‘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

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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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‘DREAMGIRLS’: Amber Riley in her Olivier-winning role. Photo: Brinkhoff & Mögenburg

DREAMGIRLS
Book & lyrics by Tom Eyen
Music by Henry Krieger
Original direction & choreography by Michael Bennett
Directed & choreographed by Casey Nicholaw
Savoy Theatre
Savoy Court, Strand
London, WC2R 0ET, United Kingdom
0844 871 7615, http://www.dreamgirlswestend.com/

Soundtrack available from Masterworks Broadway

By David NouNou

In 1981, Michael Bennett brilliantly revitalized Broadway with a new musical sound and look that New York audiences haven’t seen before. It was a musical based on the top female singing group “The Supremes,” their rise to superstardom to their eventual breakup. They were part of the Motown family. Mr. Bennett conceived, directed, choreographed, chose his cast of virtual unknowns, and had his hand in the designs and the entire look of the show. It was his show.

He deliberately cast unknowns to make the show a story-motivated musical rather than a star-driven show. He cast Sheryl Lee Ralph as Deena Jones, Loretta Devine as Lorrell Robinson, and Jennifer Holliday as Effie White. The three ladies make their separate entrances with no fanfare, because you only get to know them as three young women who want to be a singing group and call themselves The Dreamettes. He also made the musical so seamless and continuous that there was no room for applause after any song or number. Not until near the end of Act I, where Effie has been replaced by another singer, deserted by her group, manager/boyfriend Curtis, and her brother and songwriter, C.C. White. Everyone has abandoned Effie for being a diva, unprofessional and difficult, always late and always making excuses for something or other. She is left all alone onstage staring into her make-up mirror in fear and despair and starts what has now become a Broadway anthem, “And I Am Telling You, I’m Not Going.” By the end of the song when the light starts dimming on Effie, her makeup table is being pulled back upstage and she lets out her final painful gasp, does the audience finally get their release and give Ms. Holliday and the show a long show-stopping standing ovation that was a theatrical moment filled with goosebumps.

Casey Nicholaw is now at the helm of directing and choreographing the West End revival of Dreamgirls. Mr. Nicholaw is a brilliant director and choreographer of musical “comedy.” After all, he has given us The Book Of Mormon, Aladdin, Spamalot and one of my favorite musicals of all time which hasn’t reached London yet, Something Rotten (which should have won the Tony Awards for Best Musical, Score, and Director). Mr. Nicholaw loves the glitz, glamour, and hoopla of a musical comedy. Like Mr. Bennett, he also started as a performer on the Broadway stage and triumphed up the ladder of being both director and choreographer. Unlike Mr. Bennett, he hasn’t gotten the handle on musical “drama.”

This version isn’t as seamless and continuous as its predecessor. This revival is filled with gaps where the audience is now familiar with the score and will automatically clap at the end of each song. Mr. Nicholaw has eliminated all the tension that Mr. Bennett created. The show is still intact, but the focus of Act I has shifted from the rise of the trio to centering on Effie and her problems as well as James Thunder Early (Adam J. Bernard), because he is an automatic audience-pleaser. All the other characters become sub marginal. You notice this right from the beginning when the girls make their entrances, when Deena (Liisa LaFontaine) and Lorrell (Asmeret Ghebremichael) enter, nothing. When Effie enters, wild applause and that’s because it is Amber Riley of “Glee” fame and the winner of the mirror ball on “Dancing with the Stars.”

Of course, when the number “And I Am Telling You, I’m Not Going” arrives near the end of Act I, yes Effie has been abandoned by everyone and is alone on stage, but she is no longer singing to herself in front of her makeup mirror but is center stage in a sequined blue cocktail dress, not singing out of fear and despair but what seems as one of two finalists on “American Idol,” singing her heart out to be the winner. In fairness to Ms. Riley, she does a great job with the song, not as Effie but Ms. Riley in an audition for Dreamgirls.

Even in Act II, when Deena is given her solo number to declare her independence from her husband/slimy manager, Curtis Taylor (Joe Aaron Reid), “Listen,” the Beyoncé song from the movie, it is now no longer a solo of independence for Deena but as a duet with Effie and that makes no sense. Mr. Nicholaw taketh from Deena Jones and giveth to Effie White. For most Brits and Europeans, they would not be such sticklers about these choices, but to American purists of the show, this would be intolerable.

