Tyrone Power, Marlene Dietrich and Elsa Lanchester, I had to fully erase everything from my mind and walk in with a clean slate in order to appreciate this play. This isn’t difficult to do because the play is not being performed in an actual theater but at the London City Hall (which is difficult to get to, but as a point of reference, it is behind the London Eye) and a brilliant stroke of genius of having the play performed there. It is an actual courthouse; you walk up the majestic marble stairs into the courtroom, and if you are seated in the stalls (the orchestra), which is essential, you are part of the trial and it is chilling at times.

The plot centers around Leonard Vole (Harry Reid), a good-looking idler being accused of the murder of Mrs. Emily French, a rich, lonely older widow who befriends Leonard and takes a liking to him and has made him her sole beneficiary. His case is taken by Sir Wilfred Robarts (Richard Clothier). The witness for the prosecution is of course Leonard’s German wife, the calculating Romaine Vole (Lucy Phelps).

In a mystery of this sort one cannot divulge anymore. The best part of the production is the trial is held in an actual courthouse. So next we have to deal with the casting and the performances which in this case is sketchy. The central problem is the casting of Leonard Vole. Forget Tyrone Power, Leonard was the role of a lifetime for him. Leonard has to be a mature, confident, attractive and a seducer. Unfortunately for Mr. Reid, because of his ultra-boyish looks, he comes off as a sniveling 16-year-old. At every juncture in a crisis or a tight spot, he takes out his handkerchief, starts bawling into it and wipes his face with his cries of innocence. This is poor direction, more on that later. It is hard to fathom why a worldly and smart woman like Romaine would ever stay with him or love him, let alone the dead widow, Mrs. French, leaving him as her beneficiary.

Richard Clothier is stalwart and convincing as Vole’s lawyer and Lucy Phelps does a mean, cold steely Teutonic Romaine. She is no Marlene Dietrich, but then who is? I especially liked Jules Melvin as Janet Mackenzie, maid to the Widow French. She was genuinely convincing on the stand.

Another problem for the show is the directorial choices made by Lucy Bailey. Aside from casting, she fast forwards the last 25 minutes of the show and some of the scenes are in almost total darkness. Had I not seen the movie, I honestly would have had serious problems reconciling the ending.

If you are a fan of Agatha Christie and of Witness for the Prosecution, I would strongly urge you to see it as not so much as a play, but as an experience taking part in a murder trial.

Edited by Scott Harrah
Published June 27, 2018
Reviewed at June 23, 2018 performance in London

‘WITNESS FOR THE PROSECUTION’: Harry Reid. Photo: Ellie Kurttz

‘WITNESS FOR THE PROSECUTION’: Lucy Phelps. Photo: Ellie Kurttz

‘WITNESS FOR THE PROSECUTION’: Richard Clothier. Photo: Ellie Kurttz

‘WITNESS FOR THE PROSECUTION’: The cast. Photo: Ellie Kurttz

‘WITNESS FOR THE PROSECUTION’: (left to right) Lucy Phelps, Richard Clothier & cast. Photo: Ellie Kurttz

‘WITNESS FOR THE PROSECUTION’: The cast. Photo: Ellie Kurttz

‘WITNESS FOR THE PROSECUTION’: Lucy Phelps. Photo: Ellie Kurttz

The post ‘Witness for the Prosecution’: Superb reboot of courtroom classic | London Theatre appeared first on StageZine.

‘HARRY POTTER AND THE CURSED CHILD’: Poppy Miller & Jamie Parker. Photo: Manuel Harlan

HARRY POTTER AND THE CURSED CHILD
A new play by Jack Thorne
Based on an original story by J.K. Rowling, Jack Thorne & John Tiffany
Directed by John Tiffany
Lyric Theatre
214 West 43rd Street
877-250-2929, https://www.harrypottertheplay.com/

Editor’s Note: The following review is of the original two-part show.  The show was condensed into one show in fall 2021.

By Scott Harrah

Harry Potter and the Cursed Child: Parts One and Two is a Broadway blockbuster of a different type. It is groundbreaking like Hamilton and Book of Mormon, but as a play, not a musical, and an epic two-part show like Angels in America. It will always be known as the theatrical masterpiece that redefined how high-tech special effects should be done for the stage, but it is not merely a tour de force because of a bag of Broadway magic tricks. This is a classic saga of parents and children and the things in life threatening to tear them apart.

