Theatre Review – Dear Evan Hansen (Broadway, New York): Heartbreaking & hopeful, it reminds us we are never alone
Dear Evan Hansen is undoubtably the show that everyone is talking about in New York and demand to see it is now resulting in people queuing overnight for the chance to get in, just as they still do with Hamilton.
I’ve yet to see Hamilton (I’m waiting for its London arrival), but curiosity had me buying a ticket to see Dear Evan Hansen during my recent NYC theatre trip, especially with its much-praised original cast. Was the hype justified? Absolutely yes and its success and ability to affect so many people, so profoundly, is something special that doesn’t come around very often.
Dear Evan Hansen is the story of a shy, socially awkward seventeen year-old, Evan, who struggles to fit in and seems isolated from the people around him. Evan’s life changes when one day, a fellow teen at his school, Connor, commits suicide and the note of Evan’s he stole from him the day before, suggests to Connor’s grieving parents that their son had a friend they never knew about, one who may be able to help them learn about the son they struggled to connect with. What follows is a truly heart-wrenching journey of a young man, who is caught up in a lie, but who along the way, gives all of the characters, all of us watching and indeed himself a sense of hope and the comforting message that we are never alone, no matter how hopeless life seems. It may sound cheesy, but I promise you that the emotional response you’ll have to this story will be very real indeed.
So relevant to today’s society is the story and the emotional experiences that the characters experience, that you could easily forget that they are indeed characters. It is an incredibly believable story, coming at a time when, despite the increased amount of ways we have to communicate with each other, so many people feel that they have no voice and are incredibly alone. The show has certainly captured the hearts of a generation of young people, who see themselves in Evan. However, the brilliance of this musical is that it has the ability to connect with all ages. Whether you are a teenager, or in your mid-30s, or older, we’ve all had times in our lives when we’ve struggled to keep going, to ask for help, or have been scared that no one is there for us. For this reason and the richness of its characters other than Evan, Dear Evan Hansen connects with everyone.
Steven Levenson (book writer), together with Benj Pasek and Justin Paul (music and lyrics) and its director Michael Greif, have created a brilliantly contemporary show, drawing on the social media world we live in (which is also woven wonderfully in to the set). The characters within it are fully realised individuals. Evan is at its heart, but each one adds to the overall magic of the show and that is strengthened by the superb ensemble that brings them to life.
Rachel Bay Jones is wonderful as Evan’s mother, doing her best to raise him alone, while Michael Park and Jennifer Laura Thompson portray Connor’s parents sensitively and with such realism, dealing with their grief in different ways. As Connor’s sister, Laura Dreyfuss has the complex role of a girl trying to reconcile grief with the fact she didn’t really like her brother as a person, while Mike Faist portrays two versions of Connor, the person he was before his death and then who he is in Evan’s imagination, ensuring he remains an important part of the story. The show could have become much too sad and so the inclusion of Alana Beck (Kristolyn Lloyd) and Jared Kleinman (Will Roland) classmates of Evan, is vital as they bring a great amount of humour to the show (especially Jared, with Will Roland’s performance being one of my favourites).
Then of course, there is Ben Platt at its core. He was the reason I wanted to see the show and his performance exceeded all of my expectations. Having been involved with the character of Evan since the workshop stage of this musical, means that he is intrinsically linked with him and as you watch him on stage, you sometimes forget it is a performance. Every nuance of Evan’s character, from his shy awkward mannerisms to the tone of his voice is perfectly crafted and seem to come from deep inside Platt. It’s a heartbreaking, visceral and yet at times funny performance, that truly brings Evan to life before the audience and the sheer force of the emotion he gives on stage took my breath away.
I’m not a big musicals fan and so for me to truly connect with one requires not just a good story and strong characters, but also songs that really resonate with me and Dear Evan Hansen’s soundtrack is one of the few that I can listen to in its entirety. Every song has an emotional truth to it because each one fits the point in the story in which it falls, but also crucially feels natural coming from the character singing it in that moment. They never feel shoe-horned in for the sake of it and move the story forward without losing any of their emotional power. From Ben Platt’s superb opening in “Waving Through a Window”, to the playful fun of “Sincerely, Me”, to the uplifting anthem that is “You Will Be Found” (a song I’ve started playing when I need a pick-me-up), to “So Big/So Small”, it’s a truly beautiful collection of songs and I am not ashamed to admit that I shed tears through almost all of them (and it seemed everyone else in the Music Box Theatre did too).
I cannot recommend Dear Evan Hansen enough and if you are able to see this original cast, then don’t hesitate. I feel very lucky to be seeing it again in October and am so pleased that, in this case, all of the praise and superlatives I’d heard about it were fully justified. It’s a show that will definitely make you cry, but it’s also one that is giving people a sense of togetherness and the hope that everything will be alright, which is surely a message we all need to hear.