The performances by Liisi La Fontaine, Asmeret Ghebremichael, Adam J. Bernard, and Joe Aaron Reid are all perfect in their roles. Joshua Liburd is totally miscast and too young as C.C. White, the in-house songwriter. As for Amber Riley, she has a great voice, a real musical talent, but she is not in “Glee” anymore, she has to adapt to the stage now.

Visually the show still looks good, but Gregg Barnes’ costumes come nowhere near to what Theoni V. Aldredge created. They were a show unto themselves. Had Casey Nicholaw followed the template of what Michael Bennett created and known more about musical drama, this Dreamgirls should have been an absolute knockout; now it’s just “well, it was nice to revisit.”

Edited by Scott Harrah
Published June 30, 2017
Reviewed at June 21, 2017 performance in London

‘DREAMGIRLS’: Amber Riley. Photo: Brinkhoff & Mögenburg

‘DREAMGIRLS’: The cast. Photo: Brinkhoff & Mögenburg

The post ‘Dreamgirls’ London revival: All about Effie appeared first on StageZine.

‘THE GIRLS’: Claire Moore & Joanna Riding. Photo: Matt Crockett, Dewynters

THE GIRLS
Written by Gary Barlow & Tim Firth
A musical comedy based on the film Calendar Girls
Directed by Tim Firth
Through July 15, 2017
Phoenix Theatre
110 Charing Cross Rd
London, WC2H 0JP
0844 871 7629, https://www.thegirlsmusical.com/

By David NouNou

The 2003 British movie Calendar Girls by Tim Firth was one of the most delightful, original, and enjoyable comedies that came out in many a year. It starred Helen Mirren, Julie Walters, Celia Imrie, and Penelope Wilton. They portrayed ordinary women on an extraordinary mission.

Gary Barlow and Tim Firth have turned an endearing 109 minute movie into a 2 ½ hour plodding musical that captures only parts of the film’s numerous charms. This is surprising, since screenwriter Tim Firth also wrote the book for this adaptation. What was once a lighthearted movie with serious undertones has now been stretched into what, at times, borders on tedium. Basically still sticking to the main plot of Annie Clark (Joanna Riding) losing her husband, John (James Gaddas) to leukemia and upon the suggestion of her best friend, Chris Harper (Shirley Jameson), they decide to enlist the help of their Women’s Institute ladies’ auxiliary group to do a nude calendar of older naked women posing behind tasteful auxiliary duties: baking, knitting, gardening, etc. All this is done to raise enough money to buy a comfortable sofa to put in the waiting room of a hospital lounge with a plaque to honor the memory of the late John Clarke.

Just like the current Broadway mega-hit Come From Away, which has a great opening number “Welcome to the Rock,” The Girls has a similar rousing opening with the song “Yorkshire.” It is an anthem to where the action takes place. Of course all the different types of women are here: the very old, the shy, the bosomy flirt, the ditz, the uptight; they are all here which is grand, but the writers decided that in order to know each lady better and identify with her, each one is given an anthem to herself and most of the songs become dirge-like, stopping the action in its tracks. The movie constantly moved till the end with the stills of the girls each posing in their magnificent hats for a month with their particular home-making talents for the calendar.

After the wonderful opening, unfortunately for this musical, things get bogged down with so many subplots, riddled with so much angst and endless songs, that by the time you get to the end where the calendar is finally coming to fruition, you are more exhausted than elated. Is this due to Gary Barlow’s music? Mr. Barlow is a huge pop star in the United Kingdom, a founding member of the English pop group Take That, so perhaps this show is more geared toward Mr. Barlow’s fans, but the point of his score was puzzling to this American reviewer.

Had the movie not been so perfect, one would not have noticed all the pitfalls in the musical adaptation. The Girls on the West End, however, has its moments, and will still be a treat for fans of the film.

Edited by Scott Harrah
Published June 28, 2017
Reviewed at June 22, 2017 performance in London

‘THE GIRLS’: James Gaddas & Joanna Riding. Photo: Matt Crockett, Dewynters

‘THE GIRLS’: Joanna Riding. Photo: Matt Crockett, Dewynters

‘THE GIRLS’: (left to right) Chloe Jackson, Ben Hunter & Josh Benson. Photo: Matt Crockett, Dewynters

The Girls Official London Trailer

The post ‘The Girls’: Yorkshire’s golden gals in London appeared first on StageZine.

