So last week I sat through all 6 Perfect Pitch new musicals in around 26 hours. Though I did find myself a little confused as to what show I was watching and how many more I had to go at a couple of points, on the whole I was very impressed. My thoughts are in the order I saw the shows and nothing else...
Lift
From the concepts I'd read prior to seeing the shows, Lift was the one I was most intrigued by. I was a bit disappointed, therefore, to find the score so much stronger than the book. I think it's got a lot of potential but don't think it is quite there yet. Fabulously cast though - a very tight knit ensemble. And the 'Lost In Translation' song is a real stand out moment.
The Diary of Me
I knew a little about the show beforehand, but not much. Again, another with a stronger score than book. I think it has limited appeal because whilst it is very poignant for its target audience, that audience is quite small in my opinion. That said, I can see it having life through drama groups, NYMT, schools etc.
Can You Keep A Secret?
Probably the one I was looking forward to the least because I wasn't a fan (to say the least) of Only The Brave in Edinburgh. I was pleasantly surprised. I think the character development was the strongest of the 6 shows (especially impressive given the 45 minute time slot) and I actually really liked the music. I did find myself a bit irked by the 'magical' part of the story line though and was much happier watching the parts in 'real' life. I wonder how it could work in a full scale production. I would actually want to see a full scale production of this though, which is much more than I could say for Only The Brave!
The Lost Christmas
Beautifully festive and magical, it does exactly what it says on the tin. This is a show that I'd oh-so-selflessly offer to take every under-12 year old I know to see it and actually probably enjoy it myself even more than they would. Funny, touching, great music and fabulously Christmassy - loved it.
Rebels and Retail
This is the one I really can't decide about. Of the 6, I knew least about it beforehand and had the smallest number of preconceptions and expectations. It was bizarre, but in a strangely good way. A bit of Jerry Springer, a bit of BatBoy, a bit of Sweeney Todd.. I'm not sure how much identity it had of its own. That said, it was very very funny. In reality I don't think it was as strong as the other 5 shows, but I am completely intrigued as to what the writers will do next given how scarily young they both are!
Through The Door
I knew bits of the music from Through The Door but not much of the story. My biggest issue is of how accepting they were of suddenly finding themselves in 18th century France out of nowhere.. that jarred a little with me and I'd like to think that could be addressed in a bigger production. Musically great - it's 3 days on and I can't stop singing 'Lenny We're Smiling'. I think it has the most identity of all the shows and it's the one that seems most ready to go on to bigger and better things. We shall see...
Monday 1 December 2008
Monday 27 October 2008
Me and My Girl
After the Old Vic 24 hour plays found themselves shortchanged by the clocks going forward earlier this year, clearly Showtime's 48 hour musical challenge thought they'd cash in by going for the weekend where the clocks went back, therefore gaining themselves an extra hour.
On the whole, I was impressed. Bill and Sally (names escape me) were both very strong and carried the show well between them. I thought the tightness of the ensemble numbers was commendable, given the limited rehearsal time, though I did feel that some of the choreography wasn't particularly imaginative. The orchestra (also only rehearsed in 48 hours) were, perhaps, the unsung heroes.
I could have done without Les Dennis and Mel Geidroyc, and especially their overly long drawing of the raffle, but a good evening nonetheless.
On the whole, I was impressed. Bill and Sally (names escape me) were both very strong and carried the show well between them. I thought the tightness of the ensemble numbers was commendable, given the limited rehearsal time, though I did feel that some of the choreography wasn't particularly imaginative. The orchestra (also only rehearsed in 48 hours) were, perhaps, the unsung heroes.
I could have done without Les Dennis and Mel Geidroyc, and especially their overly long drawing of the raffle, but a good evening nonetheless.
Saturday 25 October 2008
Kindertransport
After a horrific drive across the Pennines to Mold, I wasn't really in the best frame of mind for Aberystwyth Arts Centre's 'Kindertransport'. I knew a little of the subject (it would be pretty much impossible to get through studying history to degree level without knowing rather a lot about most aspects of WWII) but had never seen it on stage.
What struck me was the complexity of the various mother/daughter relationships throughout. Each of them could have afforded a whole play about them individually so having so many in one play barely scratched the surface of each.
I found myself being really quite drawn in, by the lovely staging and the almost universally strong performances. The second act especially captivated and I was really quite moved as the whole story began to unravel.
What struck me was the complexity of the various mother/daughter relationships throughout. Each of them could have afforded a whole play about them individually so having so many in one play barely scratched the surface of each.
I found myself being really quite drawn in, by the lovely staging and the almost universally strong performances. The second act especially captivated and I was really quite moved as the whole story began to unravel.
Sunday 12 October 2008
Blood Brothers
Went to the matinee of Blood Brothers yesterday.
I will admit my bias, as the lovely Niki Evans is one of my clients. Her playing Mrs J is also the first West End lead that we've secured since I started work, so suffice to say I was a little excited.
