Tag Archives: Howard Hudson

Uncategorised

“A Chorus Line” at Sadler’s Wells

Taking the audience behind the scenes of show business is an established trope. And, of course, musical theatre nearly always combines song and dance. Both facts reach a new level in this 1975 masterpiece, in which nearly all the action is supposed to be an audition, while singing and choreography are balanced with studious care. This superb revival from Curve, directed by Nikolai Foster, appreciates how the show is rooted in tradition yet is distinctive enough to be called revolutionary.

The scenario could not be simpler. We see 17 performers being interviewed, hear stories about their lives and see them dance. But James Kirkwood Jr and Nicholas Dante’s book does a lot with the idea. There’s humour and tragedy, a mix of bliss and depression, while tension mounts towards that finale number. Foster’s decision to stage the show without an interval isn’t easy on the audience but it breathtakingly highlights every up and down.

A-Chorus-Line

Even the varying detail given to the roles proves interesting. While famous tunes like ‘I Can Do That’ or ‘Sing!’ make excellent showcases for Redmand Rance, then Katie Lee and Joshua Lay, we get to know all the characters. Many numbers are shared, like ‘At the Ballet’ (Lydia Bannister, Kate Parr and Amy Thornton) and have dancing as an integral part. It’s impossible to give enough credit to everyone. Meanwhile the show-within-the show’s director and his former protégée, who wants a job, are held back. These could be the ‘stars’, and the performances from Adam Cooper and Carly Mercedes Dyer are terrific. But, in a show of discipline, they are never allowed to become the focus. The clue is in the title – this show really is about everyone!

As you might expect after nearly 50 years, there are dated moments. The director’s god-like status becomes uncomfortable. An originally comic number about plastic surgery (performed brilliantly by Chloe Saunders) doesn’t get a lot of laughs. But Paul’s long monologue (notably not a song) about his sexuality is still powerful and delivered wonderfully by Manuel Pacific. Concerns about prejudice are, regrettably, still valid. A Chorus Line is revealed as oddly prescient.

The production does the show proud. Marvin Hamlisch and Edward Kleban’s songs are fantastic and, under the musical direction of Matthew Spalding, they sound grand. Remember how important the dancing is (Sadler’s Wells seems a suitable London venue)? The choreography from Ellen Kane is appropriately ambitious. Each character reveals themselves in the way they move, even while the final goal is to become part of a group.

The dancing covers the wild swings in mood the different stories create. And it reflects the variety of what we hear – from rock numbers and strong brass through to the more traditional sound of the number being rehearsed. And, if it isn’t too fanciful, Howard Hudson’s spot-on lighting design feels inspired by dance – with an exciting amount of movement from the conspicuously visible rig. When it comes to that finale, and its tremendous synchronisation, the show is theatre heaven. If fan kicks and jazz hands are what you want, A Chorus Line delivers. It even adds fireworks as a final treat.

Until 25 August 2024

www.sadlerswells.com

Photos by Marc Brenner

Uncategorised

“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

Uncategorised

“101 Dalmatians” at the Regent’s Park Open Air Theatre

While adults like lots of shows that are aimed at kids, giving children’s theatre a broad appeal isn’t a necessary condition for praise. This new musical from Douglas Hodge, based on Dodie Smith’s book, deserves plenty of stars but is aimed so firmly at youngsters it doesn’t offer much to anyone over 12.

Even the average teenager could get restless with the frantic energy in Timothy Sheader’s production. With Toby Olié’s strong puppetry and Colin Richmond’s shouty set, the feeling of a cartoon or Saturday morning TV show fills the stage. If you’re as old as I am, you might end up with a headache.

Which is not to say that the show shouldn’t earn your respect.

There are clever lyrics and jaunty, if not particularly memorable, songs. A stronger second half includes good numbers for children in the cast. It just isn’t a soundtrack you would want to listen to at home. Johnny McKnight’s book (from a stage adaptation by Zinnie Harris) is a touch too crammed and could move quicker – but it is fun.

There’s a great villain too, of course, in Cruella De Vil. Updating the furrier’s best friend into a social media influencer is a great idea. Willing to risk “eternal Dalmatian” in hell to get a coat of puppies is a pun that was the highlight of the night for me. Kate Fleetwood takes the role (and a pair of very high-heeled boots) in her stride and gives a performance to be proud of.

In short, there’s little to fault in the production. Cruella’s accomplices make a pair of nicely old-fashioned crooks for George Bukhari and Jonny Weldon. And there are appealing performances from the dog’s “pets”, i.e., their owners, played by Eric Stroud and Karen Fishwick. Singing for the dogs and being literally a part of the puppet means that Danny Collins and Emma Lucia get even more points. The performances are bright and bouncy; even addressing the audience is done with an eye on their age.

There is a reservation it seems fair to raise – the venue itself. The Open Air Theatre has a tradition of work for children but this gorgeous location doesn’t seem particularly well used. Howard Hudson’s lighting design further on in the show gives an idea of what we are missing. And it is late at this time of the year. With a 7:45 start time for a relatively long show, most of the target audience are well past their bedtime by the time they get home.

Until 28 August 2022

www.openairtheatre.com

Uncategorized

“The Glorious Ones” at the Landor Theatre

Leave a comment

The Landor Theatre in Clapham has the coup of presenting the European première of the off-Broadway musical The Glorious Ones. Set in 17th-century Italy, in the world of Commedia dell’Arte, it celebrates theatrical collaborations. Such affirmation seems appropriate: written and composed by award-winning team Ahrens and Flaherty, of Ragtime fame, the show reunites Landor dream team director Robert McWhir and designers Martin Thomas and Howard Hudson.

The conceit underlying The Glorious Ones is the satisfying fantasy that the actors are as interesting offstage as they are on it. In a stirring opening number we are told that their “lives are like a play within a play”. Flaminio Scala is the man in charge – a pied piper of performers, gathering an ensemble together as much for their personality as their ability. A famous pioneer in the history of Commedia dell’Arte, Scala’s passion is improvisation, and this is the key to his comedy.

Naturally improvisation in a musical is tricky but the cast is admirably fresh and McWhir has succeeded in creating a sense of camaraderie appropriate to a travelling company, aided by the Landor’s intimacy and Martin Thomas’ cleverly designed set. Mike Christie gives a sterling performance as Scala, joined by Peter Straker as Pantalone in fine comic form, and there are excellent turns from Jodie Beth Meyer and Kate Brennan.

The miniature performances of Commedia dell’Arte performed by the group are never quite as thrilling as the musical moments. And a challenge to change the art form from one of improvisation to scripted works – embodied in the conflict between Scala and his protégés – struggles to ignite the imagination. But there are more than enough songs and strong performances to allow The Glorious Ones to live up to its title – praise for the show should be plentiful in every sense.

Until 7 April 2012

www.landortheatre.co.uk

Photo by Mitzide Margary

Written 13 March 2012 for The London Magazine