‘HALF A SIXPENCE’: Charlie Stemp & company. Photo: Manuel Harlan

HALF A SIXPENCE
Book by Julian Fellowes
Music & lyrics by George Stiles & Anthony Drewe
Co-author of original music & lyrics by David Heneker MBE
Co-author of original music by Beverly Cross
Choreography by Andrew Wright
Directed by Rachel Kavanaugh
Through September 2, 2017
Noël Coward Theatre
St. Martin’s Lane, London, WC2N 4AU
0844 482 5140,www.halfasixpence.co.uk/

By David NouNou

Half A Sixpence is one of the little gems that came to Broadway in 1965, lasted for about 15 months at the Broadhurst Theatre, made a star out of Tommy Steele for his exuberant performance as Arthur Kipps, and has never been revived, and that is a great pity. It is an absolutely charming musical that had a very British book by Beverley Cross and a music hall score by David Heneker that was a delicious bonbon one just wanted to savor. The sad part wasn’t that it was very British in nature and people didn’t get it in America. It unfortunately opened at the wrong time; right after Hello, Dolly, Funny Girl, and Fiddler on the Roof. How could such a guileless, gentle musical compete against those mega-giants?

It was wonderful to sit at the Noel Coward Theatre and revisit this little treasure, and this time with a far better performance of Arthur Kipps by the multi-talented Charlie Stemp. Mr. Stemp is far more appealing as the character, an excellent hoofer, and not the least bit cloying as his predecessor. The only regret is that the excellent score by David Heneker has been diluted by so many extemporaneous songs that prolong the proceedings instead of tightening things.

While in New Romney in 1904, Arthur splits a sixpence and gives it to his childhood sweetheart Ann (Devon-Elise Johnson). He gives the sixpence as a token of love so, when they are separated, they can always think of each other. He is sent off to Folkstone as an apprentice in Shalford’s Haberdashery and after seven years there, he meets the lovely Helen Walsington (Emma Williams). Helen is a genteel upper- cruster who comes with excess baggage: a domineering mother and a scoundrel of a brother. On a particular night after spending some time with Helen, Arthur runs into Chitterlow (Ian Bartholomew) who is an elderly actor/playwright who, after a drunken spree, informs Kipps that he is the heir of a great fortune. This throws Arthur into a spin. He is infatuated by Helen but he knows he doesn’t fit in with the upper class. However, her family latches on to Arthur for his fortune because their’s has run out.

If it seems that I’m giving too much information and too much of a spoiler alert it is simply because most Americans are unfamiliar with this musical. So, Arthur proposes to Helen, and on the night of his engagement, runs into Ann who is working as a maid for the society doyenne Lady Punnet (Jane How). Arthur runs into the crossroads of love; the infatuation or the real love that was always there for him. If you want to know what happens next, you will either have to come to London to see the show or Google it.

Besides the wonderful Mr. Stemp, there is the delightful Ms. Johnson and the lovely Ms. Williams; they are both so enticing that it is virtually impossible to choose. Mr. Bartholomew adds all the right comic touches as Chitterlow, the man who enriches Kipps.

On the creative side, Andrew Wright has emulated the choreography originated by the wonderful Onna White which is a stroke of genius. Director Rachel Kavanaugh keeps the proceedings moving but is encumbered by a new book and those extemporaneous songs. The revolving, spinning sets by Paul Brown are perfect for moving the scenes seamlessly, and Paul Constable’s lighting as usual captures all the right moods.

For American theatergoers who are planning to visit London, I strongly urge you to see this little jewel because it shan’t be coming to our shores anytime too soon

Edited by Scott Harrah
Reviewed at June 22, 2017 performance in London
Published June 23, 2017

‘HALF A SIXPENCE’: Gerard Carey & Charlie Stemp. Photo: Manuel Harlan

‘HALF A SIXPENCE’: Charlie Stemp. Photo: Manuel Harlan

‘HALF A SIXPENCE’: Emma Williams & Charlie Stemp. Photo: Manuel Harlan

‘HALF A SIXPENCE’: Jane How & Vivien Parry. Photo: Manuel Harlan

‘HALF A SIXPENCE’: Charlie Stemp. Photo: Manuel Harlan

Half a Sixpence Official London Trailer

The post London’s ‘Half a Sixpence’ a nostalgic delight appeared first on StageZine.

