‘LIFE OF PI’: Hiran Abeysekera & Richard Parker (Fred Davis, Scarlet Wilderink, Andrew Wilson). Photo: Matthew Murphy & Evan Zimmerman for MurphyMade.

LIFE OF PI
Based on the novel by Yann Martel
Adapted by Lolita Chakrabarti
Directed by Max Webster
Gerald Schoenfeld Theatre
236 West 45th Street
(212-239-6200), www.lifeofpibway.com

By David NouNou

Life of Pi is an epic in every sense of the word and for regular theatregoers, will be a reminder of War Horse due to its puppet wizardry courtesy of Finn Caldwell and Nick Barnes. They are so masterfully crafted and come to life so vividly that we are actually invested in each and every one of them.

Starting in 1978 with Pi (Hiran Abeysekera), under his bed in an antiseptic hospital room in Mexico, he’s being questioned by Lulu Chen (Celia Mei Rubin), a Canadian government figure and Mr. Okamoto (Daisuke Tsuji), a Japanese insurance man. They want to know how this 17- year-old boy survived for 227 days and was washed up on the Mexican shore after being shipwrecked from a Japanese freighter en route to Canada. Pi has struggled with grief, loss, loneliness, physical pain and still survived.

He is reticent to talk to them at first and finally does open up to explain his childhood in India in 1976, his parents, sister, his relatives, and the zoo that his father owned. The zoo was a magical place for Pi, it housed an orangutang, a giraffe, zebra among other animals and Richard Parker, the Bengal tiger supreme.

Pi’s father (Rajesh Bose) and mother, also overseer and protector during his ordeal (Sathya Sridharan) and family are forced to leave India due to the increasingly repressive government.

As the journey begins, so does the magic created by set and costume designer Tim Hatley. Turning the hospital room and bed into an ocean and a boat is nothing short of extraordinary and a visual extravaganza. As Pi jumps ship after being sunk in a storm, his companions consist of a giraffe, zebra, orangutan and Richard Parker. I don’t have to go into detail about the giraffe, zebra and orangutan. Suffice it to say, the battle is between Pi and Richard Parker and their mutual understanding of each other.

Unlike the movie— which relied mostly on special effects to engage the mass audiences—here religion and metaphysics play a big part in Pi’s survival and it is manifested in the scenes between the hospital and the ocean. Hiran Abeysekera originated the role of Pi (for which he won an Olivier Award last year as best actor) and he captures Pi’s innocence in the beginning as well as his struggles and ordeals with life, religion, and survival.

Special kudos have to go to all the handlers but especially those of Richard Parker, consisting of his head, his hind, and his heart, and his masterful voice is that of (Brian Thomas Abraham).

Life of Pi is a journey of mystical belief and an unforgettable visual treat and experience long after leaving the theatre.

Edited by Scott Harrah
Published April 2, 2023
Reviewed at April 1, 2023 press performance.

‘LIFE OF PI’: Sonya Venugopal, Celia Mei Rubin & Hiran Abeysekera. Photo: Matthew Murphy & Evan Zimmerman for MurphyMade

‘LIFE OF PI’: Hiran Abeysekera, Mahira Kakkar & company. Photo: Matthew Murphy & Evan Zimmerman for MurphyMade.

‘LIFE OF PI’: Hiran Abeysekera, Mahira Kakkar & company. Photo: Matthew Murphy & Evan Zimmerman for MurphyMade.

‘LIFE OF PI’: Rajesh Bose & Hiran Abeysekera. Photo: Matthew Murphy & Evan Zimmerman for MurphyMade.

‘LIFE OF PI’: Rowan Magee, Celia Mei Rubin, & Nikki Calonge. Photo: Matthew Murphy & Evan Zimmerman for MurphyMade.

‘LIFE OF PI’: Rowan Magee, Celia Mei Rubin & Nikki Calonge. Photo: Matthew Murphy & Evan Zimmerman for MurphyMade.