Dear Evan Hansen continues to run at the Music Box Theatre (239 West 45th Street). There is limited availability for the rest of 2017, but if you can treat yourself to the premium band, those tickets come up last minute, so keep checking Telecharge. A small number of standing room tickets are released each morning at the box office (the queue starts early) and there is also a daily online lottery for $40 rush tickets. For more information, visit the website here.
Theatre Review – Come From Away (Broadway, New York): an uplifting story of the good we are all capable of showing to others
“Because we come from everywhere, we all come from away.”
I recently spent a week in New York, specifically to see as much theatre as possible and one of the shows on my must-see list was Come From Away. I read about the show months ago when it was playing in Washington D.C and had been looking forward to finally seeing it for myself. It was therefore the first show I saw on this trip and was a wonderfully uplifting first night on Broadway.
For those unfamiliar with the show, Come From Away is set on 11th September 2001 and yet, despite all of us being so aware of the terrible events of that day, the story of the people brought to the stage in this new musical are very likely unknown to most of us. Set in Gander, which lies on the northeastern tip of North America, on the Canadian island of Newfoundland, we discover that amid the tragedy of 9/11, in this small remote community, the good we are all capable of was shining through, when 38 planes, carrying 6,579 passengers and crew had to land at Gander following the closure of U.S airspace.
Personally, I had never thought about the immediate ripple impact of the tragedy for other aircrafts in the sky that morning and I was stunned by how this small community and those of the surrounding area, pulled together to help the stranded passengers and crews, who effectively doubled their population within hours. From providing food, clothing, medicine, shelter and someone to talk to, it’s incredible to see just how much was done to welcome an international group of strangers to their island. Indeed, it carries more resonance at a time when refugees from around the world are facing greater barriers and hostility to settling elsewhere.
Through Come From Away, we see the lives of people thrown together, far away from home and without any of their possessions (bags remained on the planes, as these were all initially viewed as potential bombs), who over the next five days form friendships, relationships and a special bond between themselves, but also with the people of Gander, that continues to thrive to this day; there are reunions and Newfoundland is the only place outside the USA which has steel from the World Trade Centre.
Writers David Hein and Irene Sankoff interviewed thousands of people and have skilfully woven these stories together to create a musical that provides moments of joy, hilarity and fun, as well as its emotional moments. With so many stories available to them, the small cast of just 12 find themselves switching roles (and dialects) multiple times in order to provide us with a glimpse in to the forms of generosity that took place during those days in September. Whether playing the locals going about their daily lives until everything changed, to the passengers left cut off and unaware of what was happening (remember back then, fewer people had mobiles), to the captain of one of the planes, the strength of this ensemble is a huge asset of the show.
Each actor brings something special it and is likely to portray a character you will remember. There are too many to talk about them all, but I particularly enjoyed Chad Kimball and Caesar Samayoa’s lovely portrayal of a gay couple, whose relationship is gradually put under strain due to how 9/11 has affected them, Petrina Bromley’s vet, who took it upon herself to ensure that any animals being transported on the planes were cared for and Lee Macdougall and Sharon Wheatley whose characters include American Diane and Brit David, who were on the same plane and through such tragedy find love. There is also Q. Smith’s moving performance of a mother desperately waiting to her news of her son, a firefighter in New York, which felt even more emotional seeing the show in the heart of the city and Jenn Colella’s lovely performance as Captain Beverley Bass, a female pilot trying to comprehend that her beloved planes have been used to create such horror.
Such a story needed to be told with the right balance of entertainment and sensitivity and this is something the creators certainly achieve. There are moments of great humour intermingled with moments that have you shedding a tear and I particularly loved the smaller moments of human kindness, such as a local man who communicated to a non-English speaking couple not to be afraid through highlighting passages in their bible.
What also struck me about Come From Away was that it’s not your typical musical, which is something I loved about the show. It doesn’t have your typical musical structure. There aren’t show tunes between spoken scenes as such, but a series of stories that happen to be told through moments of spoken verse and singing. I’ve heard some people comment that the show needn’t have been a musical, but I disagree, as it is through the musical element that the emotional depth of these individuals and what they experienced can be truly told. Having the characters sing how they are feeling allows them to express to us emotions that would have not have come across as vividly through just words. It also means we are treated to the talent of the musical’s band, who through drum, fiddle and pipes bring Newfoundland’s signature style of music to life for a wider audience.
I thoroughly enjoyed Come From Away and would recommend it to anyone making a trip to NYC, especially those who perhaps don’t usually like musicals. Having won the Drama Desk Award for Best Musical this week, it is also a strong contender in this year’s Tony Awards and I for one think that there is no better time than now, to see a show that reminds us of the goodness in the world and how even in the face of tragedy, people will always come together to give each other strength and love.
Come From Away is currently running at the Gerald Schoenfeld Theatre (236 West 45th Street). Running Time: 1 hour 40 minutes. For more information and ticket availability, visit its website here. $38 rush tickets are available from the box office every morning.
Theatre Review – The Girls (Phoenix Theatre) – A musical full of fun & heart that everyone should see!
