‘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.

The post Amy Adams in London’s ‘The Glass Menagerie’ appeared first on StageZine.

Mastercard presale: 10am Friday 6 December

General sale: 10am Friday 13 December

LONDON–Over 50 of London’s biggest theatre shows are welcoming in 2020 with Official London Theatre’s New Year Sale. Tickets are available at £10, £20, £30 or £40 for performances from 1 January to 13 February 2020, with no booking or postage fees.

Mastercard cardholders can buy tickets through priceless.com from 10am on Friday 6 December, and tickets go on general sale from 10am on Friday 13 December, via officiallondontheatre.com/new-year-sale.

From comedies and musicals to opera, dance and drama, audiences can ‘Get Into London Theatre’ with New Year Sale tickets for many of the biggest shows in the West End and beyond, as part of one of the theatre industry’s longest-running audience development initiatives.

Theatregoers with access needs can submit ticket requests and access requirements before general booking, by visiting the Access page of the New Year Sale website between 10am on Monday 9 December and 6pm on Wednesday 11 December. The theatres will respond to access requests directly on 13 December.

Deputy Mayor for Culture and the Creative Industries, Justine Simons OBE, said:

‘London’s theatre productions are the best in the world, so it’s great news that Londoners and visitors can take advantage of these offers to see a fantastic stage show. From a star-studded musical to an inspirational dance performance, there is truly something for everyone interested in the theatre.’

The list of participating shows is available below and on the Official London Theatre website.

LIST OF PARTICIPATING SHOWS

& Juliet

9 To 5 The Musical

An Act Of God

Adam Kay: This Is Going To Hurt

Amélie The Musical

RSC: As You Like It

A Christmas Carol

Cinderella (Lyric Hammersmith)

Cinderella (The Vaults)

Circus 1903

Come From Away

The Comedy About A Bank Robbery

Coming Clean

Le Corsaire (English National Ballet)

Dick Whittington

English National Ballet 70th Anniversary Gala

Everybody’s Talking About Jamie

Fame

Faustus: That Damned Woman

The Gift

Girl From The North Country

Goldilocks And The Three Bears

Kunene And The King

Disney’s The Lion King

The Lion, The Witch And The Wardrobe

Mamma Mia!

Matilda The Musical

RSC: Measure For Measure

A Midsummer Night’s Dream

The Mousetrap

Oi Frog & Friends!

Opera Undone: Tosca & La Bohème

The Play That Goes Wrong

Potted Panto

The Prince Of Egypt

Matthew Bourne’s The Red Shoes

School Of Rock – The Musical

Showstopper! The Improvised Musical

The Snow Queen (Park Theatre)

The Snow Queen (Rose Theatre Kingston)

The Snowman

RSC: The Taming Of The Shrew

A Taste Of Honey

Three Sisters

Thriller Live

The Tiger Who Came To Tea

Tina – The Tina Turner Musical

Touching The Void

Uncle Vanya

The Visit

Waitress

The Welkin

Wicked

Witness For The Prosecution

The Woman In Black

The list of participating shows is correct at the time of going to press

Follow OfficialLondonTheatre.com on:

Facebook｜Instagram｜Twitter｜YouTube

‘EVERYBODY’S TALKING ABOUT JAMIE’: One of the hit shows on sale during the promotion. Photo: Johann Persson.

The post Shows Announced for Official London Theatre’s New Year Sale appeared first on StageZine.

TEA TOTAL
W London Hotel
The Perception at W London
10 Wardour Street
London, United Kingdom
W1D 6QF
www.theperceptionbar.com/

By Scott Harrah

The concept of “tea” as any type of meal is rather exotic to Americans. While “afternoon tea,” “high tea” and “low tea” are served in the British Isles and Commonwealth nations like Canada and Australia, the concept of a light daytime snack of tea, sandwiches, cakes and cookies has never really been part of American culture. So we were excited but a bit unaware of what to expect when we decided to review “Tea Total” at the trendy Perception Bar at the W Hotel in London’s Leicester Square. We were in for a pleasant and luxurious surprise indeed.