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‘MAD HOUSE’: (left to right) David Harbour, Bill Pullman & Akiya Henry. Photo: Marc Brenner.

MAD HOUSE
Book by Theresa Rebeck
Directed by Moritz Von Stuelpnagel
Through September 4, 2022
Ambassadors Theatre
West Street

London, United Kingdom
(0333 009 6690), www.MadHouseThePlay.co.uk

By David NouNou

LONDON—Mad House poses the question “Is this an angry home or is the house I live in a loony bin or is this house worse than living in a loony bin”? What and which does it actually mean? Theresa Rebeck is one of America’s finest and most prolific female playwrights. In the past she has given us Bernhardt/Hamlet, Dead Accounts, Seminar and Mauritius, with the latter being the most interesting. All of them contained great ideas, but most of them weren’t fully fleshed out and ran out of steam way before the ending. In Mad House, Ms. Rebeck has written what I consider her finest play. Not only is there meat on the bone, digging deeper—there is marrow in the bone.

Set in rural Pennsylvania, Michael (David Harbour), the youngest and slowest of three children, has returned to his childhood decaying home to take care of his terminally ill father, Daniel (Bill Pullman). This is no ordinary father-and-son relationship. Michael was committed to a mental institution by his older, well-to-do sister, Pam (Sinead Matthews) for nine months, is released on his own accord to look after their father. The middle child Nedward (Stephen Wight), a Wall Street tycoon, cannot be bothered by the whole mess. Both Pam and Nedward have arrived to figure out how much money their father has left.

Daniel is a separate story unto himself. Not only is he terminally ill; he is maniacally devious and calculating. He is sly as a fox and constantly manipulates the people around him to his whims. Michael has put up with a lot of his crap (literally), to prove to himself he is not the loser his siblings would like him to believe he is. There is another person that puts up with Daniel’s shenanigans and that’s the Nigerian nurse assigned to him, Lillian (Akiya Henry). She puts up with a lot because she needs this job.

A further layer to this play is the backstory Ms. Rebeck has provided each one of these people and it is not fair to reveal them to both reader/viewer because it is constantly driving the narrative forward. Let’s leave it at; this isn’t just another ugly story about siblings squabbling over a real or probable estate left behind. It goes much deeper and more poignantly.

We attended the second preview of the show, and as might be expected, the cast was not settled into their parts yet. At times they stepped on each other’s lines or stepped on a laugh line; jitters do play a big part upon the onset of a show, but in this case it really didn’t matter. Veterans David Harbour and Bill Pullman are giving career defining performances as the embittered son and father. They are at the top of their game, and their performances complement each other. The chemistry between them is felt throughout even when one of them is offstage.

However, the revelation of the evening is Akiya Henry’s performance as the hard but vulnerable Nigerian nurse. She is sheer perfection; she not only anchors the show, but the realism she brings to it is palpable. There is not much to say about the remaining cast members.

Moritz Von Stuelpnagel is a brilliant director for the offbeat, slightly off-center quirky plays. Remember his direction of the 2015 play Hand To God ? He delivers the goods yet again. His eye on Mr. Harbour, Mr. Pullman, and Ms. Henry never waivers. He is laser-focused on the three of them (little on the others) and the play is in constant motion.

I’m sure Mad House will have an easy transfer to New York. I hope Mr. Harbour, Mr. Pullman, and especially Ms. Henry will be part of the transfer. I also hope that Ms. Rebeck and Mr. Stuelpnagel will keep a sharper and keener eye when it comes to casting the supporting players to lift this show to an even higher level.

Edited by Scott Harrah
Published July 21, 2022
Reviewed at preview performance on June 16, 2022

‘MAD HOUSE’: Marquee at the Ambassadors Theatre in London. Photo: StageZine.

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‘BACK TO THE FUTURE: THE MUSICAL’: Olly Dobson. Photo: Sean Ebsworth Barnes.

