Theatre's Finest

Avenue Q ~ A New Direction in Musicals

2011-08-23T08:56:00.000-07:00

Welcome to Avenue Q

The Review:~

When you consider the concept of 'Avant-Guarde' theatre you may well believe that such enthusiasts are either naïve or inexperienced as with thousands of years of human history isn't it presumptuous to wager that any idea is truly new and with over six billion people currently dwelling on planet earth what is the probability that a concept is unique and unthought-of by peers or predecessors?

The Broadway and West End hit musical 'Avenue Q' is perhaps one exception. It is so strikingly contempory with furry, puppet fingers on the pulse of society, exploring their insecurities, fears and personal crisis and juxtaposing very real emotional issues in a surreal world where 'Sesame Street' meets the angst and adult sexuality of Dawson's Creek.

As the curtains rise the expectant audience are greeted with a sophisticated representation of a lower class, 'dodgy', city street with boarded up shops and utilitarian terraces on the sidewalk. Two flat screen televisions descend from the gods and an animated, cartoon style smiling sun bounces across the screen accompanied by the opening song which, like the majority of the music, is light-hearted, childlike and catchy as the lyrics welcome you to 'Avenue Q'.

Then a scene, which is simply divisive genius, introduces the stars, their background and sets the extraordinarily normal theme for the show - the daily struggles and mundane aspects of independent living with the self-effacing mockery of the song "It Sucks to be me".

It's prudent at this point to provide a brief rundown of the characters; we have Princeton who has just graduated from college with a 'BA in English' and having to 'get real' in the big bad world suddenly realises that he has no idea what to do with it nor where he wants his life to head, now that the structure and stability of student life is behind him. He wants to sail out on his own and disembark amidst the vast opportunities of the world but has just landed a menial job in telesales and has only enough money in his pocket to afford the cheap-side accommodation of Avenue Q.

Kate is a monster, not in the fairytale villain sense but a literal sense as this is her race - a furry puppet - and is naïve and sensitive and typically girly with a passion for art and a 'big heart'. She works as a teaching assistant and dreams of opening her own monster school but is readily distracted by romantic fantasy and hopes of love.

Brian is human, 32 years old, cruising through minimum wage jobs and day dreaming of being a huge comedic star. He lives with his human fiancé, Christmas Eve who came to the brave 'new world' for a fresh start and opportunities of a thriving metropolis but after earning two degrees in social work and psychology she has no clients. She loves the useless, ape of a man figure, Brian even with his eccentricities, the piling bills and messy housekeeping.

Ron and Nicky share a flat and unmistakeably represent a warped 'Burt and Ernie' if Burt was a closet homosexual in love with his flat mate. Ron is pragmatic and obsessively compulsive about neatness and order. He's the 'business man' stereotype, the straight lace in a tangled knot of shoes but has a loyal and loving heart even if his fears of rejection and low self-esteem keep him some what defensive and isolated whereas Nicky is a big personality, all casual confidence and street wise, very like 'Joey' in 'Friends'.

Finally there's child star, Gary Coleman (human) from TV's 'Different Strokes' who having been robbed of his fortune by his parents and forgotten by most, except for those who annoyingly quote his catchphrase 'What you talking bout Willis?' in recognition, now works as the superintendent and odd jobs man of the houses in Avenue Q. He's presented as deludingly self-important with a hint of melodrama but is a fair and understanding friend.

All the characters have their crosses to bear and although they're not big, global issues like poverty, fighting disease or negotiating peace treaties, they are overwhelming and crushing to them. It's the daily trysts and annoyances that anyone can relate to mixed with the disappointment of the misplaced certainty of purpose and greatness imagined in their youth.

Just because there are cute, colourful puppets on stage, this is a fact that is soon overlooked as their lives are documented and the conversation and content is adult and unapologetically real and revealing. However the production is also hilarious, full of quick wit and controversial prejudices told in a free and honest manner, the classic examples being the topics of one-night stands and 'Everyone's a little bit Racist'.

This production is not child friendly although if your children get the jokes then there's something wrong. It is however handled with a carefree, childlike air, probably to represent the inner child in all the viewers and the slipping tethers of the plans and dreams that everyone once clung to before rent, electricity, redundancies and general life obstacles were forcibly shoved in the way.

It explores the developing relationship between Princeton and Kate in a non-utopian world where men freak out about commitment and woman confuse themselves by reading meaning into everything. It also follows the personal changes in Ron as he learns how to be honest with himself and how his inherited bigotry hurts others and a lot of it is just discovery of oneself and one's place in the world.

Expertly written with fantastic songs that never fail to amuse and prompt pause for thought, Avenue Q is disconcertedly comforting and up-lifting without making egregious promises of happy endings. The content and characters are enough of a draw but, probably to attract a bigger and mainstream audience, it is also a visual spectacle with giant puppets, starry skies, a humorous quirked nod to 'Sleepless in Seattle' and techno-animation.

The actual performers behind the puppets are amazingly talented, multi-tasking to sing, emote, gesture convincingly with the dummies (so much so that you really do forget they are there as the personification is so smooth) and full of manic energy as is the whole musical (again in opposition to the sometimes serious and depressing realities in the subject matter.) They are dressed in black to morph into the background and anything inhuman about the puppets is compensated for by their master's skill.

In the end you are left with, firstly a happy ending of grand proportions and secondly, the mantra that 'Everything in life is only for now'. A must see show that will bring out that inner child and then embarrass it with Sesame Street look-a-like sex scenes! It has taken the theatre circuit by storm and hopefully will continue to do so for many years to come.

Critics star rating:~ 5 Stars *****

LYRICS SAMPLE:~ SCHADENFRAUDE

GARY COLEMAN:
Right now you are down and out and feeling really crappy

NICKY:
I'll say.

