Tag Archives: Gracie McGonigal

2025

“Into The Woods” at the Bridge Theatre

Stephen Sondheim’s masterpiece deserves VIP treatment every time it is staged. Thankfully, director Jordan Fein steps up with this latest revival. A mash-up of fairy tales with a contemporary sensibility, very much for an adult audience, the piece is the gold standard for musical theatre. It should never be missed, and Fein’s respectful, conscientious, approach makes it a sure hit as well as a true pleasure.

The chance to see Little Red Riding Hood, Cinderella, Rapunzel and others interact provides plenty of laughs. Alongside their stories getting confused, the characters’ self-awareness adds a layer of metatheatricality that’s a long way from the Brothers Grimm. As well as being smart, this is a laugh-out-loud musical. But there’s poignancy, too, with its exploration of parenthood and what people –full of both hope and fear – wish for.

At the centre of the show are a Baker and his wife – it is their hope for a child that starts the action. Jamie Parker and Katie Brayben make a fantastic couple, showing us the stress in their characters’ relationship as well as the commitment they share. There is also a very strong performance from Jo Foster as Jack (of beanstalk fame) bringing tremendous energy to the role and tackling his puppet pet cow so well the animal almost steals the show. Nonetheless, leading the way for both comedy and tragedy is Kate Fleetwood, who plays the witch. Of course, in a show about fairy tales, it’s a starring role. But Fleetwood really does shine. Every moment is considered, the smallest gesture getting a laugh. Her singing is marvellous and, in the numbers addressed to her adopted daughter, heart-wrenching.

There is terrific support from Oliver Savile and Rhys Whitfield, who play the royalty in the show – their enthusiasm is contagious. The production is, almost, faultless. The priority for Fein is the acting skills his cast brings, so there are a few instances when you might wish for stronger singing. But there are fine voices here, including the excellent Gracie McGonigal, Bella Brown and Chumisa Dornford-May. Best of all, you can hear every word sung. Since Into The Woods has the cleverest lyrics – they are a benchmark to judge others – this is essential and it makes the production a pleasure at every turn.


Until 30 May 2026


www.bridgetheatre.co.uk


Photo by Johan Persson

Uncategorised

“Fangirls” at the Lyric Hammersmith Theatre

Of many exciting musicals opening in London this year – there are a lot – you might not expect this arrival from Australia to be a five-star favourite. The subject matter is the fandom surrounding a teenage boy band, and one young girl, Edna, with a plan to “save” the lead singer from his own celebrity when he tours to her town. So far, so fun. The show has its own dedicated following – there are Fangirls fan girls – because it really is for everyone: full of surprises, exceptionally smart and very funny.

The music, book, and lyrics are all by Yve Blake, which should make you ‘stan’ her. Blake is brave, not least in having the lead singer of her fictional boy band being a Brit called Harry. The show’s tone is boldly dark and downright rude. I’m not sure how suitable it is for youngsters, but that’s surely just me showing my own age! Of course, you laugh at reactions to the pop idol, the fans are “literally dead” at a concert announcement and there’s a mother character (a fantastic role for Debbie Kurup) for older audience members to relate to. 

But hold on… don’t dismiss these “silly little girls”. The twist is that Fangirlstakes them seriously.

Blake has researched it all, creating an authentic voice for the show… literally. The lyrics are original, and the teenage speech patterns have fascinating effects. The plot has shocks, not least when Edna puts her plan into action (a fantastic end of the first act that I defy you to see coming). But there’s a point behind the technique. Through exploring the impact of the internet, the writing of fan fiction and the fan community, there’s insight into the lives and (unrequited) loves of this cohort that is frequently heartbreaking.  

These girls’ self-esteem is fragile. The parasocial relationships with Harry, and their imaginary conversation with him, reveal fears and real-life difficulties in powerful lyrics. One number, ‘Disgusting’, is a highlight. As it happens, there’s an interesting parallel with another summer hit, Mean Girls, but, for my money, this packs more punch. As the group sings that “nobody loves you like me” (all of them, of course), the lyrics are shared by Edna’s mother singing to her daughter – their relationship is a big theme that gets ample attention.