BACK TO THE FUTURE: THE MUSICAL
Book by Bob Gale
Music & lyrics by Alan Silvestri & Glen Ballard
Directed by John Rando
Adelphi Theatre
The Strand
London, United Kingdom
https://www.backtothefuturemusical.com/london/

By David NouNou

LONDON—Broadway, Lunt-Fontanne, Lyric, Marquis or St. James Theatres—be on the alert because one of you will be housing this giant pinball machine of a musical when it crosses the Atlantic.

You all know the plot, here’s a recap: Set in a small California town in the 1980s, 17-year-old Marty McFly (Will Haswell), in an experiment, travels through time in a modified DeLorean car created by his eccentric friend, Doc Brown (Roger Bart) where he ends up in the 1950s encountering young versions of his parents, before they were married. His mother Lorraine Baines (Katherine Pearson) has the hots for Marty when she first meets him and thinks his name is Calvin Klein because of the underwear he’s wearing. His father is a nerdy high-schooler George McFly (Hugh Coles) who is constantly being picked on and tormented by Biff Tannen (Aiden Cutler), the town bully. Marty has to make sure that George and Lorraine fall in love and kiss at a designated time, or he shall cease to exist. More daunting, Marty has to return to his own time and save the life of Doc Brown.

The plot is simple and the cast is minimal. It follows the premise of the movie, but all the charm and innocence of the piece have been sucked out of it. As you enter the enormous Adelphi lobby, you will be assaulted by every sort of Universal Studio merchandizing and display stands. Once you get inside the theatre, you are in a maze of red and green neon tubings resembling the maze in the 1982 Disney movie, Tron. Don’t get excited; it’s more for effect than substance.

The score at best is mediocre and unmemorable. What amazes me about British musicals is when creating material that is English in nature, Six or & Juliet, they can be brilliant, but when they try to create American-themed musicals, they totally miss the mark. The mugging and carrying-on by the cast and their idea of how Americans behave is a stereotype that would insult The Simpsons. Where is John Rando, a prominent musical director, when all this tomfoolery is going on? Also, why is the guy playing Marty McFly as a 17-year-old so old?

The worst is yet to come. Roger Bart, a prominent Tony-winning American actor for the 1999 revival of You’re a Good Man, Charlie Brown as Doc Brown gives what might be considered one of the worst manic, unhinged performances in modern times. Doc Brown is a brilliant but eccentric scientist, but Mr. Bart portrays him as a crazy lunatic. We attended a Thursday matinee that was subsidized by about 300 9-to 12-year-old boy students. The more outrageous Mr. Bart became, the more gregarious the boys became. By the end they were both out of control. By the time the special effects come in at the end— I’ll leave that as a surprise for you—all hell broke loose.

Whichever of the five theatres I’ve mentioned earlier that will house Back to the Future: The Musical, set designer Tim Hatley and sound designer Gareth Owen will have a grand old time making it over. TILT.

Edited by Scott Harrah
Published July 17, 2022
Reviewed in London on June 16, 2022.

‘BACK TO THE FUTURE: THE MUSICAL’: Roger Bart. Photo: Sean Ebsworth Barnes.

‘BACK TO THE FUTURE: THE MUSICAL’: Marquee at the Adelphi Theatre in London. Photo: StageZine.

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‘THE GLASS MENAGERIE’: Lizzie Annis & Victor Alli. Photo: Johan Persson.

THE GLASS MENAGERIE
Written By Tennessee Williams
Directed by Jeremy Herrin
Through August 27, 2022
The Duke of York’s Theatre
St. Martin’s Lane

London, United Kingdom
(0333 009 6690), www.theglassmenageriewestend.com

By David NouNou

Set in St. Louis, Missouri, The Glass Menagerie is Tennessee Williams’ classic memory play and was one of the original “dysfunctional family dramas” before there was such a thing. Seeing the latest revival in London with Amy Adams is truly an event. The play focuses on Amanda (Ms. Adams), the delusional mother who clings to the memories of her youth and the beauty she once was. She keeps reminding her daughter, Laura (Lizzie Annis)— who had pleurisy when she was younger and is now left with a club foot—that, on a particular Sunday, 17 gentlemen callers came to call on her in one afternoon on her father’s plantation in Blue Mountain, Mississippi. Her constant haranguing of Laura is not meant out of spite but as an incentive that Laura’s complexes can be overcome by grace, and she should always be ready for her own gentlemen callers.  Amanda’s delusions of her past and the disappointments of the present are ways of coping and surviving with the cards life dealt her.