’42ND STREET’: The cast. Photo: cBrinkhoff-Moegenburg

42ND STREET
Book by Michael Stewart & Mark Bramble
Music by Harry Warren
Lyrics by Al Dubin
Based on the novel by Bradford Ropes
Original direction & dances by Gower Champion
Musical staging & new choreography by Randy Skinner
Directed by Mark Bramble
Theatre Royal Drury Lane
Catherine Street, London, UK, WC2 B5JF
http://www.42ndstreetmusical.co.uk/

By David NouNou

Annually StageZine comes to London to review shows for our American readers, and 42nd Street was this year’s list topper. Having first seen it on Broadway in 1980 and then the 2001 revival, I’ve always been dazzled by it. This show has always floored me for its opulence and grandeur. When most shows today are chintzy, tacky and try to save money by cutting back on casts, scenery, costumes, I am overjoyed to say that 42nd Street has retained all its glamour, splendor and opulence. It is still an extravaganza and an antidote for all depressed Americans in the depressed state of America. 42nd Street fought the financial crisis of the 1930s, this 42nd Street fights the current depression and malaise going around in the US and UK.

Based on the 1933 Warner Brothers film, the story is familiar to everyone; a new Broadway show is opening in the depression, leading lady breaks leg, show will close, last minute replacement, picking the ingenue from the chorus line and she becomes an overnight star. The motto being the show must go on.

In 1980 the credit on direction and choreography went to Gower Champion. In 2017 the credit has to be given to Randy Skinner, an under appreciated choreographer on Broadway. He is the true successor to Gower Champion. Mr. Skinner has the flair and razzle dazzle  that Mr. Champion possessed. He should have won the Tony in 2001 for the revival of 42nd Street, but unfortunately was torpedoed by The Producers which won almost everything that year.

The show really belongs to Mr. Skinner and his ensemble of dancers. Aside from A Chorus Line, to me 42nd Street has always been the type of show that anyone who ever dreamed of being a dancer and being in a musical either on Broadway or the West End is the perfect vehicle to be in. The show is not about the leads; it’s about the toiling of the chorus that make the leads look good. The synchronization of the dance numbers are perfection, and the dancers here are a grand unit that functions as one. They are the real stars.

Clare Halse, as the ingenue Peggy Sawyer who is plucked from the chorus to replace the star, is a dancing marvel. Her tap dancing matches the tightness of Ann Miller. Stuart Neal is absolutely charming as the dancing and singing Billy Lawlor, who discovers Peggy and is smitten by her. Ms. Halse and Mr. Neal have the right chemistry and are a delight to watch.

As the bitchy leading lady diva Dorothy Brock, former pop singer Sheena Easton brings a tartness to the role and still possesses a lovely voice. Tom Lister is admirable as Julian Marsh, the director.

Fans of 42nd Street will still marvel at the wonderful score by Harry Warren and Al Dubin. Besides Mr. Skinner’s choreography, one is also dazzled by Roger Kirk’s gorgeous costumes and Peter Mumford’s lighting. To say that one is overwhelmed by the magnificence of 42nd Street would be an understatement. There are a few American musical revivals currently running on the West End; however, for my money I would recommend to rush to the Theatre Royal, Drury Lane and be dazzled by the splendors of 42nd Street.

Edited by Scott Harrah
Published June 22, 2017
Reviewed at June 21, 2017 performance in London

’42nd Street’ U.K. Official Trailer

’42ND STREET’: Clare Halse & company. Photo: cBrinkhoff-Moegenburg

’42ND STREET’: Claire Halse & company. Photo: cBrinkhoff-Moegenburg

’42ND STREET’: Claire Halse & company. Photo: cBrinkhoff-Moegenburg

’42ND STREET’: Clare Halse & company. Photo: cBrinkhoff-Moegenburg

’42ND STREET’: Clare Halse & company. Photo: cBrinkhoff-Moegenberg

’42ND STREET’: The company. Photo: cBrinkhoff-Moegenburg

’42ND STREET’: The company. Photo: cBrinkhoff-Moegenburg

’42ND STREET’: Stuart Neal & company. Photo: cBrinkhoff-Moegenburg

’42ND STREET’: Bruce Montague & Sheena Easton. Photo: cBrinkhoff-Moegenburg

’42ND STREET’: Claire Halse & Stuart Neal. Photo: cBrinkhoff-Moegenburg

’42ND STREET’: (left to right) Clare Rickard, Ella Martine, Jasna Ivir, Clare Halse, Emma Caffrey. Photo: cBrinkhoff-Moegenburg

’42nd Street’ U.K. Official Trailer

The post A dazzling ’42nd Street’ in London appeared first on StageZine.