The show’s total price tag is a reported $68 million, and one knows no expense was spared from the moment upon arriving at the Lyric Theatre, which has been totally renovated to evoke the Harry Potter experience along with the grandeur of venerable British theaters in London.

Playwright Jack Thorne, director John Tiffany and creative genius J.K. Rowling have beautifully pulled off what might seem like an impossible task. They have taken beloved characters from Ms. Rowling’s popular franchise of books and films and created a stage book that is accessible to everyone, including “Muggles” (like this reviewer) who have never read the books or seen the Hollywood movie adaptations.

One doesn’t need to know anything about Ms. Rowling’s world of wizards and magic to appreciate, savor and enjoy nearly six hours of superlative acting, innovative special effects that never fail to amaze while propelling the story forward, and this touching tale of Harry Potter (Jamie Parker) as a 37-year-old father to Albus (Sam Clemmett). The saga is less about Harry Potter and more about the expectations and problems his son encounters as well as their complicated relationship.

Harry Potter, now nearing middle age, is married to wife Ginny (Poppy Miller) and working for the Ministry of Magic with old friend Hermione Granger (Noma Dumezweni). The story opens in London’s Kings Cross Station as parents bid farewell to their children about to depart on a train to Hogwarts. Also on the train platform is Harry’s old nemesis Draco Malfoy (Alex Price) and his blond-haired lookalike son Scorpius (Anthony Boyle).

As Albus enters his first year at Hogwarts, he’s anxious having to follow in his famous father’s footsteps. The crux of the story is the growing friendship between Harry’s son Albus and Draco’s son Scorpius; particularly tricky and troublesome since their fathers were once archenemies.

To give too much of the plot away would be criminal because the true thrill of both shows is experiencing the myriad surprises, both from the play itself and the mind-blowing special effects. Suffice it to say, movement director Steven Hoggett, set designer Christine Jones, lighting designer Neil Austin, sound designer Gareth Fry, Illusions & Magic designer Jamie Harrison and countless other technical “wizards” transport us through J.K. Rowling’s vivid, imaginative world with characters and creatures that soar through the air with not a wire in sight—and so much more.

Ultimately, however, it’s not the technical spectacle of Harry Potter and the Cursed Child that moves audiences (though it’s all magical and a gorgeous visual feast yet is unobtrusive enough to never overshadow the material). Despite all the blazing fires and wild sets, what is truly timeless here and profoundly touching is the ongoing theme. The saga is about the consequences for children when parents are physically and emotionally absent.

Director John Tiffany (best known on Broadway for the ingenious reimagining of Tennessee Williams’ The Glass Menagerie in 2013 and his Tony Award-winning direction of Once in 2012) extracts exceptional performances from the entire cast. The standouts: Jamie Parker is consistently engaging as Harry, a father who is distraught about everything his son is experiencing. Noma Dumezweni, as Hermione Granger, is sheer perfection, from her imposing presence to her rapid-fire delivery of dialogue. Eclipsing everyone, however, are the two young actors portraying the prodigal sons. Sam Clemmett as Albus Potter never fails to pack an emotional wallop. Anthony Boyle gives the most richly textured and deeply nuanced performance, and he’s a show-stealer every moment he’s on the stage.

Even without all the visual technical filigree, Harry Potter and the Cursed Child is worth the expensive (and hard to get) ticket price alone for the elegant dialogue, the seamless scene set-ups and the consummate performances that drive the action to the finish line with a glorious message about good triumphing over evil and the power of love between parents and their children.

Edited by Scott Harrah
Published April 30, 2018
Reviewed at April 28, 2018 press performance.

‘HARRY POTTER AND THE CURSED CHILD’: Brian Abraham & company. Photo: Matthew Murphy

‘HARRY POTTER AND THE CURSED CHILD’: Brian Abraham. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: The company. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: The cast. Photo: Matthew Murphy

‘HARRY POTTER AND THE CURSED CHILD’: Jamie Parker. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: Sam Clemmett, Brian Abraham & Anthony Boyle. Photo: Matthew Murphy

‘HARRY POTTER AND THE CURSED CHILD’: Jamie Parker & Alex Price. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: Jamie Parker & Sam Clemmett. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: Edward James Hyland, Sam Clemmett & Anthony Boyle. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: Jamie Parker. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: The cast. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: The company. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: Noma Dumezweni & David St. Louis. Photo: Manuel Harlan

The post ‘Harry Potter & the Cursed Child’: Epic magic appeared first on StageZine.