Amanda’s problems with her son, Tom (Tom Glynn-Carney), are of a different nature. Her husband (the handsome and reckless one of the 17 gentlemen callers) abandoned her and the family 15 years earlier one night while going to get a pack of cigarettes. As a result, she is very clingy and demanding of Tom. She’s at the point of suffocating him, wanting to know his every move; where he’s going and what’s he doing. She is in mortal fear he might abandon her and Laura just like his father did.

Those familiar with The Glass Menagerie know that there are only four characters in the play: Amanda, Tom, Laura and Jim O’Connor “the gentleman caller” as well as the ever-looming picture of the patriarch of the family who abandoned them 15 years earlier. British/European directors love to tinker with American classics. Tom is both narrator and a character in the play. Tom the Narrator (Paul Hilton) is the poet of the piece. He is Mr. Williams’ voice. For some unfathomable reason, director Jeremy Herrin has decided to split the part of Tom in two: the narrator being much older, recalling the goings on in a haze of smoke and liquor, and the younger Tom, who is in the action of the play.

The third and most poignant act of the play is “The Gentleman Caller.” Amanda has implored Tom to bring a friend from work to get to meet Laura. She has fussed and spent all their money to make a special evening out of this meeting. Tom brings fellow worker from the shoe factory Jim O’Connor (Victor Alli). Jim is easygoing and affable but Laura is terrified to come out and meet him because Jim is the guy she had a crush on in high school. A power outage occurs after dinner and Jim and Laura are left to talk and reminisce about high school. Jim tries to help Laura overcome her complexes and tries teaching her to dance. In the process, he steps on a glass unicorn, Laura’s favorite animal from her menagerie. Jim soon leaves awkwardly, saying he won’t be coming back because he is engaged to be married. As both Laura and Amanda are devastated, watch Amy Adams explode and unleash on Tom.

With the exception of the horrific 2017 Broadway version—with Sally Field and Joe Mantello, abominably directed by Sam Gold—The Glass Menagerie is always a treat to watch because of its impeccable writing. However, directors do find a way to foul things up due to their artistic vision,  and Jeremy Herrin is no exception. Theatre turns illusions into reality. When the curtain rises, that’s when the magic begins. In this case there is no curtain and there is no magic. As you walk into the theatre and take your seat, for some reason you see all five actors milling around the stage whispering to each other, getting themselves ready, walking across the stage, looking out beyond the audience, etc.

The set by Vicki Mortimer is a mystery. It is not of an apartment that has seen better days, but an apartment that should be condemned. The Wingfields are poor, but not destitute and on bread lines. However, smack dab in the middle of the set is this enormous lit glass showcase that has what seems to be Lalique crystal animals on it. First question that arises is if the Wingfields are that destitute, how can Laura afford this?  As written, Laura has a few small pieces of glass animals in a little showcase by her side that she likes to look at to cheer herself up; not a showcase at the Louvre.

Another inexplicable directorial choice is the dividing of Tom. Since this is a lyrical memory play, in every version Tom is first seen recalling the events that led him to leave his family, like his father did, and the difficulty of leaving his sister Laura to join the merchant marines. Now the play starts with Tom as a total bum, hustling men for cigarettes and liquor and just meandering around St. Louis in various stages of stupor, never seeing his family again.