“Actual philosophical poetry” 

The score is just as clever. A concert from the boy band is a lot of fun, but it is clear from the start that the fictional hits are used in a novel way. Blake can write a pop song and Thomas Grant, who performs as Harry, does very well with them. But it is genius (and, again, funny) to make them a little bit bland. They are clearly a long way from the “actual philosophical poetry” one fan claims them to be. Then, when the fans take them over, adapting them and weaving them into the wider score, they are improved!

The fans as a chorus are utilised a lot and sound great. They move brilliantly, too, with clever suggestions of awkwardness around sexual or violent movements that show the skills of choreographer Ebony Williams. The production’s strength is a credit to director Paige Rattray. There are strong parts for Edna’s friends played by Miracle Chance and Mary Malone, but smaller roles are also well realised with standout performances from Terique Jarrett and Gracie McGonigal. 

Final praise to Jasmine Elcock (a former talent-show competitor herself), who takes the lead role and is an excellent singer and actress with sure command of the show’s comedy and drama. Edna has a lot to learn and plenty of problems, so watching her struggle and grow is superb. And Elcock becomes a star along the way. What can say? I’m a fan.

Until 24 August 2024

www.lyric.co.uk

Photo by Manuel Harlan

2023

“The Little Big Things” at the Soho Place Theatre

This new musical is based on an inspirational memoir by Henry Fraser. A promising rugby player, Fraser had a life-changing accident that left him tetraplegic at only 17.  His brave acceptance of his condition and subsequent success as a mouth artist is a heart-warming story that’s hard to criticise. Yes, you will cry. But that doesn’t automatically make a show based on his life a hit.

Following Fraser’s positive outlook, there is a lot to be upbeat about here. The book for the show, by Joe White, is solid. The idea of having Fraser portrayed by two performers (Jonny Amies and Ed Larkin, who are both good) is great. One is Fraser’s ‘pre-accident’ self who stays with the other, haunts him you might say. The two need to say goodbye so that life can move on.

The show’s structure allows plenty of time for Fraser’s family. There is detail about how his three brothers (played by Jordan Benjamin, Jamie Chatterton and Cleve September) cope. And, of course, his parents, played by Alasdair Harvey and Linzi Hateley. Everyone does good job. That so much care is taken over how everyone feels is admirable.

Luke Sheppard’s direction also gets plus points. Sheppard gets a lot out of his mostly young cast and fills the stage with energy. There’s colour, too (remember, Fraser is a visual artist), with Howard Hudson’s lighting and Luke Halls’ video designs making the most of the new venue’s swanky facilities. It’s all aided by strong choreography from Mark Smith, which includes the super touch of using sign language. The show’s inclusivity is smart: making sure anything the able-bodied Amies does is followed by Larkin in his wheelchair is a powerful point and a dramatic highlight of the whole show.

For all the professionalism in the production, and a very hard-working cast, problems with The Little Big Things are too large to be ignored. The humour can most generously be described as plucky. Only Amy Trigg, as Fraser’s physiotherapist, really manages to land jokes. A lot of dialogue, which may well be authentic, comes across as obvious or even touching on manipulative when played out on stage.

Worse is still to come. The music, by Nick Butcher, is unimaginative. There’s an appreciation that different characters get different sounds. But none of the numbers interests and too many sound like bad boy band songs. The singing is good, but it is painfully obvious when strong voices (especially Gracie McGonigal and Malinda Parris) bulk out poor tunes. The lyrics, co-written by Tom Ling and Butcher, are horrid. One number is even based on get well cards. Far too many are inspiration quotes, the kind you find on social media. If you want to put them in a frame, that’s your choice, but please leave them out of songs.

Until 25 November 2023

www.sohoplace.org

Photos by Pamela Raith