GARY COLEMAN:
And when I see how sad you are
It sort of makes me...
Happy!

NICKY:
Happy?!

GARY COLEMAN:
Sorry, Nicky, human nature-
Nothing I can do!
It's...
Schadenfreude!
Making me feel glad that I'm not you.

NICKY:
Well that's not very nice, Gary!

GARY COLEMAN:
I didn't say it was nice! But everybody does it!

D'ja ever clap when a waitress falls and drops a tray of glasses?

NICKY:
Yeah...

GARY COLEMAN:
And ain't it fun to watch figure skaters falling on their asses?

NICKY:
Sure!

GARY COLEMAN:
And don'tcha feel all warm and cozy,
Watching people out in the rain!

NICKY:
You bet!

GARY COLEMAN:
That's...

GARY AND NICKY:
Schadenfreude!

GARY COLEMAN:
People taking pleasure in your pain!

NICKY:
Oh, Schadenfreude, huh?
What's that, some kinda Nazi word?

GARY COLEMAN:
Yup! It's German for "happiness at the misfortune of others!"

NICKY:
"Happiness at the misfortune of others." That is German!

Watching a vegetarian being told she just ate chicken

GARY COLEMAN:
Or watching a frat boy realize just what he put his d**k in!

NICKY:
Being on the elevator when somebody shouts "Hold the door!"

GARY AND NICKY:
"No!!!"
Schadenfreude!

GARY COLEMAN:
"F**k you lady, that's what stairs are for!"

NICKY:
Ooh, how about...
Straight-A students getting Bs?

GARY COLEMAN:
Exes getting STDs!

NICKY:
Waking doormen from their naps!

GARY COLEMAN:
Watching tourists reading maps!

NICKY:
Football players getting tackled!

GARY COLEMAN:
CEOs getting shackled!

NICKY:
Watching actors never reach

GARY AND NICKY:
The ending of their oscar speech!
Schadenfreude!
Schadenfreude!
Schadenfreude!
Schadenfreude!

GARY COLEMAN:
The world needs people like you and me who've been knocked around by fate.
'Cause when people see us, they don't want to be us, and that makes them feel great.

NICKY:
Sure!
We provide a vital service to society!

GARY AND NICKY:
You and me!
Schadenfreude!
Making the world a better place...
Making the world a better place...
Making the world a better place...
To be!

GARY COLEMAN:
S-C-H-A-D-E-N-F-R-E-U-D-E!

Wicked The Musical:~ Sample Lyrics, Info and Videos

2011-07-30T11:30:00.000-07:00

Lyrics Example

Defying Gravity

GLINDA

(spoken) Elphaba - why couldn't you have stayed calm for

once, instead of flying off the handle!

(sung) I hope you're happy!

I hope you're happy now

I hope you're happy how you

Hurt your cause forever

I hope you think you're clever!

ELPHABA

I hope you're happy

I hope you're happy, too

I hope you're proud how you

Would grovel in submission

To feed your own ambition

BOTH

So though I can't imagine how

I hope you're happy right now

GLINDA

(spoken) Elphie, listen to me. Just say you're sorry:

(sung) You can still be with the Wizard

What you've worked and waited for

You can have all you ever wanted:

ELPHABA

(spoken) I know:

(sung) But I don't want it -

No - I can't want it

Anymore:

Something has changed within me

Something is not the same

I'm through with playing by the rules

Of someone else's game

Too late for second-guessing

Too late to go back to sleep

It's time to trust my instincts

Close my eyes: and leap!

It's time to try

Defying gravity

I think I'll try

Defying gravity

And you can't pull me down!

GLINDA

Can't I make you understand?

You're having delusions of grandeur:

ELPHABA

I'm through accepting limits

'Cuz someone says they're so

Some things I cannot change

But till I try, I'll never know!

Too long I've been afraid of

Losing love I guess I've lost

Well, if that's love

It comes at much too high a cost!

I'd sooner buy

Defying gravity

Kiss me goodbye

I'm defying gravity

And you can't pull me down:

(spoken) Glinda - come with me. Think of what we could

do: together.

(sung) Unlimited

Together we're unlimited

Together we'll be the greatest team

There's ever been

Glinda -

Dreams, the way we planned 'em

GLINDA

If we work in tandem:

BOTH

There's no fight we cannot win

Just you and I

Defying gravity

With you and I

Defying gravity

ELPHABA

They'll never bring us down!

(spoken) Well? Are you coming?

GLINDA

I hope you're happy

Now that you're choosing this

ELPHABA

(spoken) You too

(sung) I hope it brings you bliss

BOTH

I really hope you get it

And you don't live to regret it

I hope you're happy in the end

I hope you're happy, my friend:

ELPHABASo if you care to find me

Look to the western sky!

As someone told me lately:

"Ev'ryone deserves the chance to fly!"

And if I'm flying solo

At least I'm flying free

To those who'd ground me

Take a message back from me

Tell them how I am

Defying gravity

I'm flying high

Defying gravity

And soon I'll match them in renown

And nobody in all of Oz

No Wizard that there is or was

Is ever gonna bring me down!

GLINDA

I hope you're happy!

CITIZENS OF OZ

Look at her, she's wicked!

Get her!

ELPHABA

:Bring me down!

CITIZENS OF OZ

No one mourns the wicked

So we've got to bring her

ELPHABA

Ahhh!

CITIZENS OF OZ

Down!

Coming to a Theatre Near You

UK West End

WICKED

Apollo Victoria Theatre

Based on the novel by Gregory Maguire. Music and lyrics by Stephen Schwartz, book by Winnie Holzman

(07 Sep 2006 - Booking to 27 Oct 2012)

USA - Broadway

WICKED: The Untold Story of the Witches of Oz

George Gershwin Theatre

Music & Lyrics by Stephen Schwartz, Book by Winnie Holzman, based on the novel by Gregory Maguire.

