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I can see how this show would work as a fully staged production - I can imagine the set, the lighting, the costumes, the scene changes, the staging - but I don’t think that it worked particularly well as a concert.
With a theatre and all its tech and tricks at your disposal, you can play with time and place and take the audience on a journey. The various theatrical devices also assist with exposition and story-telling.
With such a star-studded cast, I think that this might be the theatrical event of the season.
It was absolutely wonderful to see John Owen-Jones back as Jean Valjean and, in fact, he is the reason that I booked to see this production. His voice is as sensational as ever, and his acting is superb. As with everything that I have seen him in, he completely inhabits the character and, for me, he is the only Valjean.
This new musical at The Menier Chocolate Factory is absolutely beautiful and, although there was a real risk that it could get lost in the shadow of the 1995 film, this production makes the story its own.
The performances by Jenna Russell (Francesca Johnson) and Edward Baker-Duly (Robert Kincaid) are outstanding and completely heart wrenching. They are totally immersed in the characters’ story, living each moment with every fibre of their beings; and the audience is completely drawn in and with them every step of the way.
Although I have seen this show advertised a little, I have not read or heard much about it. I also don’t really know the music of Gloria Estefan (or, rather, I didn’t think that I did) or anything about her life or her story. But, when I friend recommended this show and said that they would like to see it again, I jumped at the chance to go to the theatre and see something new.
No, no, no, no, no! Regent’s Park Open Air Theatre, what are you doing?! You are a place for magic, not grunge, grime and grit!
This is yet another production of concrete, scaffolding and microphones - think the recent productions of Our Town, A Tale of Two Cities and Jesus Christ Superstar. In terms of their sets, they are basically the same. There is no imagination, creativity or flair. Designers, you have an incredible space to work with, so use it!
This is probably the hottest show in town right now and, my goodness, it is good.
However, I have to say that I wasn’t convinced at first. In fact, I found the beginning of the first scene of Act 1 pretty painful. It is a scene designed to set the scene and introduce all the characters, but Kitty Archer’s lines as Daphne Stillington were near unintelligible due to her speed of delivery; Sophie Thompson’s accent as Monica Reed flitted all over the place and the delivery of some lines was such that it was difficult to understand what was being said; and it took me a good few lines to settle into the rhythm, pace and delivery of Andrew Scott’s Garry Essendine.
I first saw this play years ago at The Old Vic and I laughed so much that I cried! So I couldn’t wait to see this production at the Lyric Hammersmith and, my goodness, this production doesn’t disappoint. Wow. Just wow.
Although this play feels like it is from a more gentle, innocent time, it is so cleverly done and funny that it is timeless.
The beginning of the first act feels a bit twee and painful, and you worry that could are going to be in for a long, lukewarm-amusing evening, but then it takes off into pure unadulterated brilliance.
Joseph was the first show that I ever saw, with Jason Donovan as Joseph. Before seeing it I had listened to the tape (yes, tape) recording of the show, with Tim Rice as The Narrator, hundreds, if not thousands, of times. I knew all the words, and I still do - they are etched into my brain for all eternity. So, I was particularly excited to see this new production.
I love a concert musical at Cadogan Hall.
The Clockmaker’s Daughter is a very sweet, but really quite sad, musical. The story is about love, loss and acceptance, and it draws you in and makes you feel like you are part of Spindlewood.
The entire cast was fantastic - Christine Allado was particularly perfect as Constance, changing from sweet and naive to strong and independent, and she has an amazing voice.
The move to the Playhouse Theatre was a great move for this show. Although the intimacy of the Menier worked, this production really benefits from having a bit more space. The Playhouse Theatre is by no means large - in fact, it’s pretty tiny and intimate - but that extra little bit of space has just given this production room to breathe which really helps it come alive.
Nyman was excellent at the Menier, but he was even better this time, and he was properly singing, not just speak-singing.