WAITING FOR THAT ELUSIVE GOLDEN TICKET: The company of ‘Charlie and the Chocolate Factory.’ Photo: Johan Persson

CHARLIE AND THE CHOCOLATE FACTORY
Based on the novel by Roald Dahl
Book by David Creig
Music by Marc Shaiman
Lyrics by Scott Wittman & Marc Shaiman
Directed by Sam Mendes
Choreography by Peter Darling
Theatre Royal Drury Lane
Catherine Street
London, United Kingdom
(0844 858 8877), www.charlieandthechocolatefactory.com

By Scott Harrah

There have been three major incarnations of Roald Dahl’s 1964 novel, a whimsical moral fable, from the delightful cult classic 1971 film adaptation with Gene Wilder to the digitally infused, Tim Burton 2005 remake with Johnny Depp, and now this West End musical The effectiveness of the musical-comedy interpretation of Charlie falls somewhere in the middle of the two films: It lacks the charm of the 1971 movie, but adds many colorful touches not seen in both Hollywood adaptations, namely some spectacular production numbers that depict, with high-tech wizardry and Scott Wittman and Mark Shaiman’s effusive songbook, the classic tale of a group of children touring Willy Wonka’s magical chocolate factory.

The show, which opened in summer 2013, has been playing for more than two years now in London at the gorgeous Drury Lane and is certainly a staple for foreign tourists. Act one is a bit too long for its own good, but the second act more than makes up for it with songs and scenes depicting the dark, twisted fates of Augustus Gloop, Veruca Salt, Mike Teavee and Violet Beauregard (played here by a rotating cast of child actors).

The most glaring flaw in this otherwise spectacular stage adaptation of Charlie is the length of act one and the way in which the scene with Charlie’s poverty-stricken family, all sleeping in one giant quadruple bed and so poor they can only afford cabbage soup, seems to go on incessantly. Of course, Grandpa Joe (Barry James) is featured prominently here. Should the show move across the Atlantic to Broadway, director Sam Mendes must seriously consider doing some fine-tuning to act one.

Once the scenes with Charlie’s family finish, it’s all uphill for the rest of the show as we’re introduced to the iconic kids who’ve won golden tickets, from spoiled rich brat Veruca Salt and her number “When Veruca Says” to gum-chewing Violet Beauregard’s “The Double Bubble Duchess” and TV-obsessed Mike Teavee’s “It’s Teavee Time.”

As with the films, the true excitement doesn’t really start until we visit the Chocolate Factory and Willy Wonka himself (played with charming aplomb by Jonathan Slinger, who seems to be channeling Tim Curry). Visually, the show is gorgeous, from the winsomely disturbing Oompa-Loompas (represented by both real actors and various puppets) to the clever, high-tech sets by video and production designer Jon Driscoll, puppet and illusion designer Jamie Harrison and lighting designer Paul Pyant. The team brings us everything from the bowels of the factory to edible landscapes and various contraptions in Willy Wonka’s factory in glorious, garish, cartoonish proportions. Some of the later numbers, such as “Vidiots,” have the gleeful, streamlined futurism of a pop music video or live arena show.

No, Charlie and the Chocolate Factory isn’t as cerebral as that other Roald Dahl musical adaptation, Matilda, but it is still a lot of fun, particularly seeing the warped ways that Augustus Gloop, Veruca, Violet and Mike face grisly retribution for being annoying, self-centered children.

The only song from the original 1971 film adaptation is “Pure Imagination,” and Scott Wittman and Mark Shaiman’s otherwise original score is bouncy and consistently vibrant, even if it’s not always memorable. Overall, however, director Sam Mendes makes everything work with Technicolor precision. The story of Willy Wonka and Charlie is timeless, and there’s no word yet on whether this production will cross “the Pond,” so Charlie and the Chocolate Factory is certainly a sweet trip and a show musical theater fans should catch when visiting London this year.