(08 Oct 2003 - Booking to 26 Feb 2012)

ON YOUTUBE

Wicked The Musical

2011-07-30T11:25:00.000-07:00

WITCHCRAFT AND WIZARDRY THAT'S ALL HEART!

Intro:~

Hey, I'm an avid theatre goer that's dishing the dirt on the most popular Broadway and West End shows around. This lens links to all the other 'show' lens but is devoted to 'Wicked' the best musical production of our time.

This show combines amazing music with evocative and spellbinding acting as we get a behind the scenes glimpse of the truth behind the musical classic 'Wizard of Oz'.

Read my review and advance before choosing what show is right for you but embrace the world of theatre with passion and open emotion and you will be whisked to a land far far away!

Wicked is undoubtedly the best musical to be released in some time. It is modern, fresh, passionate and riddled with meaning and imagination. Almost everyone will be familiar with the role of the aging Judy Garland as a girl in pigtails, gingham and red paten shoes, skipping down the yellow brick road in the classic, Wizard of Oz. Anything you think you remember from this musical and any expectations you therefore might have should be left at the door for 'Wicked' will blow your mind.

The Wizard of Oz followed a typical if quirky musical layout of the 1930s, where there are good guys and bad guys, the world is black and white, even if set in a magical realm, there’s a mission, creative characters and a feel good, happy ending. Wicked basically says ‘get real’ and breaks down all the rules that old audiences lapped up, looking at personalities, motivations and cause and effect. It says that nothing is as simple as a world of darkness and light where never the twain shall meet and little kiddies can sleep soundly in their beds knowing that evil villains are vanquished and good, innocent girls will always find their way home. It challenges us not to be so quick to judge and to question what we see at face value, to become more than what we are through understanding, knowledge and even pain.

This musical is genius in its script, bringing the back story of the Wizard of Oz into the glaring light of day while Dorothy prances about behind the scenes, a small town girl with a little knowledge and to much righteous indignation and ignorance to see the truth. It explores the developing relationship between two high school witches at attendance at Shiz, Glinda and Elphaba, one preppy, popular and originally presented as a stereotypical shallow, vapid, blonde, model-esque cheerleader while Elphaba is the outsider, the freak, with green skin and black sombre attire. They soon discover that looks are only the first layer of understanding and that both have good and loyal hearts.

Elphaba is continually persecuted and ridiculed by her classmates and later used as a scape-goat for ambitious, political agenda but is strong and principled and fighting against becoming the vile person that the world deems her to be. She is pushed into a self-fulfilling prophecy by the transference of years of misunderstood mockery that has already judged and sentenced her when she herself doesn’t even know yet who she is or what she may yet be. She tries to disprove popular opinion and yet falls into her role by acting defiant, isolated and full of confused hatred and defensive caution.

Glinda is her polar opposite, admired and set on a pedal-stool as a role model for every young girl’s wanderlust. She’s beautiful and popular and oh so good and sweet but this reality has always sheltered and protected her, allowing her to get her own way, use people and develop a melodramatic superiority complex. The evolution of these characters into women is what defines the show as Glinda listens and learns by walking in another’s shoes, seeing the beauty in a hard heart and Elphaba realises that there is another choice for her and that she doesn’t have to be the person that everyone fears as different and ‘wicked’ and needs to project their own failings onto to empower themselves.

It is a love story where the underdog, Elphaba proves through her selfless actions and beliefs that she is worthy of the devotion of the cavalier and handsome Fiyero as an accepted world of mysticism and magic unfolds were animals can speak and have evolved into intelligent, emotional beings and where those in power want to shape the world in their own image and crush anything that is different or threatening to their success.

Through hardship, trial and romance a bond of pure friendship is formed between the two witches who society perceives as opposites – the Good Witch of the North and the Wicked Witch of the West. We learn how these titles are earned and why they are misnomers, certainly in the case of Elphaba who, no matter what good deeds she tries to perform, is constantly brandished as bad while her sister Nessarose becomes desperate and selfish and embraces the black arts of magic for personal gain due to her disability and hurt from the mindless status quo. She is not strong enough to rise above her lot in life and takes the easier path but Elphaba, though she is sorely tempted and at one point visualises the potential power of her magical talents, demonises herself for the best of the city when she realises that an idea is sometimes much stronger than the truth.

We learn that she stole the lion’s courage because he too, judged her green, warted appearance as evil and trembled before her as she tried to rescue him. The tin man’s heart was snatched by the scorned Nessa and the scarecrow’s empty head was an act of love to save a wonderful man at any cost:

“Let his flesh not be torn
Let his blood leave no stain
Though they beat him
Let him feel no pain
Let his bones never break
And however they try
To destroy him
Let him never die:”

Everything she did was with the best and noblest of intentions but no one is ready to listen or accept the strange, fatherless girl. Her plight is summed up in the lyrics of ‘No good deed’;

“No good deed goes unpunished
No act of charity goes unresented
No good deed goes unpunished
That's my new creed
My road of good intentions
Led where such roads always lead…

… One question haunts and hurts
Too much, too much to mention:
Was I really seeking good
Or just seeking attention?
Is that all good deeds are
When looked at with an ice-cold eye?”

The world of Oz dissolves into irrational fear which spurs a Witch hunt, a term that deserves all the negative connotations of modern day. But the amazing thing about this show is that there is no blame. It explores human nature and forgives it even though sometimes it can excite such injustice and hurt. Every action has a motivation and in general these motivations are good but get screwed up along the way with devastating results.

The words of the ‘Wizard and I’ sting in hindsight as Elphaba dreams of acceptance and prophesizes a celebration throughout Oz that’s all because of her not knowing that it is spurred by her supposed demise. The people see evil as such a clear-cut, tangible thing that they actually believe that she is so different that she’d melt in the presence of goodness.