Described in a hotel flyer as “a tipsy twist on the afternoon tea,” this “remix” of the traditional daytime break is certainly unique. Yes, there are scones, clotted cream and jam and sandwiches included as well as a pot of English tea, but that’s about the only conventional aspect of afternoon tea at the W. A wide selection of English Garden-inspired sweets are paired with a chilled glass of Prosecco and “crystalized” versions of the hotel’s signature cocktails.

The waiter brought out a sleek, dark box full of drawers and hidden doors. On top of the box was a colorful collection of shot glasses containing various cocktails to be sampled with the various goodies inside.

The first treat is the Spring Planter, a mint-flavored, chocolate mousse-filled pot with “popping candy dirt” and “micro cress herbs,” served with the Banana Republic cocktail (a mixture of Belvedere vodka, apricot liqueur, banana, cinnamon, apricot jam, sage and lime).

Next is the Queen Bee, a white chocolate-covered sponge cake that is layered with lemon thyme, avocado, pistachio, locally sourced honey and covered with pandan icing and bee pollen. This is presented with the Hayfever cocktail (Belvedere vodka, manzana verde liqueur, cucumber, coriander, simple syrup and lemon, topped off with the shell of a pill, like an ad for Valley of the Dolls).

One of the more unusual treats is the Dew Drop, with a clear tomato, rose water and Tonka on a bed of Oreo and coffee soil. The Purple Rain cocktail (Bombay Sapphire Gin, Lychee Liqueur, Violette Liqueur, Violette Pearls, elderflower, cranberry, lemon) is served with this creation.

The final surprise is Every Cloud, a layer of carrot and cardamom cake served between two meringue clouds. The Pull The Pin cocktail (Patron Silver Tequila, Aperol, maraschino, strawberry, agave and lime) is served with this.

Of all the treats, the first three were the best. We especially enjoyed the Queen Bee cake and Dew Drop (who knew a tomato could go so well with crushed Oreos?) We wished the last surprise would have been something more exciting than meringue, but we know the egg-white concoction is popular in Europe. The Pull The Pin cocktail was a bit overpowering with the tequila but certainly different.

The scones were particularly tasty, as were the little sandwiches, including the roast beef with Dijon mayo on onion bread, smoked salmon with cream cheese on cranberry bread, and egg mayo with watercress on hazelnut and apricot sourdough bread.

Granted, Tea Total at the W is rather boozy for an afternoon tea, especially if one opts to also have the Prosecco, but so what? It is certainly an innovative way to spend an afternoon in London if one doesn’t have a West End matinee to see and one is too tired to shop or sightsee. While enjoying the cocktails, tea and treats, it’s fun gazing at the unique décor of the bar, complete with a collection of dishes featuring British celebrities, all arranged in the shape of the Union Jack. You’re in for lots of fun guessing who the celebrities are on the plates while savoring your tea, cocktails and goodies.

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

Served from 1pm to 5pm daily. Bookings: theperception@whotels.com
0207 758 1060. £37 per person
 or £42 per person with a glass of Prosecco.

BRITISH SUMMERTIME BLISS: (left to right) Spring Planter, Queen Bee & the Dew Drop at W Hotel’s afternoon tea. Photo: Courtesy of W London.

TEA TIME SHOTS: Assortment of colorful cocktail shots. Photo: Courtesy of W London

SEASONAL DELIGHTS: Queen Bee, Every Cloud, Dew Drop & Prosecco at W London for afternoon tea. Photo: Courtesy of W London

TEA TIME COCKTAILS (left to right) Purple Rain, Pull the Pin, Hayfever & Banana Republic shots. Photo: Courtesy of W London

COOL BRITTANIA: Plates featuring British celebrities, arranged on shelves representing the Union Jack. Photo: Scott Harrah

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‘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.