She was even better than I expected. Vocally it just oozes out of her, seemingly without any effort whatsoever, and her 'Tell Me It's Not True' at the end was just completely heartbreaking.
It's not a show I'd ever really think of as one of my favourites. I've only seen it once before and that time, I was a bit disappointed. I think it's a very strong cast at the moment though (Steven Palfreman as Mickey especially) and was absolutely in floods.
To say Nik's only 8 shows in, she has found her feet exceptionally quickly. She's already a force to be reckoned with; God help us once she's properly settled in.
I will admit my bias, as the lovely Niki Evans is one of my clients. Her playing Mrs J is also the first West End lead that we've secured since I started work, so suffice to say I was a little excited.
She was even better than I expected. Vocally it just oozes out of her, seemingly without any effort whatsoever, and her 'Tell Me It's Not True' at the end was just completely heartbreaking.
It's not a show I'd ever really think of as one of my favourites. I've only seen it once before and that time, I was a bit disappointed. I think it's a very strong cast at the moment though (Steven Palfreman as Mickey especially) and was absolutely in floods.
To say Nik's only 8 shows in, she has found her feet exceptionally quickly. She's already a force to be reckoned with; God help us once she's properly settled in.
Tuesday 23 September 2008
Well
Saw Well by Lisa Kron at Studio 2 at Trafalgar Studios last night.
I'd heard good things about Natalie Casey, but even despite those, I was still blown away by her. There is always that awkward cross-over when you go from TV to stage, because on stage you have to be so much bigger, in every sense. Then to have to find a middle ground in a theatre that seats less than 100 is, I imagine, very difficult. She managed it though... quite beautifully. The cast around her was strong too, but I would quite happily have loved it just as a one-woman show - I was that enthralled by her.
So yes... very pleased to have seen it and loved seeing Studio 2 so packed out. I don't doubt they'll be sold out all this week til they finish.
I'd heard good things about Natalie Casey, but even despite those, I was still blown away by her. There is always that awkward cross-over when you go from TV to stage, because on stage you have to be so much bigger, in every sense. Then to have to find a middle ground in a theatre that seats less than 100 is, I imagine, very difficult. She managed it though... quite beautifully. The cast around her was strong too, but I would quite happily have loved it just as a one-woman show - I was that enthralled by her.
So yes... very pleased to have seen it and loved seeing Studio 2 so packed out. I don't doubt they'll be sold out all this week til they finish.
Friday 12 September 2008
War Horse
I am ashamed to admit that this was my first ever theatrical visit to the National. Of course I'd been before, and I'd seen their productions elsewhere previously, but I'd never actually sat in one of their theatres before. Very glad that is now rectified.
Anyway, War Horse more than lived up to expectations. I remember absolutely adoring the book when I was younger and was disappointed not to have seen it last time.
It was beautiful... elegant and subtle and just lovely. I thought the cast, in general, were strong.
My only negative was that after spending the first act thinking I recognised him, I placed Patrick O'Kane (Freidrich) at the start of the second act as having been the Macbeth that I walked out of in Stratford recently. Given that this is the only time I have ever left a theatre early in my life, it gives some indication as to the strength of my feeling against his acting.
To give him his dues, he wasn't as bad as I remembered him as Macbeth, but I was so annoyed by that entire theatrical experience that it irritated me throughout the second act of War Horse.
Loved it, despite that. As ever, I am in awe of any actor with that level of physicality. Amazing.
Anyway, War Horse more than lived up to expectations. I remember absolutely adoring the book when I was younger and was disappointed not to have seen it last time.
It was beautiful... elegant and subtle and just lovely. I thought the cast, in general, were strong.
My only negative was that after spending the first act thinking I recognised him, I placed Patrick O'Kane (Freidrich) at the start of the second act as having been the Macbeth that I walked out of in Stratford recently. Given that this is the only time I have ever left a theatre early in my life, it gives some indication as to the strength of my feeling against his acting.
To give him his dues, he wasn't as bad as I remembered him as Macbeth, but I was so annoyed by that entire theatrical experience that it irritated me throughout the second act of War Horse.
Loved it, despite that. As ever, I am in awe of any actor with that level of physicality. Amazing.
Sunday 7 September 2008
Jet Set Go
Thrilled to see Jet Set Go again at Theatre 503 during its London run. Thought its staging was stronger for being straight on to the audience (as opposed to the three sides they had in Edinburgh), though they did lose a little as a result of the stage being narrower.
Much tighter than it was when I saw it in Edinburgh (which I think was only its 3rd or 4th show). Everyone very settled into the characters and clearly having an absolute ball.
Lovely to see it still with so much momentum, even after Edinburgh.
Much tighter than it was when I saw it in Edinburgh (which I think was only its 3rd or 4th show). Everyone very settled into the characters and clearly having an absolute ball.