Wicked is tremendously powerful and poignant and speaks to the heart of everyman questioning its ingrained truths. The musical score is fantastic, full of passion and emotion, the likes of which is normally never seen in such a creative and otherworldly setting but accepted perhaps for shows like Miss Saigon. The set design and special effects are a visual spectacular that draws the audience into the established reality of the show from the dorm rooms of Shiz to the grand and green interiors of opulent Oz.

Wicked achieves in spades what every production and every actor dreams of – to impact and move the audience. You come out feeling alive and grateful and, if even just for the evening, challenging yourself to emulate the morals and peaceful ideals of the protagonists and wishing upon a star for a love that knows no bounds.

Dirty Dancing The Musical

2011-07-22T06:52:00.000-07:00

There is no doubt the 1987 movie 'Dirty Dancing' has become a living and loved phenomenia and a classic of cinematic history. The passion and lust of a summer romance with heros of the heart, a soundtrack to boggy to and dancing that will leave you breathless as youth meets experience and student falls for teacher. It was inevitable that one day this classic would grace the boards of the stage but expectations were high and the production fails to deliver as it's so wrapped up in copying the original, it has no original and is but a tired facsimilie without personality or passion of its own.

The director seems to forget that film and theatre are two different mediums and confuses themselves and the audience in their attempt to reconcile them. However it is a great girly night night and has some redeeming features. Read on for the full review.

Dirty Dancing The Review

Who didn’t ‘have the time of their life’ thanks to Patrick Swayze ad Jennifer Grey in the 80s timeless classic ‘Dirty Dancing’? Who wasn’t entranced by the naïve and idealistic ‘Baby’ taking her first steps to womanhood and self-enlightenment in the toned, muscled arms of the exploited and struggling dance genius and his hypnotic hips? 1987’s Dirty Dancing has, for many, become the definitive movie for sexual awakening, dream realisation and speared the dance film genre to the forefront of, the underdog bites back through artistic expression, box office legends.

The swinging 60s with their pastel cinematic grain, family values and infancy of graphic and explicit, global acceptance made the hot and heavy, sensual metaphor of the ‘new style’ of dancing both elicit and alluring. It broke through a wall of silence straight to the hidden underbelly of human interaction and desires and stripped bare the judgements still lingering of the class system, human worth and propriety.

Certainly for the vast majority of the female viewers, anyway, they recall their first viewing of this movie with the precision of historic moments like where they were when Kennedy was assassinated or when the twin towers fell and the world fell with them onto its knees in shock and grief. So, of course, it was only a matter of time before a film that seemed so theatrical, ticking all the check boxes for a visual, epic and emotional journey on the stage, would be brought in front of live audiences but, as ever, when you’re working with a much loved template, what was lost in translation? Should a performance by rehashed without being remade or made better and can the later styles and advances of stage and screen trump the original classic?

Having seen Dirty Dancing on stage at the Aldwych Theatre near

Drury Lane

on London’s West End, this theatre critic would have to respond with a resounding, ‘No!’ The main problem for such ventures is that ticket holders arrive with certain expectations and a hype that is hard to live up to and such cursed shows often don’t. Seasoned theatre goers would expect not only a rendition of the plot and romantic tale of the classic film but, using that as the premise, for it to be merged with the intimacy and raw seduction of theatre. What young girl didn’t visualise the renegade, fiery Swayze dancing with them in close quarters, being spellbound by the rhythm of the pulsing, music beat, smelling the sweat and power of a precision controlled body as it swoops and flexes in primal fluidity and movement? Getting a personal show of the distant film rolls and being held in rapt attention by mesmerising performances and ‘come to bed with me’ eyes?

Unfortunately the reality was quite different. The director seemed so intent on replicating the on screen extravaganza that they forgot that theatre is a completely separate medium that, if used correctly, can go places that cinema screens can never manage. The West End show tried to redo, chapter and verse, the set and scenes of the movie and thus came across as disjointed, like a series of skits, without the film device of effortless scene changes, short dialogues and moments that can be captured in a few seconds of film but on stage means dragging new backdrops and props out of the wings for short snips of time. You can’t possibly represent every backdrop, the club house, the kitchen where penny is lying distraught, the fallen tree, beam walking over the river scene, the ocean, the lonely road, the quick change in the car etc and not overwhelm the audience with jerking shifts instead of a natural progression and flow.

Also a lot of the scenes they were trying to represent only worked on film due to the ability of close-up shots, getting inside that car, being able to block out the set design and focus on the prominent action, capture the lead stars faces and conversations while throngs of resort staff danced around them. Trying to put this all on the stage just confused the focus of the audience and made the interactions seem unnatural and literally ‘staged’.

There was also the chance to make this production into a proper musical especially with the fantastic soundtrack of the movie already in existence but instead the leads didn’t sing and only danced in the structure of the film which actually leaves the best dancers, dancing the least. The film forces Baby and Johnny’s dancing duelling into a montage because it has to focus on the emotion and relationship between the characters but on stage, emotion is, arguable, best represented through music and dance. The poignant, charged songs could have been sung and enacted, the most breathtaking moments savoured and enhanced instead of trying to condense every second of movie history into a time constrained live show. With so many scene changes, to remain devout to the original, the audience didn’t have the chance to develop a proper emotional attachment and understanding of the characters and the whole feeling of the original script would probably have been lost completely without previous knowledge and carrying the love and appreciation over from watching the movie.

Having said all that, the audience that was being catered for were those there to have a good time and to see ‘everything’ that they loved and remembered so fondly and although the idea and execution seemed amateurish, it gave exactly what it advertised, a complete retelling of Dirty Dancing and this, along with the amazing tracks that went along with the action (some of which were sung by the performers in narration as opposed to conversation) made for a great girly night out, hen party style.

