Friday, March 29

London

Hadestown – Lyric Theatre
London

Hadestown – Lyric Theatre

In recent years, the West End has welcomed musicals based on films, books, and even historical events. But Greek mythology was yet to receive the big-budget musical treatment — that is, until Hadestown came stomping into the Lyric Theatre, where it is currently running until December 2024. Created by singer-songwriter Anäis Mitchell as a folk-opera back in 2006, Hadestown has been on a shapeshifting journey — including a sold-out run at the National Theatre in 2018 — which culminated in the Tony Award-winning production that took Broadway by storm in 2019. As soon as its West End transfer was announced last year, directed by Rachel Chavkin, musical theatre fans were bubbling with anticipation to discover whether this new production would live up to its Herculean hype. A story fundam...
Dear Octopus – National Theatre
London

Dear Octopus – National Theatre

This was a tender play about family dynamics which takes its title from a speech in the second act that praises the family unit as a ‘dear octopus from whose tentacles we never quite escape’. On the eve of World War Two, we bear witness to the reunion of the Randolph family, which forces them and their servants to confront the elements of romance, hatred, jealousy and shame that underscore their interactions. I enjoyed the wit that laced through the piece, as is characteristic of Dodie Smith’s writing. This was present in the conversation of the family quarrels, but also in repeated motifs, i.e. the fact that each character is aware of Fenny’s love for Nicholas, which added a comical touch to the action. A primary issue was the play’s dated narrative; for instance, the reason for Cynth...
Deathtrap – The Mill at Sonning
London

Deathtrap – The Mill at Sonning

What would you do for a great play? In Deathtrap by Ira Levin the answer turns out to be nothing good. With all the aesthetic drippings of a juicy whodunnit and a cast of characters each less winsome than the last, this play is powered by plot twists but never gathers quite enough steam to even fog up a window. Written in 1978 and set in the then not too distant future of 1979 Westport, Connecticut, Deathtrap does little to induce nostalgia in viewers even as it convincingly harkens back to the era of rotary phones, carbon copies, and illicit homosexuality. Fans of the play or film adaptation of Rope will find a dynamic worth exploring here that is ultimately left tantalizingly under investigated by the severely dated script and frustratingly conventional staging. Director Tam Willi...
Lear’s Shadow – Jack Studio Theatre
London

Lear’s Shadow – Jack Studio Theatre

The pandemic was, of course, a disaster for theatres and those involved in the performance arts. But it is striking how many of those affected used their time to develop their creative skills and produce new work, which would otherwise possibly never have seen the light of day. One such is Lear's Shadow devised and performed by Colin Hurley, and now performed in the Brockley Jack Theatre. The Jack performance space is almost bare except for a round wooden table and a bench. Enter an old man with dishevelled hair and greying beard, dressed in a dressing gown and long johns, with bare feet. He carries a modern looking box full of his props. Although looking like a Lear, the programme notes make clear that this is not Lear: it is an actor very familiar with the Bard's ...
The Addams Family Live in Concert – London Palladium
London

The Addams Family Live in Concert – London Palladium

Act normal. Wear a black dress or pinstripe suit. Paint your face and snap along. At the London Palladium it’s Halloween in February. Copious amounts of fog billow forth from the palatial stage and the theatre is bathed in purple light as audiences amble in, many dressed for the special occasion and already buzzing with excitement. The orchestra, unlike the assembled spirits of the dead, remains unseen but makes its presence known in a vigorous overture playing jauntily under conductor Andrew Hilton, and is energetically reinforced by a skilled ensemble dancing in choreography by Alistair David. Consistently visually interesting even as the plot stretches itself thin and tired jokes leave audiences groaning, this rendition of a mid-tier musical is nonetheless entertaining and well perf...
When You Pass Over My Tomb – Arcola Theatre
London

When You Pass Over My Tomb – Arcola Theatre

Finger-licking, or rather phalanx licking, good, When You Pass Over My Tomb by Sergio Blanco and adapted and directed by Daniel Goldman, is laden with content warnings (for assisted suicide, mentions of necrophilia, mental health, and blasphemous language) but where it might be expected to sink under the weight of its unwieldy themes, instead sails through increasingly murky waters with ease. Photo: Alex Brenner Neither linearly nor exclusively following the story of playwright Sergio Blanco himself as his fictionalized counterpart prepares to undergo assisted suicide and engages in flirtation with the convicted necrophiliac he plans to donate the majority of his body to, this three-hand play dips its toes into many different stories and traditions, including funerals, children’s ga...
Self Raising – Soho Theatre
London

Self Raising – Soho Theatre

Self Raising is a moving account of the autobiographical story of Jenny Sealey, Funny, poignant, witty and intelligent. Using the memoir form she paints the significant moments, adults and photographs that have left an inedible mark on her life. The joy of being in a theatre with so many diverse patrons itself is Self Raising’s biggest achievement. Disabled members of our society do not have many venues that are accessible, productions that are sensitive or innovatively incorporate signing and live captions in their performance. When Jenny Sealey and her interpreter walk on stage encouraging the audience to continue talking, but no one does because she has our undivided attention. Jenny’s unfettered candour warmth and generosity make our curiosity and investment in her story grow with ...
The Hills of California – Harold Pinter Theatre
London

The Hills of California – Harold Pinter Theatre

Jez Butterworth graces us with another play with depth and wonder, beautifully directed by Sam Mendes. The play currently resides at Harold Pinter Theatre in which the world is clear and grand as we walk into a house with a huge staircase, old wooden design and a little bar filled with very old alcohol. The staircase seems like it goes up and on forever, set in a hotel in the 80s which once in the past housed very many visitors but always 4 young girls and their mother. We switch from present day to past, now the mother is dying, the girls all await their eldest sister Joan to come say goodbye. In the past we watch the mother run the home, military style as the girls practice their singing and dancing with the biggest dreams of making it to the London Palladium. Their mother also, pushing...
Songs for a New World – Upstairs at the Gatehouse
London

Songs for a New World – Upstairs at the Gatehouse

When you watch a musical production, it usually follows a known formula with a beginning, middle and an end. Not so with ‘Songs for a New World’ for this is what’s known as a song-cycle. That means rather than having one fully formed narrative, the show is an anthology; a collection of short stories that hang together with common themes. For me, I think the best way to describe this production is as an immersive musical show. You honestly feel as though you’ve stepped into the making of a musical and are part and parcel of the actual show, such is the intimacy of this performance. The venue aids this feeling enormously, and to be seated just inches away from the action is a real thrill. Unlike most shows, the band are not hidden away, they are clearly visible, on display and are int...
Empower in Motion: A Ballet Inclusive – Sadler’s Wells Theatre
London

Empower in Motion: A Ballet Inclusive – Sadler’s Wells Theatre

Shocking, illuminating, poignant, and triumphant, Empower in Motion is unbeatable ballet. Fundraising for Children Today, this informal gala presents itself without ostentation but packs an overpowering punch. Featuring ten acts over the course of two hours, the strength and diversity of its featured dancers never fails to captivate for even a minute. The program is contextualized by video introductions to each act describing the work done by Children Today and celebrating the inclusive dance efforts made by the event’s various other partners. Host, Grace Spence Green, gives an invigorating preamble to the procession of performances each of which awes in turn. The evening starts strong with a seamless performance by Joseph Powell-Main and Hannah Rudd excerpted from The Royal Ballet’s S...