The story of the Women’s Institute Calendar Girls is well known across the U.K and has already led to both a successful film and play of their lives. It is now also a musical, which is currently running in the West End before starting a UK tour and which I found to be a hugely satisfying visit to the theatre.
The Girls takes us to a small Yorkshire village and the lives and friendships of the women of its local WI branch. The musical’s first half sets the scene, as we see that they are all quite different women and yet you quickly gain a sense of their community bond, which is only made stronger once we learn of Annie’s husband John’s diagnosis and subsequent death from non-Hodgkin lymphoma, a type of blood cancer. The second half is the journey from the initial calendar idea to its release, resulting in some of the funniest scenes I’ve seen on stage and a group of very brave women proudly bearing all!
I admit, before seeing the show, I wasn’t sure whether I’d enjoy it. However, it’s actually one of my favourites so far this year. The script is incredibly witty and yet also deeply moving. Watching John’s fight with his illness, as his wife thinks about their life together and how she’d cope without him was heartbreaking and I found myself welling up quite often during the two hours, due to the powerful emotional story and its portrayal on stage.
Yet, it’s the balance of sadness and great amounts of humour that the show masters so brilliantly and Tim Firth and Gary Barlow’s music and lyrics are clever, heartfelt and crucially for a musical, immensely entertaining. I don’t think I’ve ever been crying with sadness one moment and then with laughter the next at any other show. It’s a testament to the writing and acting that The Girls can have such an impact on its audience.
The ensemble cast are truly terrific, with particular favourites of mine being Joanna Riding as Annie (beautifully capturing the pain of grief and yet the determination to have something good come out of it), Claire Moore as her best friend Chris (best summed up by her husband when he says he didn’t marry her for an easy path, he married her for crazy paving!), Claire Machin as Cora and Sophie-Louise Dann as Celia, the air stewardess turned golfclub wife, whose curves turn heads. Yet everyone else is vital too, adding another layer to such a close knit community, meaning scenes with the whole gang (the carol singing being a personal favourite of mine) are just as satisfying as more intimate scenes.
I didn’t see the play, but the Calendar Girls’ story makes a brilliant musical. It has a huge heart at the centre of its story and the result is a musical that makes you laugh and cry in equal measure and I’d recommend it to anyone looking for an entertaining night out. Sadly, The Girls has recently announced it will close in London on 15th July. I think this is great shame, as it is a show that is worthy of a place on the London stage. All I can say is go and see it while you still can! If you live outside London, keep an eye out for details of its 2018 tour.
This musical also continues to raise money for Bloodwise out of the ticket sales, merchandise and the ongoing bucket collections at the theatre, so you can have a wonderful night out and help raise money for an extremely important cause!
The Girls is playing at the Phoenix Theatre until 15th July 2017. It will begin a UK tour in 2018. For more information and ticket availability, visit its website here.
In previous years I’ve only written one theatre review post. However, after it was suggested to me by a friend, I’ve decided to split my review of the theatre year this time. I’ve already posted my top 10 productions of 2016 (here for those interested) and so this post will focus on my favourite performances from the last twelve months. You can also read about my most memorable moments of the year in theatre here.
Please do let me know your highlights in the comments below.
2016 – A Year of Strong Female Performances
As my top ten post highlighted, it’s been a strong year for women on stage, with so many stand-out female performances. Below is just the tip of the iceberg!
Lia Williams (Mary Stuart)
After her incredible performance in Oresteia last year, Lia Williams is yet again one of the highlights of the year, in not one, but two roles. After being lucky enough to watch both versions of Mary Stuart back to back, what stood out the most for me was that no matter which version I was watching, the character Williams was portraying seemed to be the larger role. She was a vibrant Mary, unnerving Juliet Stevenson’s Elizabeth and yet she was also a strong, confident and sexy Elizabeth. I cannot wait to see what roles she will take on in the future, but I’ll be there for every one of them!
Ruth Wilson (Hedda Gabler)
It’s always a joy to see Ruth Wilson on stage and she is currently delivering a superb Hedda Gabler at the National Theatre. She isn’t very likeable, but I couldn’t help admiring her character’s ability to be say whatever she wanted, regardless of the consequences! She is someone desperate for control and yet by the end we see her utterly at the mercy of Brack. In another powerful production by Ivo Van Hove, this is a must-see event.
Denise Gough (People, Places & Things)
I’ve already gushed about how much I loved Denise Gough in this show and how she absolutely blew me away with such an emotionally, heartbreaking performance. It’ll stay in my mind for many years to come.
Glenn Close (Sunset Boulevard)
The iconic Glenn Close finally brought her portrayal of Norma Desmond over 20 years after she performed it on Broadway. I had high hopes, but was nervous that perhaps she’d struggle to impress the way she did back then. It turned out she was spectacular and was still able to deliver the vocals. Yes, her voice may not have been as powerful, but it added a layer of reality to the character.