The concept was obviously extremely difficult for the actors as well, chopping and changing within a few minutes from, for example, Baby yelling at Robbie, flirting with Johnny, arguing with her sister and pleading with her dad and thus the acting, especially in the case of Johnny Castle, came across as stilted, wooden and even a little frantic and messy, like the whole set-up.

The show wasn’t taken seriously as was evidenced by the laughter of the audience when ‘Johnny’ started to strip and the raucous, non-proportional cheering when certain famous lines were said, ‘Nobody puts Baby in a corner’. It was also of note that there were a few moments strikingly different from the movie (and thus highlighted), rushed dialogue inserted to ‘polish’ off the meaning of scenes which was of a low writing standard and came across as unnecessary and ‘cheesy’.

Ardolino’s movie was slow, sultry and sexy, simmering to a boil and delivering high impact, sensual performances whereas the stage show was like a karaoke version, sung out of tune. I did enjoy myself and the music and giddy atmosphere was wonderful but it could have been so much more, which is, I think, what disappointed the most. There is so much more sensuality in Wicked where the protagonist is green and romance isn’t the main issue being dealt with, more dancing in avenue q, where they’re puppets and more genuine and emotional singing in ‘Britain’s Got Talent’ and that’s saying something. To me this is wrongly classed as a musical as the music is incidental and only there because it was used on screen.

Special mention does have to be made to Ray Quinn who does have a beautiful voice and sings a little in the show and obviously tried to infuse a little emotion into proceedings. His expression pleasantly distracted me from the leads in his role as Billy, general ensemble and token talent. Even though he is a good dancer he didn’t dance. The whole thing was like upside down world and grated on someone who loves theatre as this in many respects was a mockery of the medium’s inherent charms. The cast are now going on tour so Dirty Dancing will be coming soon to a ‘theater’ near you!

Photos by David Sheinman

First National Tour Dates:~

1 Sept - 8 Oct 2011 Bristol Hippodrome 0844 871 3012

19 Oct - 12 Nov 2011 Glasgow Kings Theatre 0844 871 7648

22 Nov 2011 - 7 Jan 2012 Manchester Palace Theatre 0844 871 3018

17 Jan - 25 Feb 2012 Dublin Grand Canal Theatre 0844 847 2455

6 Mar - 31 Mar 2012 Aberdeen His Majesty's 0122 464 1122

3 Apr - 28 Apr 2012 Southampton Mayflower 0238 071 1811

1 May - 26 May 2012 Milton Keynes Theatre 0844 871 7652

29 May - 23 Jun 2012 Leeds Grand Theatre 0844 848 2703

4 Jul - 25 Aug 2012 Birmingham Hippodrome 0844 338 5000

28 Aug - 15 Sept 2012 Norwich Theatre Royal 01603 63 0000

18 Sept - 06 Oct 2012 Sunderland Empire 0844 871 3022

9 Oct - 27 Oct 2012 Liverpool Empire 0844 871 3017

6 Nov - 1 Dec 2012 Cardiff Wales Millennium Centre 0292 063 6464

4 Dec 2012 - 12 Jan 2013 Edinburgh Playhouse 0844 871 3014

Whistle Down the Wind

2011-07-20T18:25:00.000-07:00

Intro:~ Powerful and emotion drama and intense musical composition in this musical up for review. Whistle Down the Wind by Sir Andrew Lloyd Webber and Jim Steinman is the story of mistaken identity on a grand scale as three young children stumble across an escaped felon and believe him to be Jesus Christ reincarnated. Their sure faith and pure hope battle against the depravity and prejudice of the small town as 'the man' begins a journey not only to save himself from prison or worse but to save his soul.

The review:~

People are always saying that you shouldn’t care about what folk think of you and as a general statement it certainly has merits, to develop esteem and individuality without closeting yourself up in a status-quo box and becoming addicted to fashion magazines but, if we’re honest, everyone cares and maybe we should. Whistle Down the Wind by Sir Andrew Lloyd Webber and lyrics by Jim Steinman (as unmistakable in style as Meat Loaf himself) basically hinges on the crux of self-analysis through others’ eyes. And really, isn’t our conscience and morality dictated by such perceptions?

It is both a beautiful and harrowing story of the innocence and naivety of childhood. Swallow and her younger brother and sister have just recently lost their mother and though their father does his best, there is still a distance and isolation between them especially since it’s set in the deep south during the time of evangelist redemption rackets, hay farming and gender separation. It is a tale of evolution from girl to woman as Swallow is frankly dangerous idealistic and sheltered at the start of the show and suddenly is paired up with a man who has fought and survived the worst and darkness nature’s of the world and the soul.

Enter ‘the man’ who the audience know is an escaped convict that the whole countryside is eager to apprehend but with an almost vigilante justice in mind. The idea of someone so ‘evil’ having any influence in their town spurs a witch hunt and blood lust in the community, not releasing their own lives and judgements are indelibly flawed. The man hides out in Swallow’s barn and when the children encounter him he jumps, jittery and apprehensive of discovery and responds with the curse ‘Jesus Christ’ when they appear and ask who he is. However, the kids take him at his word and are filled with such pure hope that this man can revitalise and save their town and return happiness to their lives.

Repeatedly Swallow begs him to bring back her mother and he plays the part in order to remain concealed and manipulate them into helping him, bringing him food and even going to collect his gun. The faith and wonder of the children and the goodness that they see in him, without hesitation or reciprocation, spur a revelation of the man, of he could be, so loved and trusted. In many ways it is deeply wrong as this man who has taken a life, though only out of self-preservation, and who is so much older and from a rough, underprivileged life, sits in the middle of all the village children and shares in their stories and song but that’s what makes the scenes so poignant. The juxtaposition of these characters is so surreal and yet the man needs the children and the children desperate need ‘the idea’ of the man.