JERRY SPRINGER—THE OPERA
Music & lyrics by Richard Thomas
Book & additional lyrics by Stewart Lee & Richard Thomas
Choreography by Chris Bailey
Directed by John Rando
The New Group at the Pershing Square Signature Center
The Romulus Linney Courtyard Theatre
480 West 42nd Street, (212) 279-4200
www.thenewgroup.org

By Scott Harrah

Jerry Springer—The Opera was originally produced in Britain back in 2003 and received an Olivier for Best Musical. Other than a two-day concert staging at Carnegie Hall a decade ago, this profane, sung-through parody of the infamous tabloid TV talk has been absent from the New York stage until now. It’s certainly been worth the wait because this off-Broadway production is original and marvelously entertaining.

Some of the subject matter—from tap-dancing Ku Klux Klansmen to strippers, a transgender tramp and a man with a diaper fetish—was probably shocking 15 years ago, but not in modern-day America, with the wackiness of Washington and our reality TV star president giving us a daily dose of surrealistic news that is more bizarre than anything on Jerry Springer’s show.

Theater veterans Terrence Mann as Jerry Springer, and Will Swenson as his Warm-Up Man, play the leads with comic precision. Act I is basically a musical version of over-the-top staples from Springer’s show: a man, Dwight (Luke Grooms) cheating on his fiancé, Peaches (Florrie Bagel) with her best friend, Zandra (Beth Kirkpatrick) and a midriff-bearing transsexual, Tremont (Sean Patrick Doyle). There’s also a redneck, Chucky (Nathaniel Hackmann) and his wife Shawntel (Tiffany Mann), a woman with dreams of becoming a pole dancer. Plus, a man in a diaper and his girlfriend, a character called Baby Jane (Jill Paice), and more.

F-bombs abound in the numerous hilarious songs written and composed by Richard Thomas, from “Talk to the Hand” and “Mama Gimme Smack” to “Put Your F***in’ Clothes On.” Act I breezes by with scatological glory, but just like watching an episode of Springer’s show, the shock value eventually wears thin by Acts II and III. These later acts of the musical are set in Purgatory and Hell, with Mr. Swenson doubling as Satan himself. Of course, there are characters poking fun at Jesus and the Virgin Mary with blasphemous zeal. After the seamless first act, the show unravels a bit and makes little sense, but it’s all so much fun that one doesn’t mind. Just enjoy the insane ride.

Why did it take so long for Jerry Springer—The Opera to arrive on this side of the Atlantic? Who knows. The British invented the tabloid press and nurtured the concept of reality TV long before us, so perhaps one could say the U.K. has a bigger appetite and appreciation for “schlock” than America.

Theater purists and the easily offended may argue that Richard Thomas and Stewart Lee’s creation simply wasn’t good enough for a mainstream U.S. production, but it must be noted they wrote this foul-mouthed “opera” eight years before the derisive, impudent Book of Mormon became a phenomenon. For this fact alone, the show was ahead of its proverbial time.

There are numerous standouts, especially Terrence Mann as Jerry Springer and Will Swenson as Warm-Up Man/Satan. The cast is uniformly superb, with strong and melodic voices. In particular, Tiffany Mann as Shawntel is in especially fine voice doing her show-stopper “I Just Wanna Dance.” Tony winner John Rando directs all the insanity with amazing precision, and that’s no easy task in a small venue with a 17-member cast in a production as ambitious as this, with performances that are consistently and beautifully outrageous in all the right places.

Edited by Scott Harrah
Published February 25, 2018
Reviewed at February 24, 2018 performance.

‘JERRY SPRINGER: THE OPERA’: Will Swenson & Terrence Mann. Photo: Monique Carboni

‘JERRY SPRINGER: THE OPERA’: Tiffany Mann. Photo: Monique Carboni

‘JERRY SPRINGER-THE OPERA’: (left to right) Terrence Mann & Jill Paice & cast. Photo: Monique Carboni

‘JERRY SPRINGER-THE MUSICAL’: Terrence Mann (far left) & cast. Photo: Monique Carboni

‘JERRY SPRINGER-THE OPERA’: Nathaniel Hackmann, Tiffany Mann & (top right) Billy Hepfinger. Photo: Monique Carboni

‘JERRY SPRINGER-THE OPERA’: (left to right) Florrie Bagel, Luke Grooms & Terrence Mann. Photo: Monique Carboni

“JERRY SPRINGER-THE OPERA’: Jill Paice (center) & cast. Photo: Monique Carboni

The post ‘Jerry Springer—The Opera’: Lowbrow meets high art appeared first on StageZine.