Billie Piper (Yerma)
Billie’s performance in Yerma was one of the most emotionally draining trips to the theatre I had in 2016, so goodness knows how she performed it day after day! Modernising Lorca’s tale of a woman desperate to have a child worked perfectly for today’s world and as the play unfolded Piper her character from a young, vibrant woman to a lost, broken soul. Powerful and unforgettable.
Janet McTeer (Les Liaisons Dangereuses)
It was hard to leave this production off my top ten and that was in large part due to McTeer’s portrayal of La Marquise de Merteuil. She was so devious and sexy and her chemistry with Dominic West really worked. I’m sorry I couldn’t get to New York to see the Broadway transfer, but if you have a chance to go before it finishes towards the end of January, it’s certainly worth the effort.
The cast of Eclipsed (NYC)!
With Eclipsed it wasn’t just one strong performance, but five, with each of the five actresses in Danai Gurira’s play creating a memorable character and together the result was one of my theatre highlights. Lupita Nyong’o seemed years younger, depicting the young wife who yearns for a different life; Pascale Armand was a scene-stealer as Bessie, whose comic lines made me laugh out loud; Saycon Sengbloh brought a strength and motherly figure to the stage as Helena; Zainab Jah’s portrayal of the wife-turned soldier, who refuses to be a victim of any man was a moving one and Akosua Busia added an outside perspective as Rita, the woman determined to help the women of the camp leave this life. A remarkable play, that I hope to see in the UK soon.
Helen McCrory (The Deep Blue Sea)
If I hear Helen McCrory is doing a play, I’ll book it without caring what it is. She is just so good. Her turn as Medea is still clear in my mind two years on and she was equally impressive as Hester Collyer, a woman trapped in life, who feels suicide is her only way out. A moving and powerful production for 2016.
Glenda Jackson (King Lear)
25 years since she was last on stage, Glenda Jackson took on one of the most well known roles in Shakespeare – King Lear. I was rather surprised by how much power she brought to the stage. She may be older, but she still commanded the stage and although, I didn’t have the emotional reaction to the play’s ending that I sometimes do, I still left the Old Vic sure of the fact I’d seen one of the performances of the year.
Cynthia Erivo (The Color Purple, NYC)
I was sorry to miss The Color Purple during its run at the Menier Chocolate Factory and so it was high on my list for my trip to NYC this year. I’d heard so much about Cynthia Erivo’s performance as Celie, the young girl, who overcomes so much to achieve happiness and independence in her life. There were two famous US actresses on stage, but the star was Erivo and hearing her sing “I’m Here” live was phenomenal. I’m so thrilled she won the TONY this year.
The men weren’t half bad either in 2016!
It may be a year when the female-led shows grabbed my attention, but there were certainly some excellent performances by the men too!
Andy Karl (Groundhog Day)
Ahh Andy Karl. I loved Andy Karl in Groundhog Day. As he’s better known in the US, I wasn’t familiar with his work, but I’ll certainly be keeping an eye on his future projects from now on. As someone who wasn’t a fan of the original film, his portrayal of Phil Connors was a major factor in how much I loved this production. He was able to convey both his rude, arrogant attitude and his later kinder self with equal weight and by the end I was rather choked each time I saw it. If I needed just one reason to go back to NYC next year, this is it!
Anthony Boyle (Harry Potter & The Cursed Child)
Undoubtably the most anticipated production of the year (and possibly the decade), the next story in the world of Harry Potter had a lot to live up to. I thoroughly enjoyed the show and all five of us in my group agreed that the show-stealer was Anthony Boyle as Scorpius Malfoy, the unlikely son of Draco, who forms a friendship with Harry’s son Albus. He was brilliant in the role; he is funny, brave, emotional and an utter joy to watch.
James Norton (BUG)
James Norton is surely one of the most versatile actors we have at the moment. Able to be both the charming, gentleman and terrifying killer on screen, I was thrilled to see him perform this year in the intimate space of FOUND111. Tracy Letts’s play is one of growing claustrophobia, where Norton’s character, Peter, starts as a shy young man, who acts as a source of comfort to Kate Fleetwood’s Agnes, before slowly unravelling before our eyes. A hugely physical and emotional role, Norton demonstrated yet again why he is on my must-see list.
Jonjo O’Neil (Unreachable)
I’ve been a fan of Jonjo O’Neil’s since I first saw him in the RSC company in Stratford-Upon-Avon (his Mercutio is yet to be beaten from those I’ve seen) and it was brilliant to see him take on such a quirky role as that of Ivan The Brute in Anthony Neilson’s new play. With the play taking shape during the rehearsal process, he was clearly able to bring so much personality to the character and I don’t think I’ve laughed that much in a theatre in a long long time (if indeed ever). It was an utterly bonkers performance that stole the show.