The redemption to this piece is the glorious Amy Adams: a movie star of the first magnitude with six Oscar nominations, she is a beauty, and one of the best actresses of the 21^st Century. We first see her coming onstage with her flowing mane of hair and regular street clothes, transforming herself into the part of Amanda Wingfield. You know she can transform herself as matronly as evidenced by the 2020 movie Hillbilly Elegy. You might ask yourself isn’t she a bit young and too beautiful to play the part of Amanda? Yes, but she is also a daring actress, and likes to push the envelope and test her capabilities.

It is truly delightful watching Amy Adams do the scene of renewing magazine subscriptions to her customers to make some extra money. She pleads, teases, cajoles, and calls them “Christian martyrs,” anything to renew their subscriptions. There is also the scene where she comes out in this ridiculous frilly dress from 30 years ago to impress the gentleman caller, and then tries to stuff Laura’s flat chest with “gay deceivers”. Finally, she pulls all the stops out in her final scene when she discovers Jim is to be engaged, and she spent all their money on this useless evening; the venom, anger and disappointment she unleashes on Tom is phenomenal.

Despite misguided choices made by the creative team, The Glass Menagerie remains a riveting poignant lyrical drama, the likes of which you don’t see much anymore. It is still a must-see for anyone visiting London— just to see Amy Adams on stage.

Edited by Scott Harrah
Published July 14, 2022
Reviewed in London on June 15, 2022.

‘THE GLASS MENAGERIE’: Now playing at the Duke of York’s Theatre in London. Photo: StageZine.

‘THE GLASS MENAGERIE’: Lizzie Annis & Tom Glynn-Carnie. Photo: Johan Persson.

‘THE GLASS MENAGERIE’: Amy Adams. Photo: Johan Persson.

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‘& JULIET’: Miriam Teak-Lee & cast. Photo: Johann Persson.

& JULIET
Book by David West Read
Music & lyrics by Max Martin & friends
Directed by Luke Sheppard
Shaftesbury Theatre
Shaftesbury Avenue

London, United Kingdom
(020 7379 5399), https://www.andjulietthemusical.co.uk/

By David NouNou

LONDON—Every year when StageZine goes to London for the summer theatre season, there is often one show we hope comes to Broadway. In 2019, the last time we were there, it was Six. This year our pick is & Juliet.

There is an infectious vitality to this musical that is off the charts. It has a great and actually funny irreverent book by David West Read and a catchy score from start to finish by Max Martin and friends. No spoiler alert here, but the score does include Britney Spears’ “Baby One More Time” and “Oops…I Did It Again,” Katy Perry’s “I Kissed a Girl”  and “Roar” and more surprises. It is reminiscent of the 2015 musical Something Rotten by the Kirkpatrick Brothers.

I’m not saying that this is a perfect musical; it will need some tighter writing and directing before coming to New York. What is glorious about it is its exuberant young vitality and, with the proper changes, it should be a contender for next year’s “Best Musical” during awards season.

As Shakespeare wrote it, Romeo takes his poison and dies. Juliet awakens from her drugged coma and learns from Friar Laurence of what happened, then stabs herself to death. The end. Well, not in this version. Juliet (Miriam-Teak Lee) wakes up and figures things out for herself. Why should she kill herself? And it was selfish of Romeo to kill himself and not wait for her. She intends to live her life. Thus, the merriment unfolds.

Besides Juliet, there are the three other principal protagonists: William Shakespeare (Alex Tranter) and Anne Hathaway, not the actress but actually Shakespeare’s wife (Cassidy Janson). They manipulate how the story should continue now that Juliet is alive. Anne looks at things from the feminist point of view and wants Juliet to experience all the alternatives at her disposal, while William wants to keep the traditional manner in which he conceived it. The third principal is the ever-lovable Keala Settle as the Nurse. By the way, she will be leaving soon to play with Queen of British Soul Beverley Knight in a revival of the musical Sister Act. So, catch her before she leaves.

As the play progresses, different characters are introduced that alter Juliet’s life and if she should even remarry. Even Romeo (Tom Francis) resurfaces and makes another plea for Juliet’s hand in marriage. Decisions, decisions.