I’VE GOT A GOLDEN TICKET: Oliver Finnegan as Charlie in ‘Charlie and the Chocolate Factory.’ Photo: Johan Persson

THE DAPPER MR. WONKA: Jonathan Slinger as Willy Wonka in ‘Charlie and the Chocolate Factory.’ Photo: Matt Crockett

LIFT TO THE TOP: Jonathan Slinger in ‘Charlie and the Chocolate Factory’. Photo: Matt Crockett

CHARLIE & THE BUCKET FAMILY: Charlie (Oliver Finnegan) and the Bucket Family in ‘Charlie and the Chocolate Factory.’ Photo: Johan Persson

Edited by Scott Harrah
Published July 2, 2015
Reviewed at performance on June 17, 2015 in London

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FOUR WORKING-CLASS MUSWELL HILL LADS: (left to right) Ned Derrington, John Dagleish, Adam Sopp & George Magure play The Kinks in ‘Sunny Afternoon.’ Photo: Kevin Cummins

SUNNY AFTERNOON
Original story by Ray Davies
Book by Joe Penhall
Music & lyrics by Ray Davies
Directed by Edward Hall
Choreography by Adam Cooper
Harold Pinter Theatre
Panton Street
London, United Kingdom
(0844 871 7622), www.sunnyafternoonthemusical.com

By Scott Harrah

Is this a British Jersey Boys about The Kinks or a jukebox musical/biography that simply works because the story is compelling and the songs actually compliment and even propel the action? Whatever the case, the show, winner of 4 Olivier Awards, including Best Musical, should be on any rock music lover’s list if you’re in London this year.

One really doesn’t need to know much about The Kinks to enjoy Sunny Afternoon because all the elements for a great story are here: The rise and fall and rise of a rock band in the turbulent 1960s. Some of the best scenes include their appearance on TV’s “Top of the Pops,” with go-go girls and the mad garishness of swinging 1960s London (thanks to Miriam Buether’s brilliant sets). Make no mistake, however, that because The Kinks never reached the popularity in the USA of The Beatles or The Who, this is an intrinsically British musical that might never take off in America but is particularly riveting to see in the U.K. In fact, when The Kinks finally do head to our shores on tour, the USA is portrayed as a land of corrupt trade labor union leaders and thick-accented New York/New Jersey Mafia types. The Kinks fail to appear on TV’s “The Ed Sullivan Show,” which was de rigueur for any band to truly make it Stateside at the time. Although The Kinks started in the 1960s, they weren’t really popular in America until well into the 1970s (when such songs as “Lola” were rock radio standards in the States).

Sunny Afternoon chronicles the story of Ray Davies and the Kinks, four working-class Muswell Hill lads, from their early days in North London playing a debutante ball to their early successes “You Really Got Me” and “Dedicated Follower of Fashion” to their troubles making it in America and all the greedy Americans that expected to be paid as The Kinks toured and made stage and TV appearances here in the Colonies. The group was temporarily banned by a musician’s union in the USA, explaining why The Kinks never had the U.S. success that other British bands did in that era.

Joe Penhall’s solid book, written in collaboration with the group’s Ray Davies, makes Sunny Afternoon more than your average “jukebox” tribute show. A scene with Ray Davies’ long-suffering wife Rasa (Lillie Flynn) is especially touching when she makes a transatlantic phone call to him from England while he’s touring in the U.S. and she gorgeously sings the haunting ballad “I Go to Sleep” (which was written by Ray Davies but never recorded by The Kinks, and was a minor success for Chrissie Hynde and The Pretenders in the USA).

The story is heavy on biographical content, particularly brothers Ray and Dave Davies and their constant squabbling, as well as the band’s volatile relationship with their managers. Americans may have trouble relating to certain aspects of the show, such as the song “Sunny Afternoon” itself being performed in 1966 when England won the World Cup (one really does need to know 1960s British culture to appreciate the significance of this).

Director Edward Hall gets many trenchant performances from the cast and especially from John Dagliesh, with his razor-sharp portrayal of Kinks front man Ray Davies. At nearly three hours long, the show feels overstuffed at times, but there’s no other way to tell the story and also include all the great Kinks hits as “Stop Your Sobbing” (also a hit for The Pretenders), “A Rock and Roll Fantasy,” the hippie-dippy, psychedelic anthem “Waterloo Sunset” (which is used for a glorious finale), and more. Sunny Afternoon shines, and is a gleeful evening of entertainment that has a lot of heart and soul and truly rocks.