Simon McBurney (The Encounter)
The Encounter was unlike anything else I’ve seen on stage. A one-man show, written and performed by Simon McBurney, it told the story of a National Geographic photographer who in 1969 travelled to, and became lost in, the Amazon rainforest. Through the use of innovative technology and the audience all wearing headphones, we were transported in to a sensory experience like no other. McBurney could not have put any more in to his performance, physically and mentally and if I could go again I wouldn’t hesitate.
Jamie Parker (Guys & Dolls / Harry Potter & The Cursed Child)
Jamie Parker had to be on this list as I loved both roles he had on stage in 2016. I started the year watching him bring Sky Masterson to life in Guys & Dolls. He was superb and, in my view, one of the show’s biggest strengths, able to carry off the suave character and deliver the required vocals. Then it was on to Harry Potter. Harry isn’t the young man he was in the books/films and Parker convincingly portrays how his early life and experiences have impacted on him and indeed on his relationships as a husband and a father. Some of the most heartfelt moments in the play for me were those in which Harry is dealing with emotions and I can’t think of anyone better to play him.
James McArdle (Young Chekhov – Platonov & Ivanov)
Having a chance to see the Young Chekhov trilogy at the National Theatre after missing its original run in Chichester was an added theatre bonus this year and my favourite of the three was undoubtably Platonov. This was largely down to James McArdle’s performance in the title role. Seeing the plays back to back also provided an even stronger contrast between his role in Platonov and that of the serious doctor in Ivanov.
Ian McKellen (No Man’s Land)
I’ve been lucky enough to see Ian McKellen on stage a couple of times before (in No Man’s Land and The Syndicate) and what stands out most of me about McKellen’s stage work is that he simply becomes a new person. Despite being hugely famous for some iconic roles, you always see the character on the stage and not the actor and that was the case again in No Man’s Land.
Rafe Spall (Hedda Gabler)
Rafe Spall’s performance as Brack in the National Theatre’s current production of Hedda Gabler really stood out for me. He is a man that starts the play as a rather playful, flirty friend to Hedda and yet by the end he had chilled me to the bone. Not every actor could do that, but through his previous work, Spall has demonstrated his ability to tackle characters on both sides of the moral spectrum. I certainly hope to revisit this production before the end of its run.
Jasper Britton (RSC Richard II / Henry IV)
Anyone who knows me (or indeed has read this blog before) will know I’m a David Tennant fan and therefore a return trip to the RSC’s Richard II at the Barbican in January was never in doubt. The biggest thrill for me of the combined King and Country cycle was Jasper Britton. He brought a new dynamic to the Richard/Bolingbroke relationship and having the same actor as both characters enhanced the overall cycle. I particularly enjoyed seeing Bolingbroke’s relationship with Hotspur, which perfectly set up the events of the Henry IV Part One.
What a year it’s been! Feel free to let me know which performances impressed you this year in the comments section.
Although there are a few days of 2016 left, I’ve very likely been to the theatre for the last time this year and so it’s time for one of my favourite posts – my theatre review. It’s always lovely to reflect on another year of theatregoing and all the wonderful productions I’ve been lucky enough to see over the previous 12 months.
Due to a few weeks with a bad cough during which I didn’t go to the theatre (I refuse to be that person coughing through a show!), 2016’s final tally was just 70 different productions; 12 of which were musicals (a record I think for me), with the rest being plays. As with any year there are always some repeat visits and in 2016 I saw 11 shows more than once. Although this year saw me take a long overdue trips to New York for 11 days of theatre (that seems to be the magic number for me this year doesn’t it?), I’ve actually been to very little regional theatre in 2016 and I’m determined to improve this over the next twelve months.
2016 has been a very strong year of theatre for me, with those containing a strong female performance particularly standing out. I’ve seen very little that has truly disappointed and nothing that will be added to my all-time worst production list. So, below is my top ten productions of the year. Before the year is out, I’ll also be posting my list of 17 shows to see in 2017 so please do pop back to have a look and let me know what your theatre highlights have been this year!
Productions of the Year – My Top 10!
1. Groundhog Day (Old Vic)
There could only be one show at the top of my 2016 list and that’s Groundhog Day, the new musical based on the film, which premiered this year in London, before departing after only its ten week run to prepare for Broadway (previews start in March). I had been sceptical about a musical of this 1993 film (one that I’d not been a huge fan of to begin with). On seeing it for the first time however, I knew this was something very special indeed and I loved it every time I went (well if any show warrants repeat trips it’s this one). The colourful sets helped bring the community of Punxsutawney to life, and the book by Danny Rubin with Tim Minchin’s music and lyrics were a joy. It managed to be both very very funny and deeply moving over the course of the show, as Phil Connors gradually becomes a better man. Of course, the show needed a strong lead to anchor it and Andy Karl was utterly superb as Connors. He was able to portray a man who was both irritating, but still likeable and someone you were rooting for by the end. Yes, I intend to go to NYC to see it, but in the meantime, Mr. Minchin, please release a cast recording! You can read my full reviews here and here.