Being shown this mercy and compassion for possibly the first time in his life leads the man to become more like what they believe him to be and he doesn’t take advantage in a crude or sexual way, although he is but a man and not divine, because Swallow’s esteem in him is more important than its weight in gold. Even in the end when the villagers march with torch, rod and gun, Swallow refuses to be swayed in her convictions and you get the impression that her reality becomes his as he literally asks ‘What would Jesus do?’

The first time I saw this show I admit that I wasn’t exactly blown away but this was due to the disconcerting fact that when a narrative is told in song you can never hear and understand everything. On my second viewing the songs had ‘grown’ on me and I knew every lyric and wow, are those lyrics powerful and evocative and I understood so many more layers of the personalities represented.

This is a period piece based on the old film of the same name and has a very provincial and religious brethren aura that would be mocked by many in contempory society but it’s the united front of the community where everyone knows and helps their neighbour that binds this small town story and explains the handling of the situations and the need to be and see more of the world. Being too cut off, ‘holier than thou’ and handling matters like mafia family only leads to a strange power balance and desperation.

It is a dual between adulthood and infancy and though in most circumstances the adult instinct to air on caution is advised, the childish fantasy and purity casts a bright light over what is lost in that transition of years.

The musical score is fantastic with solid rock, hard bass beats that are epic and expertly composed to produce some amazing ensemble scenes, melodies fitting together like pieces in a jig-saw. Throughout the atmosphere and foreboding feeling of the action is strikingly dark as if this way of life and this community is on the brink of collapse and clinging onto religion as the only acceptable hope as they self-destruct through social understanding and their own dens of iniquity, guilt, shame and depression. The music is ominous and almost hellish, demented and depraved at points and stands so starkly against the almost absurdist natural wonder and reverie of the children which make them seem almost ‘Stepford’ or ‘Children of the Corn’ but to the other extreme. There are moments which tickle the senses as being on the edge of disturbing and therefore the story is very well handled, the director succeeding in his job.

Please don’t be put off by the fact that Boyzone covered one of the best known songs, ‘No Matter What’, I promise you that it works in context, and in fact it’s a real Kleenex moment in the ascension of the man. Meat Loaf has, of course, also covered arguably the best track ‘Tyre Tracks and A Kiss is a Terrible Thing to Waste’ but surprisingly the actors achieve an even greater climax of emotion in these pieces. The opening track is also very famous, ‘The Keys to the Vaults of Heaven’.

It is a family rating but doesn’t have the brilliant colours and spectacle of other musicals and the deeper meaning will be lost on youngsters also there is definitely a raw sexuality about it, I think primarily because of the deliberate absence of sexuality for the most part. It is actual highlighted more and the dirty drum beat and rocky accompaniment, pulse through the sole and heart. Also there is not much in the way of choreography in this production with the focus on simplicity and small town values, less action and more heart. It is clear that it started as a drama genre film.

All in all, this is a powerful piece of stage history but I would recommend familiarising yourself with the lyrics and story before attending.

Excerpt from Woman in Black & Video

2011-07-19T08:59:00.000-07:00

The first packet of letters, bundled together and tied with narrow purple ribbon, were all written in the same hand, between a February of about sixty years beofre and a summer of the following year. They were sent first from the manor house of a villiage I remembered from the map as being some twenty miles away from Crythin Gifford, and later from a lodge in the Scottish countryside beyond Edinburgh. All were addressed to 'My Dear' or 'Dearest Alice' and signed for the most part 'J' but occassionally 'Jennet'. They were short letters, written in a direct, rather naive manner, and the story they told was a touching one and not particularly unfamiliar. The writer, a young woman and apparently a relative of Mrs Drablow, was unmarried and with child. At first, she was still living at home, with her parents: later, she was sent away. Scarcely any mention was made of the child's father, accept for a couple of references to 'P'. 'P will not come back home.' And: 'I think P was sent abroad.' In Scotland, a son was born to her, and she wrote of him at once, with a desperate, clinging affection. For a few months the letters ceased, but when they began again it was at first with desperate outrage and protest, later, in quiet, resigned bitterness. Pressure was being exerted upon her to give up the child for adoption; she refused, saying over and over again that they would 'never be parted'.

'He is mine. Why should I not have what is mine? He shall not go to strangers. I shall kill us both before I let him go.'

Then the tone changed.

'What else can I do? I am quite helpless. If you and M are to have him I shall mind it less.' And again, 'I suppose it must be.'

But at the end of the last letter of all was written in a very small, cramped hand: 'Love him, take care of him as your own. But his is mine, mine, he can never be yours. Oh, forgive me. I think my heart will break. J.'

In the same packet, there was a simple document drawn up by a lawyer, declaring that Nathaniel Pierston, infant son of Jennet Humfrye was become by adoption the child of Morgan Thomas Drblow of Eel Marsh House, Crythin Gifford and of his wife, Alice. Attached to this were three other papers. The first was a reference from a lady M - in Hyde Park Gate - for a nursemaid called Rose Judd.

I had read and set this aside, and was about to open the rest, a single folded sheet, when I looked up suddenly, startled in the present by a noise.

Spider was at the door, growling the same, low growl of the previous night. I looked around at her and saw that her heckles were up. For a moment I sat, too terrified to move. Then I recalled my decision to seek out the ghosts of Eel Marsh House and confront them, for I was sure - or I had been sure, in the hours of daylight - that the harder I ran away from those things, the closer they would come after me and dog my heels, and the greater would be their power to disturb me. And so, I laid the papers, got to my feet and went quickly to open the door of the small parlour in which I'd been sitting ...

