Festival Theatre Archives - North West End UK

14Oct

By Greg HolsteadNo Comments

Scotland

Sylvia – Festival Theatre, Edinburgh

This is some show! Having watched Jersey Boys at the Edinburgh Playhouse the previous evening, I thought I had witnessed musical theatre at its most polished and professional. Twenty-four hours later, Sylvia at the Festival Theatre took the whole business to another level. The comparison is fascinating. Jersey Boys has the considerable advantage of being built around songs that generations already know and love. Recognition and nostalgia do much of the heavy lifting. Sylvia has no such luxury. We arrived knowing none of its songs, yet for two hours and forty-five minutes this extraordinary production held our attention almost without respite. That is no small achievement. Written by Kate Prince and Priya Parmar, with music by Josh Cohen and ...

7Oct

By Roger JacobsNo Comments

Scotland

Barnum – Edinburgh Festival Theatre

Of spectacle and razzamatazz there was no shortage. For pure froth, noise and escapism this production scores high. But absent were suspense and drama, although some comedy dribbled through here and there. Spectacle, like chocolate cake when relentless and overloaded, loses its flavour. History presents contrasting portraits of P T Barnum, but none were explored regarding his complex, contradictory personality. As a celebration of the man’s chutzpah the two themes to the fore were Barnum’s relationship with his wife Charity, and the ‘theory’ of humbug or, ‘trimmings’. Charmingly executed but devoid of any jeopardy concerning Barnum’s tougher episodes. All the cast gave it their everything, Matt Rawle (P T himself) and Monique Young (his wife, Charity) leading from the front, bringin...

Verdi’s A Masked Ball – Festival Theatre

3Sep

By Jessie MartinNo Comments

Scotland

Verdi’s A Masked Ball – Festival Theatre

As the Edinburgh International Festival draws to a close, Zurich Opera has their final performance of Verdi’s A Masked Ball at the Festival Theatre. Based on preexisting libretto, Giuseppe Verdi adapted and added the love triangle aspect we see in this production. Given the assassination in the opera (originally written as the murder of a King) Verdi had to combat numerous censorship attempts. Despite several setting changes, with Verdi eventually settling on 17th century Boston as the location, each adaptation was followed by real-life assassination attempts and political unrest which called for Verdi to keep adjusting details of the opera so it would seem a little less close to reality. Director Adele Thomas has kept the Boston setting but moved the timeline sligh...

14Aug

By Greg HolsteadNo Comments

Scotland

The Galloping Cure – Festival Theatre

Oh my God. What just happened to opera? Missy Mazzoli’s The Galloping Cure absolutely blew me away in its first half. Not merely as opera, but as theatre, music and visual spectacle colliding in something that felt, genuinely, like a tipping point. If this is what modern opera is going to be, it has a wonderful life ahead of it. Everything begins relatively straight. The music, the characters, the world. Then gradually it starts to contort. The familiar bends out of shape and suddenly we are somewhere else entirely. There are echoes of The Music Man, flashes of Carousel, and then we seem to tumble headlong into The Matrix, vertical lines of light streaming through the Festival Theatre stage as though we are stepping between realities. At the centre are ...

The Karate Kid: The Musical – Festival Theatre

24Jun

By Roger JacobsNo Comments

Scotland

The Karate Kid: The Musical – Festival Theatre

Yet another musical version of a successful film from back in the day and though they rarely miss, not all hit. The production values are usually high and this is no exception. A superb set consisting chiefly of brightly coloured Japanese screens propelled around by cast members creates the different sets; the arcade where Daniel meets Freddie Fernadez and first encounters Ali, the Larusso household, Mr Miyagi’s den, the Cobra Kai gym and so on. It’s visually thrilling with some sharp light changes, the choreography, skilfully incorporating elements of the Okinawan martial discipline, exciting and well-executed. Gino Ochello is perfectly competent as Daniel, as is Abigail Amin as Ali but it’s with quiet authority that Adrian Pang steers the ship in an unexpectedly gentle comic manner as Mr...