As I mentioned the premise is great, the score delightful, and the performances in most cases are very good, except for the over hamming by the few. Miriam Teak-Lee is lovely and a delight as Juliet. Alex Trantor is charming and gorgeous as Shakespeare; if only he really did look like Mr. Tranter. Ms. Janson as Anne is cloying at times. Ms. Settle is a delight.

This musical is further enhanced by its creative team. Set designer Soutra Gilmour has created an original, unorthodox, seamless cluttered but easy-on-the-eyes sets. The costumes by Paloma Young are deliciously colorful. Lighting Designer Howard Hudson captures every mood, night or day. Choreographer Jennifer Weber has injected so much energy and originality in her dances, it’s a shame that director Luke Sheppard doesn’t keep up with her. He needs help in editing the proceedings, but hopefully this will be worked out before any Broadway transfer.

There are so many surprises here and so much fun to be had. It is a must-see. Should it come to New York, here is my list for the perfect cast: Ariana DeBose as Juliet, Christian Borle as Shakespeare, Cassie Levy as Anne, Jeremy Jordan as Romeo and, of course, Keala Settle as The Nurse.

Edited by Scott Harrah
Published July 10, 2022
Reviewed in London on June 14, 2022.

‘& JULIET’ at the Shaftesbury Theatre in London. Photo: StageZine.

‘& JULIET’: Tom Francis & cast. Photo: Johan Persson.

‘& JULIET’: (Center) Cassidy Janson, Miriam-Teak Lee, Keala Settle & cast. Photo: Johan Persson

‘& JULIET’: Oliver Tompsett, Miriam-Teak Lee & Keala Settle & cast. Photo: Johan Persson.

‘& JULIET’: Alex Thomas, Julius D’Silva, Tim Mahendran & Oliver Tompsett & cast. Photo: Johan Persson.

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‘THE LEHMAN TRILOGY’: (left to right) Adam Godley, Simon Russell Beale & Adrian Lester. Photo: Julieta Cervantes

THE LEHMAN TRILOGY
By Stefano Massini
Adapted by Ben Power
Directed by Sam Mendes
Through January 2, 2022
Nederlander Theatre
208 West 41st Street
(877-250-2929), https://thelehmantrilogy.com/

By David NouNou

Once in a generation comes that elusive masterpiece; a play that sparks the imagination, grabs the heart, and hauntingly seeps into the subconscious and stays with you forever. A play has to seize your attention from the first image, and when we saw it in London in June 2019, it has remained with us till now.

The first image that appears in The Lehman Trilogy is of three men dressed in formal attire in a chromed high-rise office building, awaiting the funereal end of something.

Then Part I begins with the title “The Brothers.”

It is 1844 and Hayum Lehmann, (Simon Russell Beale) the son of a cattle merchant, arrives at New York’s Ellis Island from Rimpar, Bavaria. The immigration officer, not understanding the name, dubs him Henry Lehman who then settles in Birmingham, Alabama to open a general store. In 1847, Mendel Lehmann (Adrian Lester) arrives from Germany to join his brother and becomes Emanuel Lehman. Finally, in 1850, the last brother Mayer Lehman (Adam Godley) arrives to the firm which becomes the Lehman Brothers. They are in the business of buying and reselling cotton in the South. They are of Jewish heritage, with strict Jewish observances.

Now that the triumvirate is complete, the dynamics begin. Henry and Mayer base themselves in Birmingham while Emanuel’s restlessness for more moves him to New York. As their firm is growing, Henry, the eldest, dies in 1855 of yellow fever. The formal attire that costume designer Katrina Lindsay created is multipurpose. The actors wear the same articles of clothing throughout the play. In the opening scene these costumes represented outfits for bankers and brokers, in the beginning of the play it was the attire for that time period, and at Henry’s death, they are used as black suits, what mourners wear to sit Shiva for a whole week.

Part II is “Fathers and Son.”