2. People, Places & Things (Wyndham’s)
I missed this play during its original run at the National Theatre, but was able to see it when it reached the West End earlier this year. It certainly lived up to the hype, with Denise Gough giving one of the finest stage performances I’ve ever witnessed. As Emma, the young woman dealing with a drug and alcohol addiction, Gough pulled you in to her world and didn’t let go until the end. Very few theatre performances have as strong an emotional impact as this one and her Olivier win in April was truly deserved. I know this will be a performance I talk about for years to come. Full review here.
3. Sunset Boulevard (London Coliseum)
This time last year, one of the most anticipated events of the 2016 theatre calendar was Glenn Close’s return to the role of Norma Desmond, one she performed on Broadway over 20 years ago (and one she will take back to NYC in 2017). I’d never been to the Coliseum, but it was the ideal venue for this unique staging of Andrew Lloyd Webber’s musical. “Semi-staged”, there was very little set; instead the focus was on the performances and the full ENO orchestra on stage. Fred Johanson was excellent as Norma’s loyal butler, as was Michael Xavier as Joe Gillis. However, this was always going to be Close’s show and she was superb. In fact I loved it so much I had to go again and being on the front row that second time is an experience I will never forget. Full review here.
4. Eclipsed (John Golden, NYC)
My trip to NYC this year was designed to be a theatre-fuelled holiday and it certainly was! I saw some excellent productions during my time there, but the one that stands out and makes this top ten is Danai Gurira’s play Eclipsed, which centres on the lives on five women during the Second Liberian Civil War. The play was able to capture the perfect balance of serious hard-hitting material and humour. For a play that has some moments that are quite difficult to watch, it was also remarkably funny too. On top of that, all five women in this play were superb (made clear by the raft of nominations it received). Lupita Nyong’a seemed so much younger in her role, which commanded your attention until the final moments, while Pascale Armand made me laugh with her witty remarks. I’m so pleased I was able to see this. Full review here.
5. Mary Stuart (Almeida)
Last weekend I was at the Almeida for a double day of Mary Stuart. Seeing this new show twice in one day was the only way to guarantee I’d see both actresses in each of the lead roles of Elizabeth I and Mary Stuart. I’m still writing up my review (watch this space), but needless to say that it’s inclusion on this list tells you exactly what I thought of it! The Almeida has such a unique atmosphere and you can feel the energy in the room as the coin spin takes place to determine who will play each part. On seeing both versions, I was thoroughly impressed by both actresses, although Lia Williams brought something extra to the stage whether as Mary or Elizabeth. It’s an exciting, powerful and absorbing production that you should see if you can.
6. Unreachable (Royal Court)
After having to return a ticket for earlier in the run, I’m so pleased I managed to see the final performance of this brilliant new play by writer and director Anthony Neilson, although due to the unique structure of the creative process, it would have been great to have seen it more than once, as Neilson uses the rehearsal process to mould the story and relies on improv from the cast. Story-wise, it’s about a group of creative people coming together to make a film, with the director intent on capturing the right light (played by Matt Smith) and one of the actors, Ivan the Brute, an unpredictable lunatic (Jonjo O’Neil)! All the actors were excellent, but special credit must go to these two, who had me in stitches throughout, particularly Jonjo. It’s a character and performance I won’t forget in a hurry!
7. Harry Potter & The Cursed Child (Palace)
2016 also saw the arrival of the juggernaut that is the new Harry Potter play and I feel very lucky to have already been able to see it, knowing that some people have tickets for 2018! Set 18 years after the end of the seventh book in the series, we get to see Harry, Hermione and Ron as adults with children of their own off to Hogwart’s and the story focuses on the friendship of Albus Potter and Scorpius Malfoy. It’s a superb show, with magical trickery, lovely sets, a story with a positive message for us all and some brilliant actors. Special mention to Jamie Parker (one of my favourites on stage who really does bring something new to Harry) and Anthony Boyle who deserves as much recognition as possible for stealing the show as Scorpius. Review here.
8. Yerma (Young Vic)
Billie Piper has established herself in recent years as a fine stage actress and her lead role in the Young Vic’s modern interpretation of Lorca’s Yerma is the best I’ve ever seen her. In a one act play, she simply left me speechless and a bit of a wreck through her portrayal of a young woman driven to despair by her inability to conceive a child. In this modern world where people like to think we can have it all and where woman are putting off having children until later, this play has an added emotional resonance. Brendan Cowell was also fantastic as her husband, struggling to keep their marriage together as his wife slowly breaks down. It was an emotionally draining experience, but a theatrical tour de force that I wouldn’t have missed for anything. Full review here.
9. Richard II (RSC, Barbican, London & BAM, NYC)
Okay, okay, anyone who reads this blog may notice that this production has been on this list before, but technically the 2016 version did have a largely different cast and therefore I think I cab get away with it! David Tennant remains one of my favourite actors and a brilliant Shakespearean actor. Returning to Richard after a break of almost two years meant he was able to bring much more weight to it than he did originally. This was a stronger, more confident performance. Add to that the inspired addition of Jasper Britton as Bolingbroke, a role he made his own and a performance I preferred to Nigel Lindsay. Top marks also need to go to Sam Marks, who stepped in to Oliver Rix’s shoes as Aumerle and brought even more emotional depth than I could have hoped for. I was also lucky enough to travel to NYC to see the final two performances of Richard, meaning that I was able to see not only the first preview, but the very last show. Full review here and reflection on the full King and Country cycle here.