The Marriage of Figaro – Festival Theatre

2Jun

By Greg HolsteadNo Comments

Scotland

The Marriage of Figaro – Festival Theatre

There is a reason why Mozart's The Marriage of Figaro remains one of the most frequently performed operas in the world. More than two centuries after its premiere, this tale of lust, deception, privilege and revenge still has the power to delight audiences. The comedy remains sharp, the characters remain recognisable, and Mozart's music continues to provide one glorious melody after another. Scottish Opera's revival of Sir Thomas Allen's production arrives in Edinburgh following its run in Glasgow, conducted by Dane Lam and directed by Allen himself. It is a handsome, traditional staging that places its faith in the strength of Mozart's score and Lorenzo Da Ponte's story rather than attempting to reinvent either. The central plot remains as entertaining as ever. Figaro and Susanna ar...

18May

By Greg HolsteadNo Comments

Scotland

Guys and Dolls – Festival Theatre

Southern Light’s Guys and Dolls arrives at the Festival Theatre with all the confidence and swagger of a Broadway classic that knows it has survived generations. Frank Loesser’s score still sparkles, Damon Runyon’s world of gamblers and hustlers still charms, and Southern Light throw absolutely everything they have at it. This is a huge production, packed with colour, movement and musical ambition, with a cast of around seventy determined to fill one of Scotland’s biggest auditoriums. And for long stretches, they succeed. Directed by Andy Johnston, with musical direction by Fraser Hume and choreography by Janice Bruce, the production understands that Guys and Dolls lives or dies on energy. The Festival Theatre stage is enormous and unforgiving, capable of swallowing le...

The Ballad of Johnny and June – Festival Theatre

1May

By Greg HolsteadNo Comments

Scotland

The Ballad of Johnny and June – Festival Theatre

There is a problem with telling a story everyone already knows. This story of Johnny and June understands the problem well enough, but the script never really finds an alternative solution. Instead, the music is left to speak for itself. The show opens with Jackson, the quintessential Johnny and June number, a confident, toe tapping start that promises energy and momentum. From there, the narrative is framed largely through the eyes of their son, John Carter Cash, offering a lens that suggests memory, subjectivity, and, crucially, that truth is never singular. When Johnny first meets June at the Ryman Auditorium and declares, with typical bravado, that he will one day marry her, we are reminded that this is only his version of events. It is a useful idea, that truth shifts depending on ...

The Spy Who Came in from The Cold – Edinburgh Festival Theatre

23Apr

By Roger JacobsNo Comments

Scotland

The Spy Who Came in from The Cold – Edinburgh Festival Theatre

One of the predominant elements of John Le Carré’s novels concerning British Intelligence is bleakness. A mantle of washed-out grey cloaks the lives and actions of his characters, darker shades representing the shadows in which they are doomed to operate. As his son Nick Harkaway writes in the programme (in contrast with another, cinematically celebrated, agent of ‘the service’) there’s ‘not a martini or an Aston Martin in sight.’ The set (Max Jones) and lighting (Azusa Ono) for tonight’s show reflect this, the barbed-wire topped wall looming mute behind a floor displaying the contorted map of Europe in the early 60’s. The uniforms and attire of all concerned (with the exception of Liz Gold’s turquoise suit in the closing scenes) are relentlessly dour, and in Alec Leamas’s case, appr...

2Apr

By Nazaret RaneaNo Comments

Scotland

The Constant Wife – Festival Theatre

On its opening night at the Festival Theatre, The Constant Wife felt less like a revival and more like a reminder of just how ahead of its time W. Somerset Maugham really was. Written in 1926, the play sits neatly in the world of drawing-room comedy, but beneath the polished dialogue and social niceties there is something far more unsettling. It asks what happens when a woman refuses to react in the way society expects. That tension is at the centre of this new version by Laura Wade, directed by Tamara Harvey for the Royal Shakespeare Company. Wade keeps the 1920s setting but softly reshapes the structure, bringing moments forward and adding a flashback that shows Constance discovering her husband’s affair. It is a small change, but an important one. It shifts her from someone who seems...