SIXTIES SENSATION: Carly Anderson & John Dagliesh in ‘Sunny Afternoon.’ Photo: Kevin Cummins

THE KINKS: (left to right) John Dagleish, George Maguire, Adam Sopp & Ned Derrington in ‘Sunny Afternoon.’ Photo: Kevin Cummins

CHRONICLING THE RISE & FALL & RISE OF THE KINKS: (left to right) George Maguire, Ned Derrington, Dominic Tighe, Tam Williams & Adam Sopp in ‘Sunny Afternoon.’ Photo: Kevin Cummins

SIXTIES SENSATION: The company of ‘Sunny Afternoon.’ Photo: Kevin Cummins

OLIVIER AWARD WINNER FOR BEST MUSICAL: (left to right) Lillie Flynn, John Dagliesh & George Maguire in ‘Sunny Afternoon.’ Photo: Kevin Cummins

Edited by Scott Harrah
Published July 1, 2015
Reviewed at performance on June 18, 2015 in London

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ASSIMILATION VS. CULTURAL DIVIDE: Indian culture in Britain is celebrated with glorious results in the new London hit ‘Bend It Like Beckham The Musical.’ Photo: Eliie Kurttz

BEND IT LIKE BECKHAM THE MUSICAL
Book by Paul Mayeda Berges & Gurinder Chadha
Music by Howard Goodall
Lyrics by Charles Hart
Directed by Gurinder Chadha
Choreographed by Aletta Collins
Phoenix Theatre
Charing Cross Road
London, United Kingdom
(0843 316 1082), www.benditlikebeckhamthemusical.uk

By David NouNou

Assimilation vs. cultural divide, honor to family vs. love for a sport, dashed hopes vs. new dreams are all the delightful components of this thoroughly modern and enjoyable musical based on the 2002 film of the same name. The film Bend It Like Beckham is expansive in nature but has the capability of being done into a musical. Furthermore, the creators and the design team were wise enough to know to go big and luxe and not to skimp on characters, extras, sets or costumes because in order for this story to succeed. It is the only way to go.

Jess (Natalie Dew) is an 18-year-old Indian girl living in Southall, London that is dominated primarily by Indians and the Indian culture. She is smart, pretty and modern but, like so many of her generation, is divided between the English lifestyle and her parental heritage culture. She loves football (our soccer) but her parents forbid it. It is not right for a girl to play sports, they tell her, believing it is better to learn the art of cooking. Also, her sister Pinky (Preeya Kalidas), is getting married and this causes further dilemmas for Jess because she has duties as the sister of the bride. On a fortuitous day while practicing in the park with her friend Tony, Jess runs into Jules (Lauren Samuels) who asks her to join the women’s football team to compete nationally. This is Jess’s dream come true but ultimately it’s her parent’s nightmare. Now the conflicts are set in motion.

Gurinder Chadha was the director of the movie; he is now co-author of the book and also the director of the show. Like so many before him, who do both the writing and directing, this creates a conflict of interest. The writer side never wants any line of his to be cut and the director side never sees when the show is running too long and things become repetitious. The score is an utter delight, thanks to the music of Howard Goodall and the lyrics by Charles Hart (in America known for Phantom of the Opera); they have fused the Eastern and Western cultures’ music in a rhythmic style that always propels the story forward. Yes, there are some extemporaneous songs by minor characters, but they add to the charm of the musical.

The performances are all fine, notably Natalie Dew as Jess, the gorgeous Preeya Kalidas (wonder if she ever competed for Miss Universe?) as her sister Pinky, Tony Jayawardena and Natasha Jayetileke as Mr. and Mrs. Bhamra, their parents, Jamal Andreas as Tony, Jess’s gay friend, and Jamie Campbell Bower as Joe, Jess’s coach. Lauren Samuels as Jules, the team captain, and Jess’s champion/friend is the weak link, not strong enough in the part to be a leader and also plays it very one dimensionally.

There is a lot to savor in this show and enjoy, especially its bringing different cultures, age groups, and families together. As an American, I most enjoyed how the British know how to fuse their various cultures with harmony; in America they bring them together with violence. Definitely a pleasurable evening.

INDIA IN THE U.K.: The company of ‘Bend It Like Beckham The Musical’. Photo: Ellie Kurttz

ALL IN THE FAMILY: (left to right) Natasha Jayetileke, Natalie Dew, Tony Jayawardena & Preeya Kalidas in ‘Bend It Like Beckham The Musical.’ Photo: Ellie Kurttz

GIRL WITH A DREAM: Natalie Dew in ‘Bend It Like Beckham The Musical’ in London. Photo: Ellie Kurttz

SOUTHALL DREAMS: Natalie Dew in ‘Bend It Like Beckham The Musical.’ Photo: Ellie Kurttz

Edited by Scott Harrah
Published June 30, 2015
Reviewed at June 20, 2015 performance in London

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EPIC REVIVAL IN LONDON: Eva Noblezada & Kwang Ho Hong. Photo: Matthew Murphy