‘THE COMEDY ABOUT A BANK ROBBERY’: (left to right) Gareth Tempest, Hannah Boyce & Steffan Lloyd-Evans. Photo: Darren Bell

THE COMEDY ABOUT A BANK ROBBERY
Written by Henry Lewis, Jonathan Sayer & Henry Shields
Directed by Mark Bell with Mischief Theatre
Through April 1, 2018
Criterion Theatre
218-223 Piccadilly, St. James’s, London W1V 9LB, UK
0844 815 6131, http://www.thecomedyaboutabankrobbery.com/

By David NouNou

This is what we can learn from this show: Americans, the British and Europeans have completely different values when it comes to comedy and sense of humor. The Brits and Europeans love lowbrow sex comedies and farces such as No Sex Please, We’re British, Boeing-Boeing, and Don’t Dress for Dinner. While they were huge hits in London and ran for decades, they bombed in New York.  Brits and Europeans love haphazard comedies full of pratfalls, slamming into doors, constantly being walloped and running into furniture among other things, repeating names that have a funny ring to it.

I’ll give you an example: Do you know the Abbott and Costello bit “Who’s on First, What’s on Second”? It seems some Brits don’t even bother to get to second; they are just happy listening to the repetition of “Who’s on First” over and over, like a needle stuck in a groove.  I admit Americans still love The Three Stooges with Moe, Larry, and Curley. Some Brits would love them even if it was just Shemp, Shemp and Shemp.

The title of this play tells you the whole story: The Comedy About A Bank Robbery. What’s missing is the comedy in this screwball farce. It is written by the same comedy trio of Henry Lewis, Jonathan Sayer and Henry Shields. They are the writers behind their other “riot comedy” The Play That Goes Wrong which is a huge hit in London, but hasn’t been getting the same traction in New York. In comparison, The Play That Goes Wrong is grand theatre compared to the nonsense taking place here. Here is another example to what I alluded to in the previous paragraph. There is a character who is the bank owner by the name of Robin Freeboys (Sean Kearns). Well, the name “Freeboys” gets repeated ad nauseam in any given sentence.

The show from the onset is perplexing; two convicts are trying to escape a Canadian prison. However, all the prison guards are in cahoots with the prisoners to get to a gem worth $250,000. The convicts rid themselves of the guards and flee to Minneapolis, Minnesota to steal this gem from the bank owned by Robin Freeboys, deposited there by the Prince of Hungary. The British may not know that Minneapolis is in the north central part of the USA and that Minnesotans have a distinct nasal accent (think of the film Fargo). They don’t speak in a Southern drawl up there. But for some strange reason, the bank is run by Freeboys, a blustering, inept Southern gentleman who resembles and speaks like Colonel Sanders of KFC. If some Brits think all Americans look and sound alike, I guess Colonel Sanders is the lesser of the two evils we have now.

Naturally everyone in the play is a bumbling, inept boob, from the bank owner, his nephew (the bank clerk) to the gem robber, his assistant, Cooper, and including the detective assigned to the job. In all honesty, the audience members at our performance were rolling hysterically in the aisles. They consisted mostly of Europeans, some Brits, and a lot of visiting students. They were all having a grand old time, peeing themselves with laughter, except for four hapless Americans. Surprisingly, before show time, there were two other folks from the U.S. sitting behind us and upon hearing each other speak, we realized we were fellow Americans. We discussed what we’d seen and how we were enjoying London.

At intermission, the two Americans looked at us as we had similar expressions on our faces, they shook their heads in confusion and said they were leaving. They asked us if we would like to join them for a drink and woefully we said we can’t leave, we are critics and are obligated to stay to review the show. They gave us a look of pity, waved and left. The life of a critic is not always filled with new friends and cocktails.

