Tag Archives: John Caird

“Spirited Away” at the London Coliseum

Based on the phenomenally successful Oscar-winning Studio Ghibli film, London audiences now have the chance to see this stage adaptation, direct from Japan. The show has the air of an event and Fans are sure to love it.

The production looks and sounds fantastic. Jon Bausor’s constantly moving set design is superb, likewise the lighting from Jiro Katsushiba. The costumes by Sachiko Nakahara could be on display in a museum. With every aspect of design, details thrill.

There’s a big orchestra for Joe Hisaishi’s score – a soundtrack I’m sure many would listen to at home. And a lot of dance: the choreography by Shigehiro Ide (also credited with staging) is both ambitious and otherworldly. Most notable is a brilliant performance from Hikaru Yamano as ‘No-Face’. What the cast achieve, given how many of them are covered and wearing masks, is impressive.

Spirited Away is vast and technically ambitious. The puppetry (Toby Olié) runs through nearly every scene and is strong.  The result is that every movement is planned (including some witty plays with the music) and John Caird’s direction has to have the utmost precision. The use of projections is, thankfully, limited; the show works as a live event – but that level of control does mean little sense of spontaneity.

Caird is also the show’s adapter and has, again, done well. This is a simple story of a young girl called Chihiro who finds herself trapped in a magical world. Events are fast paced. There is some urgency about the fate of her parents, transformed into pigs by a witch called Yubaba. But this journey is one of discovery rather than a quest: Chihiro follows instructions rather than working things out. She is a passive heroine. Ironically, the role is high energy, barely off stage and running around all the time (four performers are listed – Kanna Hashimoto, Mone Kamishiraishi, Rina Kawaei and Momoko Fukuchi – giving an idea of how demanding the role is).

While the story is entertaining, with little sense of peril, it is hard to see much drama. Likewise, the romance fails to convince and is underexplored – Chihiro’s potential boyfriend being a magical figure who can turn into a dragon doesn’t help. These may be memorable characters but they lack psychological insight. And the humour is limited. 

If the style has shortcomings, they all reflect Studio Ghibli’s popular and acclaimed work. The show has wider appeal than another hit from the same source, My Neighbour Totoro. But there’s still a sense Spirited Away is primarily for kids. Clearly it crosses over – box office figures tell you that. But it is the world created, rather than what goes on it that interests.

Until 24 August 2024

www.londoncoliseum.org

Photo by Johan Persson

“Les Misérables” at the Sondheim Theatre

‘If it ain’t broke don’t fix it’ is not the maxim of Cameron Mackintosh. Despite enormous success, the RSC’s production of Alain Boublil and Claude-Michel Schönberg’s musical has been restaged. Previously a touring version, the ‘new’ show comes from former cast members and now directors Laurence Connor and James Powell. It’s obvious how well they know the piece. And don’t worry – Les Mis is as wonderful as ever.

If a little upstaged by the fantastic concert version of the show, which filled in after lockdown, Connor and Powell have clear ideas. I won’t be drawn into saying if the result is better or worse, but there’s no reasons Trevor Nunn’s previous version should be considered definitive. If the new version seems more static, maybe more traditional, it’s still a crowd pleaser.

The moral struggle between convict turned religious convert Jean Valjean and police inspector Javert, a very literal embodiment of law and order, is focused to the point of perfection. There are social issues, romance and, of course, revolution. The marvel of Nunn and John Caird’s adaptation is not just that all of this is easily followed by an audience, but that it enthrals.

Jon-Robyns-as-Jean-Valjean-Photograph-Johan-Persson
Jon Robyns as Jean-Valjean

There is a rawness to some of the vocals that might raise eyebrows. Squeezing out all possible drama – and the show is melodramatic anyway – is prioritised by Connor and Powell. Bradley Jaden’s Javert is a charismatic figure, fraught with angst. If the role is overshadowed by Valjean, that’s down to Jon Robyns’ star presence. Both male leads give terrific performances.

The comedy is particularly strong, mostly due to the always excellent Josefina Gabrielle and Gerard Carey as the dastardly Thénardier couple. And there’s a superb Enjolras (leader of the 1832 revolt the show documents): Jordan Shaw brings a beauty to the singing of this role that I hadn’t appreciated before.

Connor and Powell have clearly inspired their cast. And credit where it is due, plenty has been learned from Nunn: the staging isn’t fussy, several scenes are powerful because of their simplicity. There is justified confidence in On My Own(and a great performance from Sha Dessi). It’s a shame Empty Chairs at Empty Tables has less impact; I just can’t imagine how that could have been improved.

Talking about the revolution

The redesign comes from Matt Kinley, also long associated with the show. The big news is that the famous revolving stage is gone! The world hasn’t stopped turning as a result, but I did miss it: there’s a little too much marching on a spot. The action, you might say energy, is literally more frontal – with characters facing the audience almost obsessively.

It’s clear where money has been spent. Javert’s final scene does look better. And the projections of Parisian sewers are more technically advanced. Yet backdrops (inspired by Victor Hugo’s paintings) impress mostly because of their size. It’s all part of the production being a little, well, flatter. That isn’t always a bad thing: the show also seems speedier.