MISS SAIGON
Adapted from the original French text by Alain Boublil
Music by Claude-Michel Schonberg
Lyrics by Richard Maltby, Jr. & Alain Boublil
Directed by Laurence Conner
Musical Staging by Bob Avian
Prince Edward Theatre
Old Compton Street
London, United Kingdom
(0844 482 5155), www.miss-saigon.com

By David NouNou

In the 1960s, America had the British rock invasion: The Beatles, The Rolling Stones, etc. In the 1980s and 1990s, we had The Cameron Mackintosh invasion: Cats, Starlight Express, Les Miserables, Phantom of the Opera and Miss Saigon. Damn, that’s impressive, and Broadway deservedly welcomed him with open arms. He single-handedly turned a dying Broadway into a booming, bustling Broadway with the aid of Andrew Lloyd Webber and Schonberg and Boublil.

That being said, I must now specifically concentrate on Miss Saigon. In 1990, it came to Broadway with the largest advance in history to date, the tale that a helicopter lands on the stage (Americans love special effects) and a lot of controversy regarding casting. I salute Mr. Mackintosh in his stand to bring Jonathan Pryce and Lea Salonga in their roles that they originated in London, for which they ultimately won Tony Awards for best actor and actress, because without them the show would not have been as powerful and interesting.

Fast forward to 2015. Seeing Miss Saigon at the gorgeous Prince Edward Theatre in London seems awesome at first thought, but sadly for me and I’m sure for most Americans who see it, it’s a shameful reminder of our past history and the atrocities that took place during the Vietnam War. Unlike the epic grandeur of Les Miserables ,with its glorious and memorable score and beautifully etched-out characters, Miss Saigon is epic visually but very thin in storyline. It is basically Madame Butterfly set during the Vietnam War.

Chris (Chris Peluso), an American G.I. stationed in Vietnam, falls in love with the Vietnamese bar girl Kim (Eva Nolezada), who is under the thumbs and controlled by the Engineer (Jon Jon Briones), a man with dreams of coming to America and using his entrepreneurial skills to make it big in the USA. You know the rest.

The score by Schonberg and Boublil never lives up to the magnificence of Les Miserables. With the exception of “The Last Night of the World,” a sweet ballad sung by Kim and Chris, the haunting “I’d Give My Life For You” sung by Kim and the Engineer’s rousing delusional tribute “The American Dream,” the rest of the score is undistinguished. And the whole scene with the helicopter landing in Act II is now almost laughable. A cheesy projection of a helicopter landing at the U.S. embassy morphs into what appears to be the body of a helicopter, with spinning ropes as propellers and lots of audio or noise, lot of hysteria, few people get on, and off it goes into projection land.

For Mr. Mackintosh, casting is most essential. He brought Mr. Pryce as the Engineer, a role that is sinister, evil, calculating and a lowlife. He’d do anything and sacrifice anyone just to save his hide. Mr. Pryce played that part to perfection, and at the end you are cheering for him. As for Jon Jon Briones as the Engineer, I honestly had no idea what he was conveying. The closet character I could think of was a sleazy version of the parrot, Jose Carioca, in the 1943 Disney animated movie Saludos Amigos; totally lacking in personality, charisma and style, nothing that would suggest sinister, just plain smarmy.

Ms. Nolezada is enchanting as Kim, and Mr. Peluso as Chris, possesses a powerful voice and both fit their characters perfectly. Honorable mention must be made to Siobhan Dillon as Ellen, Chris’ wife, and Hugh Maynard as Jake, Chris’ war buddy.

From a visual standpoint, this version of Miss Saigon is arresting, and the score and many of the performances pack a strong emotional punch. If it plans to come to America (and rumors say it will), some stronger choices have to be made: An Engineer that can hold up this giant behemoth, tighter and more disciplined direction, and a more authentic, realistic idea for the helicopter scene.

LOVE IN WAR-TORN VIETNAM: Eva Noblezada & Alistair Brammer. Photo: Michael Le Poer Trench

A G.I. IN ‘SAIGON’: Alistair Brammer. Photo: Michael Le Poer Trench

GIGI IN ‘MISS SAIGON’: Natalie Mendoza. Photo: Michael Le Poer Trench

THE ENGINEER: Jon Jon Briones. Photo: Michael Le Poer Trench

Edited by Scott Harrah
Published June 29, 2015
Reviewed at June 16, 2015 performance in London

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