Soho, Peacock Theatre, London, 2017

 

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Soho is a great adrenalin rush of a show, packed full with good dance routines, brilliant tumbling, thrilling trapeze work and gravity defying aerobatics. One can’t help but be amazed at the body strength and vigour of the performers. This show is an entertaining mixture of dance show and circus skills. There are aerial silk works, hand balancing, pole climbing, and martial arts all the while telling a story in dance. There is a great dance routine, of everyone getting ready to go out; set in the bathroom of a posh hotel.

The soundtrack is fabulous, it has a real London feel, it varies from Daft Punk, through Mozart, to Bowie, Donovan and Peggy Lee. The sets are simple but clever and it all takes place against a moving backdrop of videos of Soho and its environs. If you are from London, you will enjoy seeing places and characters that you recognise from your time here. There are all the landmarks that you know and love, with scenes set in Brewer Street, Chinatown, and Madam Jojo’s. There are punks, Big Issue sellers, orange clad Hare Krishna followers, loved up ravers, drunken hen parties, lots of London life is here somewhere.

From the moment the curtain opens, there is so much happening on the stage, that you will have difficulty taking it all in. It is a maelstrom of movement, colour and humour right until the final the final bows. Often there are three or four scenes going on simultaneously. Soho is funny, sexy, knowing and, clever, but above all it is exciting.

This show is only here for two weeks, so if you want to see it – get your skates on!

School Of Rock, New London Theatre, London, 2017

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School of Rock’s plot has more holes than a polo mint factory. I almost had to talk myself into suspending my disbelief. However, when I did, this show has funny lines, great tongue-in-cheek, rock songs, and some very talented children.

The opening song “I’m too hot for you” is a clever parody and “Stick it to the man” and “School of Rock” are crowd pleasing, audience participation, stadium rock pastiches. There are other good songs too “You’re in the Band” is catchy and I liked the “Faculty Quadrille” which has recognisable Lloyd Webber moments.

David Finn is likeable and irritating in equal measures as Dewey, but this is as it meant to be. The plot involves him living out his teenage fantasy by changing a class of nerdy kids into 1980s style rock stars. The story is fun, ridiculous and there is a big enjoyable finale, where the crowd goes wild. The children play all their own instruments and their acting and singing is excellent.

This show is a real crowd pleaser, the whole audience was involved by the end and there was a standing ovation. The cynic in me saw a lack of narrative, did not see the ending as happy and felt a bit manipulated. However, I took a lesson that I learned from the “Book of Mormon” song “Turn it Off” and did just that.

Put away your critical eye, embrace your inner teenager, and you will enjoy it too!

The Nice Guys (dir. Shane Black) 2016

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This is a curate’s egg of a film – good in parts. It’s sets out to be a pastiche of a corny 1970s Blaxploitation movie, and it succeeds almost too well for its own good. The plot is very ’70s, a light, far fetched, political conspiracy theory.

The characters are caricatures. Ryan Gosling as Holland March is quite knowing about it and carries it off very well, we get to like him and he is actually very funny.  Russell Crowe seems to be just walking through the film saying his lines, so his character is two dimensional. Angourie Rice is great as Holland’s daughter and also has some of the best lines of the show.

This movie contains violence, sex references, nudity, bad language and drug use; all gratuitous, all characteristic of the time. Not so funny in itself but funny because in the 70s they were only recently able to put these into films, so they did, even if it was unnecessary.  The humour is broad, bordering on slapstick, but it works, mostly

The sets are perfect and costumes are right on.  I particularly enjoyed the soundtrack, apparently some of the songs were too late for the time in which it was set, but they felt right to me.

On balance, Shane Black has done an excellent job directing “The Nice Guys” in that, from slight material, he has made a little go a long way.

 

The Wild Party, The Other Palace, Victoria, London.

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Andrew Lloyd Webber has bought the theatre that used to be known as The St. James Theatre and changed its name to The Other Palace. He wishes it to become the place where writers and producers can try out and refine new work.

The first show here is “The Wild Party”. This musical has a lot of good things going for it. The ensemble are fantastic, the songs are good, the comedy songs are very funny. The dancing and choreography are fast and good, the characters are interesting and flawed.

For me, the music is too loud for the size of the theatre, it took me about three songs for my hearing to adjust enough to understand the lyrics. This is a shame because the lyrics that I did hear were acerbic and funny. The ending is a bit of an anti-climax, if ever a show needs an encore routine, this is one. This is such a disappointment because so much of the rest of the show is wonderful.

The songs are a nice mixture of vibrant, funny and bitter. The dialogue is sharp. The choreography is dynamic and energetic. The atmosphere is decadent and sexy. The closing series of songs in the first act is amazing and if they were to somehow make this the finale of the whole show, it would run forever.

It is hard to pick out individual performances, not only because everyone is very good, but also because everyone in the show has their own part to play. There is no chorus here.

