Tag Archives: Chris Fisher

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“The Witches” at the National Theatre

Given its record of seasonal family treats, you might describe the National Theatre’s Christmas shows as venerable. But few have been as eagerly anticipated as this new musical adaptation of Roald Dahl’s classic. It’s a thrill to report that it lives up to expectations.

Lucy Kirkwood’s book is superb. The action is swift and ambitious, scary and complete with the surreal touches that Dahl fans love. It takes kids seriously – specifically that they can be interested in mortality – so, it’s suitably dark as well as humorous, with risqué touches that make it wickedly funny.

It can’t be as easy as Kirkwood, and director Lyndsey Turner, make it look. Not only is the book well-loved, but there’s a big coven of witches who need special effects – they turn children into mice – and that’s before you add singing and dancing. The budget and the cast are huge, the illusions (Chris Fisher and Will Houstoun) grand, and Lizzie Clachan has excelled herself with the set and costume design.

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Daniel Rigby and company

Turner might use the Olivier better – the show would be more at home in a proscenium theatre. But, like Kirkwood, she has excelled at making the most of the characters – a collection of roles performers can get stuck into and enjoy themselves with. There’s our hero Luke’s witch-hunting grandmother, the manager of a hotel and its chef. These are super roles for Sally Ann Triplett, Daniel Rigby and Irvine Iqbal, respectively. Suitably larger than life, the adults take over from the children (who are very good, by the way).

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Katherine Kingsley and her Coven

Not forgetting, of course, the witches themselves. Katherine Kingsley has a great time as the Grand High Witch, bringing some Dietrich-style glamour to the role. She commands the crowd and has a powerful voice. But all the coven are strong and work superbly as an ensemble; they sound great right from the brilliant opening number, while Stephen Mear’s choreography has exciting touches.

And Dave Malloy’s music is fantastic. That there are so many adult voices in the show helps. The songs are more than catchy and varied, just as the lyrics, from Malloy and Kirkwood, are more than witty and clever. There are surprises here… hurrah! Careful modern touches (like TikTok) make the lines sparkle. The music has bold moments of percussion, repetition and acapella.

Can you remember the last time a family show felt this fresh and exciting? Oh yes, it was Matilda! The ‘other’ Dahl musical and still one of the best shows around. There are similarities, of course, but a lot here is bigger – the ambition and the sound. What they really have in common is their originality – both have a voice of their own, and everyone, of any age, can enjoy them.

Until 27 January 2024

www.nationaltheatre.org.uk

Photos by Marc Brenner

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“The Time Traveller’s Wife” at the Apollo Theatre 

Any show tackling time travel runs the risk of being judged a waste of just that precious commodity. This new musical adaptation by Lauren Gunderson of Audrey Niffenegger’s best-selling novel isn’t that bad. There’s plenty of talent involved – on stage and off. And it is, broadly speaking, entertaining. But it is bland.

This isn’t sci-fi. The story of Henry, who can’t help going back and forth in time, and Clare, who has to put up with his disappearing, is really about loss and grief. Let’s ignore the uncomfortable idea of Henry meeting Clare when she is a young girl and her waiting to grow up for him. Or Henry’s fascination with his opera-singing mother who died when he was a child but who he waits at stage doors for as a grown man. Instead, Niffenegger’s repetition that “love wins” and that it exists outside time is an idea clearly appealing enough for huge success.

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Joanna Woodward and David Hunter

Even if you think there’s always time for romance, I fear disappointment, as the show is horribly rushed. An awful lot of the book has been crammed on to the stage and, as a result, there’s little room for emotion. Too much time is taken working out what’s going on. And this is all despite the efforts of our leads, David Hunter and Joanna Woodward, who sound great, act well, and, alongside director Bill Buckhurst, make sure the action is clear.

The score is a big disappointment. Indeed, coming from Joss Stone and Dave Stewart, the songs are something of a shock. Nothing is unpleasant (although some incidental music sounds like we’re in a lift) but nothing is inspired. And, too often, perky, sweet or swooning sounds contrast awkwardly with what’s going on in the story. And isn’t it downright odd that, despite the time travel, there’s so little variety in the score? There’s no exploration of the time covered by events. The lyrics, credited to Kait Kerrigan as well as Stone and Stewart, are bad. Attempts at humour fail.

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David Hunter and Ross Dawes

Yet there is stuff to praise in the show. Buckhurst has a lot of success with the staging, helped by Chris Fisher’s illusions. Andrzej Goulding’s video and animation work is a highlight. Anna Fleischle’s design, particularly the costumes, are useful. There are also strong roles for Tim Mahendran and Ross Dawes as Henry’s friend and father, respectively. While the main love story is beige, these incidental figures get the best numbers dramatically. It just seems slim pickings for a big show and not worth travelling (far) for.

Until 30 March 2024

www.timetravellerswife.com

Photos by Johan Persson