Edited by Scott Harrah
Published June 29, 2017
Reviewed at June 23, 2017 performance in London

‘THE COMEDY ABOUT A BANK ROBBERY’: (left to right) Sean Kearns, Gareth Tempest, Jeremy Lloyd, Hannah Boyce & Steffan Lloyd-Evans. Photo: Darren Bell

‘THE COMEDY ABOUT A BANK ROBBERY’: The cast. Photo: Darren Bell

‘THE COMEDY ABOUT A BANK ROBBERY’: (left to right) Jeremy Lloyd, Miles Yekinni, Sean Kearns, Mark Hammersley, Gareth Tempest. Photo: Darren Bell

‘THE COMEDY ABOUT A BANK ROBBERY’: Steffan Lloyd-Evans, Gareth Tempest & Hannah Boyce. Photo: Darren Bell

The Comedy About a Bank Robbery Official Trailer

The post U.K.’s ‘Comedy About a Bank Robbery’ strictly for Brits appeared first on StageZine.

OUTSTANDING PERFORMANCE: British stage & TV star Felicity Kendal plays an aging West End actress spending a weekend in the country in Noël Coward’s ‘Hay Fever’. Photo: Nobby Clark

HAY FEVER
Written by Noël Coward
Directed by Lindsay Posner
Through August 1, 2015
Duke of York’s Theatre
St. Martin’s Lane
London, United Kingdom
(0844 871 7623), www.atgtickets.com

By Scott Harrah

Noël Coward was one of the most celebrated British playwrights of the 20th century. From Private Lives to Blithe Spirit to Design for Living, Mr. Coward wrote the epitome of upper-crust, class-conscious comedies that were the antithesis of the working-class “kitchen sink dramas” by John Osbourne and the like that were popular in the late 1950s and early 1960s. Most of the humor still holds up in the majority of Mr. Coward’s plays, and one wishes the same could be said for Hay Fever, written in 1925.

This West End transfer of Hay Fever, which was mounted at Theatre Royal Bath in 2014 and also toured Australia, arrived in the West End earlier this spring. Ms. Kendal is no stranger to British audiences, first making a name for herself in the 1970s TV sitcom “The Good Life” and then making quite an impressive U.K. stage career in the West End productions The Real Thing, Heartbreak House, Mrs. Warren’s Profession, among others. As an American who has always been a fan of Mr. Coward’s plays, I was excited to see one of his classics in London, the city where they first made a cultural impact.

There is no question Ms. Kendal is a true professional with a commanding stage presence. She has razor-sharp coming timing, from the way she elegantly delivers Mr. Coward’s numerous bon mots to the expressive emotions on her face with its patrician-like features. Whenever Ms. Kendal is on stage, her presence is overpowering, and she almost overshadows the rest of the cast.

Ms. Kendal plays Judith, a recently retired West End actress who is having difficulty adjusting to the bucolic life in rural England. Still, Judith yearns to return to the London stage. Her novelist husband, David (Simon Shepherd), and children Sorel (Alice Orr-Ewing), and Simon (Edward Franklin), have very little stage chemistry with Ms. Kendal.

The paper-thin plot revolves around the Bliss family bringing uninvited guests to the country estate for the weekend. As one can imagine, predictable mayhem ensues as love interests and hormones swirl around all over the place.

Despite some gorgeous sets by designer Peter McIntosh and associate set designer Simon Anthony Wells, and delightful period costumes, the plot is so calculated and—dare I say it?—trite, that there are few surprises. Unlike Mr. Coward’s better plays, there are few surprises or shocks here. The dialogue also lacks the wit of Mr. Coward’s later efforts. Perhaps director Lindsay Posner could have done some script tweaks to make this 90-year-old comedy a bit more modern.

Noël Coward is one of the all-time greats of the British theatre, but Hay Fever (written when Mr. Coward was in his 20s) is devoid of the timeless genius of Private Lives and Design for Living and his other plays.

FAMILY TIES: (left to right) Alice Orr-Ewing, Felicity Kendal & Edward Franklin. Photo: Nobby Clark

‘Hay Fever’: (left to right) Celeste Dodwell & Michael Simkins. Photo: Nobby Clark

Edited by Scott Harrah
Published July 6, 2015
Reviewed at June 18, 2015 performance in London

The post Noël Coward’s ‘Hay Fever’ a classic but dated 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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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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