The first part gave us the initial introduction to the three Lehman’s, the second part introduces us to the marriages and wives and the generations that came after them. All the ensuing characters are played by the same three above mentioned actors.  It is here that we meet Philip, son of Emmanuel, Herbert, the son of Mayer, and the astute and ruthless Robert “Robbie” Lehman, the grandson of Emanuel and thus the advent of greed and corruption begins. As the country gets closer to the 20^th Century, the more Lehman Brothers grows, exponentially, the avarice and lawlessness ensues. As Mayer dies in 1897 and then Emanuel in 1907, the Jewish observances and respect for Shiva dwindles lower and lower. The mourning period is shortened to fit for business duties. By 1929, the Lehman Corporation is becoming an investment company.

Part III is “The Immortal.”

As the country goes through turmoil: Wall Street crashes, the depression, World War II, Pearl Harbor, Lehman Brothers weathers all the storms and ultimately profits. In 1965, Robbie Lehman sets up a trading department at Lehman Brothers. By the time he dies, there is no mourning period; after all, banks and Wall Street do not close for mere mortals. In 1984, American Express bought Lehman Brothers and disposed of them in 1994. In 2007, Lehman Brothers was entangled in the subprime mortgage lending crisis, and in 2008, they filed for Chapter 11 bankruptcy petition. As hundreds of billions of dollars were wiped out in bad loans, the financial collapse in 2008 becomes the worst crisis since the depression.

The three men dressed in formal attire in a chromed high tower office building have seen the funereal end and the closing of Lehman Brothers.

Stefano Massini has written an epic play in scale and grandeur. It involves immigrants, Judaism, beliefs, family, work ethics, greed, monopoly, crises from the scaling up to the ultimate drop. It takes in consideration the people it affected and the lives it shattered.

Sam Mendes, with his formidable insight, has brought vision and focus to this formidable play on a massive scale. Between him and his set designer Es Devlin, they created a visual stunning world of glass, chrome, cubicles, representing, stores, banks, offices, buildings and skyscrapers. The set is constantly spinning or in motion to represent any place that the action takes place. Everything is magnificently lit by lighting designer Jon Clark to capture every mood and nuance of any scene.

Now, all this would serve the mind and the optics, but you need the actors to breathe life into these words and set the stage on fire. Still with us are Simon Russell Beale, Adam Godley, and the new addition is Adrian Lester. What was once an intertwined, seamless unit now gives us pause. Mr. Lester has replaced Ben Miles, and this makes it more challenging to visualize them as three brothers coming from Bavaria and that they’re related. However, in theatre, one must suspend disbelief.  In the London production, one marveled at their precision, delivering their lines and playing off each other. They complemented each other magnificently. Now, you just have great acting; the seamless balance has been thrown off.

As a play, The Lehman Trilogy is still the masterpiece we saw in London.

Edited by Scott Harrah
Published October 14, 2021
Reviewed at October 2021 press preview performance.

‘THE LEHMAN TRILOGY’: (left to right) Adam Godley, Simon Russell Beale & Adrian Lester.
Photo: Julieta Cervantes.

‘THE LEHMAN TRILOGY’: Adrian Lester & Adam Godley. Photo: Julieta Cervantes.

‘THE LEHMAN TRIOLOGY’: Adrian Lester. Photo: Julieta Cervantes.

‘THE LEHMAN TRILOGY’: Adam Godley. Photo: Julieta Cervantes.

‘THE LEHMAN TRILOGY’: The cast. Photo: Julieta Cervantes.

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LONDON–Following official government advice issued today (Monday 16 March), which stipulates that people should avoid public buildings including theatres, we regret to announce that SOLT and UK Theatre member venues will be closed from tonight, to help slow the spread of coronavirus.

The theatres will remain closed until further notice and will re-open as soon as possible, following government recommendations.

Audience members for a show that has been cancelled will be contacted by their ticket providers and are entitled to a refund. Ticketholders are asked to bear in mind that customer service teams are currently extremely busy.