Nunn was no stranger to a tableau, but the new production feels frozen at times – almost too eager to focus on key moments that are literally in the spotlight. Lighting designer Paule Constable has done lovely work that’s dramatic and directs attention. But occasionally there is a halting feeling to the show. It’s as if everyone is posing for a photo.

These are observations rather than criticism. You are sure to enjoy Les Misérables as much as ever – the music and the performances are marvellous. Debating if the production is tighter and more direct or maybe a little less exciting is now part of the fun. If I’m not sure anything really needed fixing, this new Les Mis is far from broken

www.lesmis.com

Photos by Michael Le Poer Trench and Johan Persson

“Les Misérables” at the Queen’s Theatre

For a lot of Londoners, Les Mis is as much a landmark as a musical. Something that’s just there: a show seen long ago and now for tourists. The statistics about its success are on the dot matrix outside the Queen’s Theatre – and they are impressive. But the real phenomenon is how, despite knowing the story and songs, having seen the film and bought the t-shirt, Les Mis moves as much as ever.

Speculation about the show’s success has existed since it surprised critics and started selling tickets. Never forget how crazy adapting Victor Hugo’s epic of post-revolutionary French history must have seemed. First up, the tale itself: a good old-fashioned yarn that’s sentimental and exciting. As for the telling – by Alain Boublil and Jean-Marc Natel – it doesn’t stop, with an impressive pace that belies the show’s three-hour duration.

Claude-Michel Schönberg’s music is big and best described as filmic. Though the many hits are worth waiting for, the score has a satisfying coherence. With leitmotifs that emphasise themes as well as characters, it builds emotion so effectively it borders on exploitative; pretty much the whole of the second act guarantees goose bumps. OK, I confess, I was teary before the interval.

Carrie Hope Fletcher as Eponine and Rob Houchen as Marius. Photo by Michael Le Poer Trench

The music demands massive voices and the current cast are superb. From the start the strength of the male chorus is hugely impressive. Both leads, Valjean and Javert, with their personal stories embodying a divide between law and justice, are given powerhouse performances from Peter Lockyer and David Thaxton. Looking to the younger characters, whose story culminates on the barricades of the June Rebellion in Paris, both Rob Houchen and Carrie Hope Fletcher are tremendous as Marius and Eponine. More tears I am afraid.

John Napier’s design is surprisingly simple; mostly a matter of smoke with David Hersey’s excellent lighting (and the revolving stage so brilliantly parodied in Forbidden Broadway). Directors Trevor Nunn and John Caird handle the crowd of a cast with exemplary skill, directing audience emotions as much as anything; the best example being ‘Empty Chairs At Empty Tables’ – Marius’ lament – which sees his martyred friends breathtakingly emerging into view.

Like any work of theatre, Les Mis can’t be frozen – a live crew makes it work. The cynical might see its success down to reputation – it’s a safe bet and visitors tick the ‘done that’ box. But believe me, nobody working the performance I saw was resting on any laurels. But the real key to the success is both simpler and more profound: Les Misérables moves you. It’s still one of the best theatre experiences around.

www.lesmis.com/uk

Main photos by Johan Persson

“Daddy Long Legs” at the St James Theatre

A new musical version of Jean Webster’s novel is the second production at London’s newest venue, the stylish St James Theatre. Adapted and directed by John Caird, with music and lyrics by Paul Gordon, it’s the story of the Pygmalion transformation of orphan Jerusha Abbott by an anonymous sponsor she nick names Daddy Long Legs. Through letters she’s instructed to write, but to which he never replies, they fall in love. Predictable of course, but this show is so charming you won’t mind leaving your cynicism at the door and simply enjoying yourself.

Set aside any quibbles of this Gigi style adoption and romance between the older ‘daddy’ and his vulnerable dependent. Jerusha is such an appealing heroine, it’s not so much ‘thank heaven for little girls’ – but thank heavens for millionaires. She deserves her chances (and a nine-point plan for an arts education that Mr Gove should take note of). It’s easy to see why Jervis, the lonely beneficial bachelor, falls for her. Perhaps Jervis’ angst at the “little deceit” he perpetrates doesn’t quite convince and the resolution is a tad pat, but by the end you don’t just expect that – you want it. It would be a travesty if things didn’t end happily and it isn’t much of a plot spoiler to put your mind at ease.

Megan McGinnis gives a tremendous performance that ensures you fall in love with her character. Beneath the saccharine is a sharp mind that comments on snobbery and sexism with an ironic sensibility and a superb knack for building the show’s gentle humour. Jervis is less appealing, but Rob Hancock does well to show his character’s vulnerability. This is a tightly acted two-hander with accomplished singing of a sweet score with some delightful lyrics. Bringing the show, and roles they originated with them from America, McGinnis and Hancock are a well-practised team and it shows.

Daddy Long-Legs is unusually, refreshingly, innocent with two bibliophiles courting in old-fashioned style. As Jerusha discovers her emotions, and Jervis becomes some kind of Upper East Side Orlando pasting her letters to his study walls, you can’t help but wish them well. Daddy Long Legs should really be too corny to work but it’s a mark of its greatness that even the most jaded will be won over.

Until 8 December 2012

www.stjamestheatre.co.uk

Photo by Jeanne Tanner

Written 8 November 2012 for The London Magazine