Lovely to see it still with so much momentum, even after Edinburgh.
Tuesday 12 August 2008
Edinburgh Fringe 2008
My thoughts from Edinburgh 2008:
Miss Sign-On:
Music is instantly forgettable and I struggled with some of the characters, but if you work in (or just have very good knowledge of) theatre, then the jokes will ring very true and it's a good giggle.
Jet Set Go:
Hilaaaarious. Lots of room for character development but such a fun, fun, fun way to spend a couple of hours. Give the comparative inexperience of the cast, they are more than holding their own at George Square and completely deserved the 5* review in Three Weeks.
Departure Lounge:
I'll admit my bias, as not only do I know the writer, but one of my clients was also in the show, but I honestly cannot recommend it highly enough. It's funny, touching and resonates so, so well. Everyone has been one of those boys. Deserves to have life post-Edinburgh.
Only The Brave:
Completely underwhelmed. Trying too hard to be Les Mis. The 'epic love story' that they are trailing between Keith and Niamh is about as epic as an episode of The Simpsons. Some nice music - the song with the women typing the messages is lovely - but the book is dreadful as there is just no story and I am really struggling to see why there's so much hype.
Showstopper, The Improvised Musical:
Was fortunate enough to have booked for this on a night when they announced Mike McShane would be appearing. FANTASTIC. There is clearly a formula, but the humour is intelligent and very funny. We wound up with a show about remorse, featuring songs in the style of Disney, Starlight Express, Bombay Dreams, Blood Brothers and an irish folk song. Fabulous.
Sa-Choom:
The 'dancical' at George Square. I was slightly disappointed as I'd heard SUCH good things about it and it didn't quite live up to my expectations (perhaps because it wasn't a very lively audience) but still very entertaining.
A History of Scotland (in 60 minutes or less):
Great fun if you're 7. All the kids seemed to love it but the humour was very childlike.
Zanna Don't!:
So camp it hurts, but fantastic fun. Make really good use of the space, but I do wonder if it's telling that the show is completely stolen by a little blue bird...
The Jonah Boy:
Too lovely for words, and very touching. Worth the ticket price alone for a fantastic performance in the lead role. Haunting.
I Love You, You're Perfect, Now Change (Take Note's production):
I don't think it's as strong as Jet Set Go, but highlighted nicely the strengths of some of the cast.
Perfect Pitch in Concert:
Again, an element of bias as I had two clients involved in this one, but really loved seeing such a strong selection of new British musicals being showcased and being so well received.
Miss Sign-On:
Music is instantly forgettable and I struggled with some of the characters, but if you work in (or just have very good knowledge of) theatre, then the jokes will ring very true and it's a good giggle.
Jet Set Go:
Hilaaaarious. Lots of room for character development but such a fun, fun, fun way to spend a couple of hours. Give the comparative inexperience of the cast, they are more than holding their own at George Square and completely deserved the 5* review in Three Weeks.
Departure Lounge:
I'll admit my bias, as not only do I know the writer, but one of my clients was also in the show, but I honestly cannot recommend it highly enough. It's funny, touching and resonates so, so well. Everyone has been one of those boys. Deserves to have life post-Edinburgh.
Only The Brave:
Completely underwhelmed. Trying too hard to be Les Mis. The 'epic love story' that they are trailing between Keith and Niamh is about as epic as an episode of The Simpsons. Some nice music - the song with the women typing the messages is lovely - but the book is dreadful as there is just no story and I am really struggling to see why there's so much hype.
Showstopper, The Improvised Musical:
Was fortunate enough to have booked for this on a night when they announced Mike McShane would be appearing. FANTASTIC. There is clearly a formula, but the humour is intelligent and very funny. We wound up with a show about remorse, featuring songs in the style of Disney, Starlight Express, Bombay Dreams, Blood Brothers and an irish folk song. Fabulous.
Sa-Choom:
The 'dancical' at George Square. I was slightly disappointed as I'd heard SUCH good things about it and it didn't quite live up to my expectations (perhaps because it wasn't a very lively audience) but still very entertaining.
A History of Scotland (in 60 minutes or less):
Great fun if you're 7. All the kids seemed to love it but the humour was very childlike.
Zanna Don't!:
So camp it hurts, but fantastic fun. Make really good use of the space, but I do wonder if it's telling that the show is completely stolen by a little blue bird...
The Jonah Boy:
Too lovely for words, and very touching. Worth the ticket price alone for a fantastic performance in the lead role. Haunting.
I Love You, You're Perfect, Now Change (Take Note's production):
I don't think it's as strong as Jet Set Go, but highlighted nicely the strengths of some of the cast.
Perfect Pitch in Concert:
Again, an element of bias as I had two clients involved in this one, but really loved seeing such a strong selection of new British musicals being showcased and being so well received.
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