Frances Ruffelle and John Owen-Jones have beautiful emotive voices. Donna McKechnie and Bronte Barbe are both funny and have a great song each, showing off their range. Steven Serlin and Sebastien Torkia are a clever comedy double act. Gloria Obianyo and Genesis Lynea are excellent at joining the show together. Victoria Hamilton-Barritt arrives late and threatens to steal the show. The dancing is uniformly outstanding.

This show truly is a wild party, bringing with it all that this entails. It is an exhilarating rollercoaster ride, and like all the best parties – although I may have some regrets the next day, I wouldn’t miss it for the world.

The Young Offenders, (dir. Peter Foott) 2016

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This is an Irish road movie, set in Cork. It is written and directed by Peter Foott and, if this film is representative of his work, he has a great talent for both dialogue and character development. Conor and Jock are two feckless 15 year olds, Conor works in a fishmongers, because his Mam is the only one who would hire him and Jock seems to support himself by nicking bikes. The film is the story of them taking off to the coast, to find some bags of cocaine that have supposedly been washed ashore from a shipwreck.

Imagine “Bill and Ted” doing “Smokey and the Bandit” in County Cork on stolen bicycles…. well it’s weirder and funnier than that.

One of the many great lines form this film states “There are two things you need for an adventure, a treasure map and someone dumb enough to go with you” Neither of these boys have a clue about anything, but by the end of the film, you are really invested in them and wish them success.

This film has a hard exterior but a soft center. Jock is covered in bruises from his hard drinking Dad, but it is hardly mentioned.  Conor and his Mam are verbally abusive to each other but have an almost tender scene in the second half of the film. The acting is naturalistic and there are great performances from Alex Murphy and Chris Wally as Conor and Jock.  Hilary Rose is excellent too as the harsh Mam and P.J. Gallagher as “the drug dealer”

I liked the cinematography, Cork looks lovely in the sun and there are some great songs on the soundtrack, including “Where’s me Jumper” by the Sultans of Ping.  The incidental parts are clever too, Cork and its environs seem populated with eccentric characters and quirky misfits. What makes this film stand out though, is the amazing script, it is littered with funny lines and mad ideas.

Peter Foott has made an excellent film here and I am already looking forward to his next one.

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Much Ado About Nothing, Theatre Royal Haymarket, London

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Much Ado About Nothing is probably Shakespeare’s wittiest and lightest play. The banter between Beatrice and Benedick is both quick and sharp. This is The Royal Shakespeare Company’s production, originally produced for the 2014 Chichester Festival, transferred to the Royal Haymarket Theatre in London.

This dramatization adds a costume drama aspect to the play by placing it at the end of the first world war. It also emphasises the physical comedy of the show, which is very current in the west end, and at least three scenes are bordering on slapstick. The eavesdropping and stage whisper scenes work particularly well.

All the elements blend together effectively, resulting in a good mix of comedy and drama. The staging is busy and lively and there are a good number of laugh out loud moments.

It can be difficult to add freshness to one of Shakespeare’s most performed plays,  Christopher Luscombe and the RSC have succeeded very well. They have put the emphasis on enjoyment, and there is so much going on here, that you feel you hardly have time to take breath before the next vibrant scene is upon you. The finale/encore dance number was also an unusual and unexpected highlight.

This is a very satisfying addition to the West End theatre and it will be a significant loss when the season ends.

 

An American in Paris, Dominion Theatre, London, 2017

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Everything about this production is spectacular.

The 1950 film, on which it is based, won 7 Academy awards. George Gershwin won one for the best score, the stage show takes this and adds some of the best of his back catalogue; “The Man I Love”, “But not for me” and “They can’t take that away from me”.  They are beautifully sung by Haydn Oakley and Zoe Rainey.

Alan Jay Lerner won the Oscar for best story. This has been kept with just a little more detail added. It also won the awards for best costume and best sets. The costumes here are beautiful, postwar in style and Paris elegant. The sets are wonderfully inventive, they could be Jerry Mulligans drawings brought to life. They are outlines of the Paris skyline being sketched on blank backdrops as they are moved into place, a beautiful concordance of the 1950s and the 21st century.

Wonderful as all of the above is, the real stars of this show are the choreography and the principal dancers. Robert Fairchild and Leanne Cope are both classically trained ballet dancers, he in New York and she in London. The dance routines are dazzling. The show opens with a 7 minute number where Fairchild arrives on the scene as Jerry Mulligan, full of vitality.  Cope’s part as Lise builds more slowly and she comes fully into her own in the second act.

The director and choreographer is Christopher Wheeldon. The final numbers of the show are nothing short of inspirational. “I’ll build a stairway to Paradise” is a classic 50’s, exhibitionist, camp show stopper. This is followed by the beautiful ballet inspired “An American in Paris” equally good, yet completely different.

This is a joyous reimagining of a classic Hollywood musical and, as you can probably tell, it stole my heart.

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