WOMAN IN BLACK, THE
Fortune Theatre
by Stephen Mallatratt from the novel by Susan Hill
(07 Jun 1989 - Booking to 17 Dec 2011)

Russell Street, Covent Garden, London, WC2B 5HH

Julian Forsyth and Christopher Naylor in
THE WOMAN IN BLACK
Adapted by Stephen Mallatratt
From the novel by Susan Hill

Directed by Robin Herford
Designed by Michael Holt
Lighting by Kevin Sleep

Unanimously acclaimed by the critics, Stephen Mallatratt's adaptation of Susan Hill's best selling novel combines the power and intensity of live theatre with a cinematic quality inspired by the world of film noir. It is a formula that provides audiences with an evening of unremitting drama as they are transported into a terrifying and ghostly world.

Now in its 21st terrifying year, with over 7 million people have lived to tell the tale of one of the most exciting, gripping and successful theatre events ever staged.

'A TRULY NERVE-SHREDDING EXPERIENCE' - Daily Mail

'DON'T GO UNLESS YOU LIKE BEING SCARED OUT OF YOUR WITS' - Sunday Mirror

'THE MOST BRILLIANTLY EFFECTIVE SPINE CHILLER YOU WILL EVER ENCOUNTER... IF YOU HAVEN'T SEEN THIS SHOW YET YOU ARE MISSING A TREAT' - Daily Telegraph

Woman in Black

2011-07-19T07:36:00.000-07:00

Intro:~

Woman in Black by Susan Hill has been running now for over 20 years and yet mainstream theatre goers still flock to the hyped and gaudy musicals, neglectful of the best show to ever hit Broadway. It is a spooky, extravaganza full of atmosphere and chilling acting that seeps deep intot he bones and curdles the imagination.
The amazing story of Arthur Kidd has not gone unnoticed however, as Harry Potter star, Daniel Radcliff won the leading role in a new movie production, to be released in 2012. The theatre show is undoubtedly superior, no matter what the special effects of screen as the audience is so alive and present, in the thick of the action and dense dry-ice of conjured sea frets, the blinding torch beams and the gentle pressure at the back of your mind that imagines worse than the eye could ever see nor cinematographer replicate.

The Review:~

Woman in Black A Review

Broadway and the West End are booming with Musical spectaculars, with all the razzle-dazzle and epic vocal talents and choreography of years of practice and skill. Perhaps off-Broadway is more your scene where you’ll catch a more alternative, ‘Art House’ production with black box stages and smoky voices rasping with contempory beat, or maybe you’ll find your love in more absurdists’ productions of Albee or Pinter? But where is that genuine horror, edge of your seat, suspense, thrills, sinister atmosphere genre, so loved in cinema and on DVD? Simple answer – Susan Hill’s ‘Woman in Black’.

It is very difficult to portray ‘Horror’ in front of a live auditorium or replicate all the spooky scenes and special effects that invade and corrode at the imagination while you sleep. Theatre is bright lights, motion, loud charismatic voices and not associated with the close-up, camera effects of dread and slow motion walking down narrow, defused alleyways. So can the two ever be united when the normal devices of the genre would be lost on or bore a theatre crowd?

Yes, they can. Many years ago now, a certain, passion-gripped diva of dramatic arts received the best birthday present a young woman could ever hope for – a trip to the starry streets and hub-bub of London’s West End and like most, she browsed her incredibly slow, dial-up connection for all the ‘big hit’ shows of the time. ‘The Lion King’ – check, ‘Phantom’ – check but the third choice perplexed as she was still ignorant of anything but the hyped or the classics and on a whim of curiosity bought tickets for ‘Woman in Black’.

The Fortune theatre was a relatively casual affair, smaller, more like a private, personal performance with tea and coffee making facilities and cushioned, comfy couches lining the wings. The awaiting stage was simple in its design, mainly black-box with a few props scattered around and then the house lights dimmed and an older man stepped hesitantly forward with a big, bound book that Michael Aspel would have nicked for ‘This is Your Life’. He began to read, jerky and perfunctory in his inflection until a booming, grandiose voice erupted from the back of the stalls to interrupt. The voice bellowed to ‘the actor’ who was giving performance lessons to this poor sod who was planning a family showing of his journaled memories.

Soon the play unfolds as the viewers realise that they are to be the preview audience for actor and trainee to test their script. The man becomes much more absorbed in his characters and the actor plays the part of his younger self to tell a tale that must be laid to rest and has haunted its protagonist all his life.

They achieve the visuals of the descriptive tale through sound effects, basic prop representations and the imagination of everyone present. The language is fluid and beautiful and in the quiet theatre as the two men sit upon a wicker hamper and jostle as if they rode upon a horse and cart, you can clearly picture the eerie sea frets moving sluggishly across the causeway, the noble, old fashioned, mansion house, creaky and groaning with the burdens of the past and the overgrown, shadowy graveyard with mossed head stone. Even ‘Spider’ the invisible dog can be tracked perfectly by following the actor’s eyes and stroking hands.

Arthur Kidd is a young solicitor sent into the remote, insular countryside to deal with the estate of a deceased client, Mrs Drablow and is assaulted by wall of silence surrounding the old home and fearful whispers of ghostly tales and omens of death. Deciding to ignore the provincial superstitions and bar room gossip he ventures out to the premises that is cut off by rising tides during most of the day. Soon, while delving through reams of unorganised paperwork, he starts to put together the story hidden in the earth and witnesses first hand the foreboding shriek of carriage wheels, screams of broken terror and the infamous apparition of the ‘Woman in Black’. (Watch out for the, oh I can’t tell you, it’ll ruin the surprise! But at the end you’ll be asking yourself exactly how good your imagination is?)

There are only two actors in this entire piece and they shift seamlessly in and out of characters to facilitate the plot. Their performances are exemplary and the use of props, light and scenery are amazing. There is a far more substantial set than one would first assume and everything else is called clearly upon the inward eye.