Julian Bird, Chief Executive of SOLT and UK Theatre, said:

‘We are extremely grateful to all of our audiences who have continued to support us for as long as they can, and to theatre staff across the country who have worked so hard in recent weeks to ensure the safety and enjoyment of audiences. Closing venues is not a decision that is taken lightly, and we know that this will have a severe impact on many of the 290,000 individuals working in our industry. In these uncertain times, SOLT and UK Theatre remain committed to helping provide vital support for those in need, and hope we are able to welcome audiences back to our theatres before too long.’

Many theatres that have been forced to cancel performances are charitable enterprises, and while ticketholders are all entitled to a refund for cancelled performances, those who can afford to do so are encouraged to donate the cost of their ticket to show support for the theatre industry.

Over the coming weeks, SOLT and UK Theatre will continue provide updates to the industry and the public as the situation changes, sharing current government and NHS advice.

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‘APOLOGIA’: Hugh Dancy & Stockard Channing. Photo: Joan Marcus

APOLOGIA
Written by Alexi Kaye Campbell
Directed by Daniel Aukin
Through December 16, 2018
Roundabout at Laura Pels Theatre
Harold & Miriam Steinberg Center for Theatre
111 West 46th Street
(212-719-1300),www.RoundaboutTheatre.org

By David NouNou

Set in 2009 in an English countryside cottage, Kristen Miller (Stockard Channing) is awaiting the arrival of her two sons Peter and Simon, both roles played by Hugh Dancy, their girlfriends Trudi (Talene Monahon) and Claire (Megalyn Echikunwoke) and her gay best friend, Hugh (John Tillinger) to celebrate her 60-something birthday.

Kristen is a former 1960s and 1970s American activist, now living in England, believed what she was fighting for was fighting for a better world. She and Hugh were on a mission; she fought and he followed. Kristen, along the way, was divorced by her husband and he took away her two sons. In desperation, after her loss, she dove into her activism which led to her bohemian lifestyle. She has since become an art historian and has just published a book about her memoirs in which she totally neglects to mention her sons as if they never existed. And so this party from hell begins.

Of course, there is a lot of wine drinking, and a lot of blaming and a lot of recriminations and who did wrong to whom but there will be no apologies forthcoming. Kristen is still her stalwart strong-willed self and can dispense a sarcastic line to people she feels have not come up to the level she expects namely the two girlfriends Trudi, an evangelical Christian Nebraskan soon to be engaged to British-born Peter; and Claire, a soap-opera actress soon to break up with Simon due to his many psychological problems, now mostly stemming from his childhood.

Stockard Channing is a force of nature to be reckoned with. Even when the material is sub-par and not to her level of expertise, she still captivates you. There are very few stage actresses left of Ms. Channing’s caliber who can dazzle you from the first moment to last.

Hugh Dancy, who plays both Peter, the accomplished son, and Simon the unfortunate one, plays them with two distinctive personas and is quite good but here again his characters are both poorly fleshed out. John Tillinger comes off best as Kristen’s gay friend and defender with all the salty lines.

Unfortunately, director David Aukin doesn’t do much for the proceedings; he just lets the scenes ramble by themselves. An example: Beginning of Act II where Simon comes in after getting shards of glass in his hand. Kristen enters to take them out, and the stage is so dimly lit where you can hardly see the actors let alone a woman taking out shards of glass with a pair of tweezers It just seems so implausible. Did anyone forget to pay the electric bill?

In the end you are left with an unfulfilling drama, and stock characters that are not fully developed, but there is Stockard Channing. Watching her in any play is a night well spent, watching her cast her spell over an audience.

Edited by Scott Harrah
Published October 18, 2018
Reviewed at October 17, 2018 press performance.

‘APOLOGIA’: Stockard Channing. Photo: Joan Marcus

‘APOLOGIA’: (left to right) Hugh Dancy, Talene Monahan & Stockard Channing. Photo: Joan Marcus

‘APOLOGIA’: Stockard Channing. Photo: Joan Marcus

‘APOLOGIA’: Talene Monahan & Hugh Dancy. Photo: Joan Marcus

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‘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

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‘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

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