10. The Dazzle (FOUND111)
Picking a tenth production for this list has been quite difficult and has left me torn, but in the end I had to choose a production I first saw last December and returned to in January of this year and that’s The Dazzle. With only a cast of three and staged in the intimate setting of FOUND111 (one of the venues of the year in my view), this was a show that was both humorous and deeply moving, as we see the bond between the Collyer brothers. Andrew Scott is mesmerising as Langley, whose strange ways are an increasing strain on his brother. However, it was David Dawson’s performance as Homer that floored me and by the final scene I was a wreck. Full review here.
So, that’s my top 10 from another year of theatre. That was quite tough! Had I had more space, other productions I loved this year included Les Liaisons Dangereuses (Donmar), The Encounter (Barbican) and the returns of the RSC’s Love’s Labour’s Lost and Much About About Nothing (at Chichester, but which are now currently finally in London) and This House (also now in London).
It always frustrates me that there are things I miss, but ultimately you can’t see everything. That being said, I’m determined to go to more regional theatre, but also more new venues next year. It’s a little exciting to wonder what memories I’ll be looking back on this time next year! After a suggestion from a friend, my picks for top performances of the theatre year are in a separate post here, as are my most memorable moments of the year in theatre here.
Thanks for reading!
I rarely write about the same show twice, but if you are going to revisit the same production, what better one than Groundhog Day? Having been lucky enough to nab a ticket for tonight’s final London show during public booking, and the front row no less, I couldn’t let the moment pass without reflecting on what has become one of my most loved shows.
I fully admit, I did not think I’d like it. I’d seen the film and hadn’t been that bothered about it in 1993. How on earth would it ever work without being excruciating and irritating? I am however a huge admirer of Tim Minchin and his ability to make words funny, sharp, cutting, but also deeply emotive. I’d loved Matilda and so curiosity made me buy my first ticket for an early July preview.
My hopes were raised when at a night at the Old Vic, before the musical opened, Mr Minchin sang “On and On” (or Ned’s song) and “Seeing You”, as well as bringing the brave Georgina Hagen down from the circle to sing “Nancy”! All three songs were wonderful and all my fingers were tightly crossed that perhaps this new musical could be something special.
Seeing as tonight was my fourth trip to the show, you can guess what my reaction was! There are so many wonderful aspects to Groundhog Day as a musical. You get to know the community in a way you can’t in the film (which I actually rewatched this weekend to find I really do prefer the stage show) and I genuinely think Andy Karl’s portrayal of Phil Connors really is that of a man who you see change for the better. I don’t really think that about the film. He may get a bit nicer, but I could easily see him reverting back after a while! During this musical, you see Phil Connors the unlikeable, arrogant man he is to begin with, become someone who learns to appreciate those around him and how life is worth living; we just need to live it as the best person we can possibly be. It’s a powerful, uplifting message from a show that so beautifully moves from a very, very funny show in the first half, to one with a strikingly moving and emotional second act, culminating in its heart-warming and hopeful ending.
The script is wonderfully written by Danny Rubin, who picks out all the best bits from the screen and the builds on them to make the overall story richer in so many ways. I love that Larry the cameraman gets a happy ending here and seeing the story of Ned’s life is one of the most moving moments of the piece (special mention to Andrew Langtree whose beautiful rendition of his song struck a chord with me every time).
I also love Rob Howell’s set. The deconstructed bedroom, which starts to fracture as Phil begins to lose his mind is very effective and I love the colourful wall backdrops for the bars and café. There’s colour and sparkle with each set change and the floor revolve allows time to pass visually at certain moments too. Congratulations to Paul Kieve too for some wonderful illusions. I admit, I think I’ve worked them all out now, but the reaction you have to them on first viewing is fantastic!
Together with such brilliant music and lyrics, which get cleverer every time you hear them, it’s the perfect combination. There’s a country-style song, one that’s more of a rock number and some quieter more reflective pieces too, which with songs such as “Nancy” still manage to highlight some important issues in society, while remaining witty and engaging. Not many people could get the balance right, but that’s the genius of Tim Minchin for you.
The ensemble cast are wonderful, bringing even the smallest character to life, to add another layer to Punxsutawney. Georgina Hagen makes us think again about the ditzy blonde, the comedic timing of the three actors in the bar scene bring to life one of the funniest parts of the show and Carlyss Peer brings Rita up to date for today’s audience, as a woman who isn’t going to easily fall for Phil’s lines and would rather be alone than in a relationship without love. Huge credit must however go to Andy Karl. I hadn’t heard of him before seeing the show (a crime I know, but all his stage work has been in the States), but he’s certainly made quite an impression on London theatreland and I now cannot imagine anyone else in the role of Phil Connors. It’s such a brilliant performance. Every facial expression, exasperated and sarcastic line, not to mention capturing the wit, arrogance and emerging heart of this man. You really do like him by the end and the moment he realises the next day has arrived is so lovely, it brings a tear to my eye.