Using imagination and suggestion as the core, scare tactics is genius as even on screen, when the monster or villain is revealed, they are never as terrifying as the images your demented brain can conjure and you’re always disappointed. Not here, the action mounts as does the suspense and the intimacy of the performance literally gives you ‘front row seats’ to the unfolding saga of mystery and madness.

Brilliantly penned, Susan Hill has mastered the art of intrigue and caution and casts a heart-stopping spell over her victims. The audience is drawn deeply into the story and emotions of the characters like a moth to a flame, so natural and unassuming is the process until you are screaming and rapt in nervous attention. You would think this book was born for the stage and only realise the extent of its merits when you notice the lack of similar productions and the hardships involved. This is not just a play but a ticket to a ride on a rollercoaster or ghost train or some extreme sport, thrill adventure that will stay with you for years to come. Not for the faint hearted nor for the cowardly literal who refuse to engage their mind as well as their eyes but the chill of this atmospheric enchantment remains with that young girl, mentioned above, to this very day and out of her famous choices, ‘Woman in Black’ was the most fulfilling and stimulating show imaginable.

Showing Now at The Fortune Theatre, London

Movin' Out The Musical ~ Songs of Billy Joel

2011-07-18T15:38:00.000-07:00

Intro:~ This musical is different to most you will watch as along with a hint of razzle dazzle it's raw and gritty and also more of a rock ballet than traditional productions.

The score is choices from the amazing musical career of Billy Joel which a solo singer performs with his electric band high rised over the stage while the dynamic and energetic choreography tells the story below.

Not a family show ~ too real, too emotional and both beautifully tragic and tragically beautiful.

Review:~

Musical Reviews: Movin’ Out

Billy Joel is one of the most talented story tellers in the music industry. His work is completely original and self reflecting from his rock-legend rasp, everyman lyrics and technical genius in composition. He is a master pianist, classically trained and his social themes speak to crowds of spectators looking for answers and direction in life. He is quoted as saying; “As human beings, we need to know that we are not alone, that we are not crazy or completely out of our minds, that there are other people out there who feel as we do, live as we do, love as we do, who are like us,” and this seems to sum up his motivations and ideals in the production of his records and now in the dramatisation of the musical ‘Movin’ Out’.

‘Movin’ Out’ is a concept song with a familiar story of a man struggling to make his name in the world amidst the constraints of economy, class and capitalism and explores how these issues effect the ‘average Joe’ and his passions and desires. This, along with some of the most loved tunes penned by Joel, makes up the score sheet for this musical with a twist. The production has an unusual, surrealist edge as the curtain reveals an elevated orchestra and solo singer, vocalising and mimicking Joel’s street kid roots, and providing a backing track to the visual aspect of the show. Billy Joel’s songs are linked together to form an adhesive plot-line through non-vocal actors and dancers who dramatise the lyrics like a feature length music video.

Audiences should be warned that the production contains adult themes and also strobe lighting. The imagery is unapologetically raw and undiluted from the licentious scene of character’s losing themselves in an alcoholic daze and in pliant, willing bodies inspired by ‘Captain Jack’ to the disturbing psychological effects of war in ‘Goodnight Saigon’.

Billy Joel grew up in a restless, industrial and war-torn age and provided a voice for the people through evocative and passionate music. He has become an iconic legend in the industry and received many acclamations and awards for his skills. For those not familiar with his music, the lyrics of ‘The Ballad of Billy the Kid’ are autobiographical,

“From a town known as Oyster Bay, Long Island
Rode a boy with a six-pack in his hand
And his daring life of crime
Made him a legend in his time
East and west of the Rio Grande”

This musical follows a very personal and volatile plot as the audience follow the lives of a group of friends from Long Island, from high school simplicity and innocence to wartime Vietnam when the protagonists enlist in the draft and head out, gung-ho for glory and their patriotic duty. The before and after story and the effects on the personal relationships in the show, from romantic idylls to grief and loss, are poignantly and powerfully narrated through choreography (thus it can be a little confusing if you don’t have a quick read at the synopsis.)

The songs include the favourites, Uptown Girl, We Didn’t Start the Fire, She’s got a way, Longest Time, Big Shot and Innocent Man. The contemporary ‘rock ballet’ style of dancing is extremely impressive and captivating, infused with passion and emotion that displays the inner psyche of the characters in a way that simple words could never do.

The focus of the audience is somewhat confused as it is torn between watching the vocal and instrumental talents of the band like at a rock concert and witnessing the dynamic movement below and viewing the score simply as the narrative medium that inspires the dancing and drama.

The grungy and disparate feel of the set design and rhythm of the bass beat is both unsettling and exhilarating and the unusual structure tends to addle the brain into analysing the message and morality of the show in its entirety ‘big picture’ sense instead of having a leading focus on a particular actor or singer. It is almost Brechtian in this respect and highlights the effect of outsider’s looking in, like a documentary in a giant aquarium. It is book marking a certain era of history but also reaching out through the popular and familiar music and its relatable lyrics.

Most audience members will be fans of Billy Joel and already well versed in his songs and so come with a background knowledge and idea of what they expect to see and experience. In some ways the production twists these expectations and flips them, going further, more graphic, more uninhibited than imagined and thus revitalises and shakes up the meaning of songs that may have lost their impact on old ears.

In conclusion ‘Movin’ Out’ is a great and transitionary show that questions the rules of theatre as well as life and therefore is an interesting and new perspective on the use of music and space but if you come wanting to see a doe-eyed, cliché, classical musical you will be disappointed. This production is much less for Broadway musical lovers as it is for the underground rock scene and delinquent youth! If you enjoy great music, vocal talents and impassioned, technical choreography and can join these up without a cohesive, normal, narrative structure then you will find this scintillating and well worth the visit.