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There really isn’t anything like a good old fashioned Rogers and Hammerstein classic, which might explain why this show has had its run extended and extra performances added!
Although it is quite dated with awkward, uncomfortable colonial elements and terribly clunky dialogue, nobody writes scores like this anymore. The music, and the overture in particular, just makes your spine tingle and your heart soar. And Kelli O’Hara’s voice is just made for Rogers and Hammerstein.
East/West relations are definitely an apt subject matter for today’s political climate, and it was lovely to hear a full orchestra play the overture as there is something exquisite about hearing music played to its fullest. And seeing Michael Ball is always a treat and gives me a warm fuzzy feeling. He is fantastic, and you can tell that he is a great company leader and having fun and enjoying himself - he makes me want to be part of the company!
Ridiculous, silly, way over the top, with humour and jokes that are so awful that you groan out loud; but packed full of talent, fun and people who look like they are enjoying themselves.
I honestly didn’t think that they made shows like this anymore other than pantomimes at Christmas! So over the top is it though that I feel that it needs a bigger theatre to dilute some of it because there were times that it was verging on painful to watch.
I walked out of this show not quite sure whether or not I enjoyed it, but on reflection I think that I did overall. It definitely felt amateurish and a bit rough around the the edges to begin with, but after a while I was either able to see past that or got used to it and see the makings of a charming little show beneath.
I have to say though that Isabel Pollen’s (Laura) wig hairline was a source of constant distraction, because it just seemed far too high and all there was was forehead!
I don’t really have much to add to the last review, but I’m not sure that this show does well with repeat viewing because it loses some of its dynamic wow factor.
That doesn’t make some of the performances any less great though as Jason Pennycooke and Michael Jonson were, as always, fantastic. Also, Ash Hunter, the alternate Alexander Hamilton was absolutely brilliant. So much better than Jamael Westman because Mr Hunter can both act and sing, and he seems very comfortable and at home on the stage and moving around.
With such a stellar cast, I had high expectations for this production. Unfortunately, however, the first scene really wasn’t that good. The audience are supposed to be a social butterfly at the party, flitting seamlessly between conversations. Instead, the acting was incredibly wooden, the lines stilted and the silence and pauses between the various conversations so jarring that it felt like people had forgotten their lines or their entrances. The show hasn’t opened yet, so this may get slicker as the run continues, but the entirety of the first half felt very static and stilted and was very soporific.
Weird, wacky and maybe wonderful? The jury is still out on that one. This has the feel of a cult classic like Rocky Horror or The Room, but it doesn’t quite make it to the same level as those cult institutions. This will, undoubtedly, have some die hard fans though; and will potentially introduce a new generation to Meat Loaf and gain some more.
The storyline is pretty weak, and it wasn’t until I read the programme that the Peter Pan context and parallels fell into place.
About 20-30 minutes too long, but wow! The detail that has gone into this production is phenomenal. The set is a complete and exquisitely detailed kitchen/family room, with pretty much everything my kitchen has! I wouldn’t be at all surprised if water came out of the taps or the oven had gas! The set really is a truly exceptional and remarkable design feat, with such detail that is so rarely seen, and the lighting compliments it beautifully, moving seamlessly from day to night.
So it was time to see an old friend again, partly because I haven’t seen it for 18 months, but also because two of the West End’s best leading men are currently Valjean and Javert: Killian Donnelly and David Thaxton.
I more or less know this show inside out, so it was fantastic to see Donnelly and Thaxton portray different interpretations of various scenes and a different dynamic between Valjean and Javert.
Apart from Jennifer Saunders and Samantha Spiro, this production feels terribly miscast! Despite his rather dashing photo in the programme, Kevin Bishop’s Lord Darlington is not dashing in either appearance, demeanour or his lines, which makes it particular difficult to work out why Lady Windermere almost ruins herself for him. Joshua James feels terribly weedy and lacking in presence as Lord Windermere, and there is no chemistry between him and Grace Moloney’s Lady Windermere.