The affection London has for him and all the cast was clear in the Old Vic tonight. It was such a special atmosphere, as we said farewell to a show that I dearly wish was staying much longer than two months. During the final curtain call, the cast threw buckets of fake snow over Andy Karl, who in turn threw it on the conductor, before saying a final farewell to the stage by making a snow angel!
The show now heads to Broadway, arriving at the August Wilson Theatre (formerly the home of The Jersey Boys) for previews, before opening on 17th April 2017. All I can say is that I hope New York appreciates it. To whet your appetite here’s a couple of videos, the first is of Ms Hagen singing “Nancy” https://youtu.be/tzJ3n1Mf1dM and the second is Tim Minchin singing “Seeing You” https://youtu.be/2hwE-dgis6Y – I can only hope a London cast recording will become a reality!
Oh and in case you were wondering – the chance of me heading to NYC to see the show there? – 100%!
After missing this musical the first time around, I was pleased to have another chance. I admit, I was sceptical about a musical adaptation of the classic 1992 film, but with such a talented singer as Beverley Knight returning to the role, I was prepared to give it a try on its return to London this summer.
The show broadly follows the story of the film. International singer and actress Rachel Marron (Knight) is at the height of her fame when her manager insists they employ a bodyguard due to threats she has received (the extent to which even she isn’t fully aware). That bodyguard is Frank Farmer (Ben Richards). Marron does not want him invading her life and he grows frustrated by her attitude. However, over time a respect and attraction starts to grow between them.
As a musical, the story of The Bodyguard works well and in order to ensure plenty of musical numbers, the songs made famous in the film (including Run To You, I Will Always Love You, Queen of the Night) are also supplemented by others from Whitney Houston’s back catalogue of classics, meaning the evening becomes a true celebration of the late singer’s work, with classics such as One Moment In Time and I Wanna Dance With Somebody right through to the last single she released before her tragic death, Million Dollar Bill.
Story-wise, I was pleased with the choices made overall. The differences to the film on the whole make sense. I won’t spoil them all, but unsurprisingly we don’t have the scene with a boat exploding on the lake in the wood on stage! There is also some streamlining in terms of the villain (with only one here, rather than the film’s twist of the initial crazed fan, not being the one trying to kill Marron), which makes things less complicated for the musical.
The set and staging works well, with some fantastic pyrotechnics for Marron’s concert opening (which interestingly is where they choose to use my favourite song from the film, Queen of the Night), effective, yet simple sets for other locations, such as the Marron house and various dressing rooms. The log cabin set from later on is also very good indeed. Projections are used throughout the show, mainly to show the audience what the stalker is doing at his desk and it is these projections which were the weak link for me, as they tended to come off as a bit cheesy, rather than chilling. They also really do not need the projected montage sequence at the end, which effectively replays moments from the show on the screen, as if some form of music video. I see that that’s what they were going for here, but it just didn’t work for me and was far too cringe worthy!
That slight criticism aside, the biggest assets of the show are the acting and singing talent of the leads. First and foremost Beverley Knight is excellent in a role which is synonymous with Whitney Houston. She is able to play the role of Marron convincingly and crucially has the voice to match. It takes someone with a lot of talent to come on to a stage and give those songs as much as Houston did and Knight succeeds every time. Ben Richards is also very good as Frank Farmer, conveying both his harder edge and softer, more caring side through scenes with her son Fletcher and as the two grow closer. He is also able to bring some humour to the character, particularly in the scene in which Farmer and Marron go on a date (which here is set in a bar on karaoke night, rather than in the restaurant setting of the film), which became one of the show’s highlights for me and was very well received by the audience. Huge praise must also be given to Rachel John, who plays Marron’s sister Nicki. She too has an incredible voice and her duet with Knight is another crowd pleaser.
So, overall I thoroughly enjoyed my night at the Dominion Theatre (my first ever visit there too). I’d been unsure whether the show would ruin my memories of the film, or if I’d find it impossible to look past the original movie and see the story in another medium, but I needn’t have worried. The story works just as well on stage and with such superb vocals from its lead actress, you can’t help but be engaged by it. It’s certainly worth a visit whether you’re a lover of the film, a Whitney fan or someone coming to it fresh and by the final encore you’ll be on your feet dancing and singing along with the rest of the audience!
The Bodyguard continues its run at the Dominion Theatre and is currently booking until 7th January 2017. Running Time: 2 hours 25 mins (including an interval). For more information and availability, (note Beverley Knight does not perform at all performances), visit the website here: http://www.thebodyguardmusical.com/home.php