Tag Archives: King’s Cross Theatre

Uncategorized

“In The Heights” at King’s Cross Theatre

A visit to Lin-Manuel Miranda’s first show is essential preparation for his Hamilton next year. Another success story, it has had a 15-month run, after a premiere at the Southwark Playhouse, sharing a King’s Cross venue with The Railway Children. Strong enough to leave an impression wherever it finds a home, the traverse staging here, expertly handled by director Luke Sheppard and serving Drew McOnie’s energetic choreography superbly, seems especially suited for such an engaging piece.

There’s a lot of love surrounding In The Heights, not least from its dedicated young fans. Firstly, there’s love of community – namely, the area of New York that provides a setting. Two matriarchs, the elderly Abuela and the satisfyingly camp beauty salon owner Daniela, create a sense of heritage with impressive efficiency (as well as providing great roles for Norma Atallah and Aimie Atkinson). Home is the key, with nods to the problems of gentrification, and Quiara Alegría Hudes’ book works well here.

Then there’s love within the family. Most obviously with the Rosarios, who struggle with their daughter’s decision to drop out of college and start dating one of their employees. The production is lucky to have David Bedella beefing out the role of the father – he is always superb – while Juliet Gough matches him in a solo number that makes you feel she is underused. It’s a shame they couldn’t also fit in a sense of their own love affair – it seems too much time was spent on that American dream.

Which brings us to romance. Not one but two struggling couples create sweet moments. There’s Nina Rosario’s star-crossed affair with Benny (both Gabriela Garcia and Arun Blair-Mangat sing their parts deliciously). And Usnavi, with his fumbling approaches to Vanessa, another strong female character that Sarah Naudi makes the most of. Usnavi is a star role for Sam Mackay, who makes light work of his task as narrator and utilises his character’s diffidence well. Alongside great chemistry with well-meaning cousin Sonny, a sterling performance from Damian Buhagiar, it all goes to make a hero out of this everyday guy, which drives the show marvellously.

There are some stumbles from the book when it comes to rounding off stories and a sentimentality that’s hardly sophisticated. But the staging, including a brilliant scene during a power blackout, dancing and energy are all terrific. Miranda’s music is an innovative blend of rap with the Spanish heritage of Manhattan Heights, which revels in its multiculturalism. It’s complex but never alienating. Likewise, the spirit of the piece is a simple one. With a strong knowledge of musical theatre, for all its originality, this is a good old-fashioned show full of big emotions.

Until 8 January 2017

www.intheheightslondon.com

Photos by Johan Persson

Uncategorized

“Lazarus” at the King’s Cross Theatre

The starting point for David Bowie’s hit musical is Walter Tevis’s book, which was turned into a film by Nicolas Roeg, The Man Who Fell To Earth, which Bowie starred in. And heaven help you if didn’t know that. Lazarus is a sequel, brought up to date, to our own confusing times, following an alien stranded amongst us. Newton the extra terrestrial, stricken by gin-soaked delusions, is homesick and lovelorn. Much, or most, of the action happens within his broken psyche – and remember, this is an alien mind – with characters and events set free from time and described by him as “a dream, a delusion, a chemical belch inside my head”. In his desire to travel home, Newton’s travails are trippy, to say the least.

Given the title, along with Bowie’s untimely passing, it’s obvious that death is the theme here. Impressively, there’s nothing morbid or sentimental about it. Instead, it’s a remarkably objective questioning of mortality, in connection with cognition, that results in an intellectually engaging piece. The guess is that Bowie’s spiritual beliefs are behind a lot of it. Working with playwright Enda Walsh gives the book clout and aids the piece’s strongest feature – originality. If you feared a jukebox musical, rest assured, Lazarus is worlds away from that. There’s original music to enjoy and the Bowie back catalogue used is incorporated with wonderful ingenuity. It’s a shame that overall, (space) oddity is revelled in a little too much.

Michael C Hall takes the lead with a studied performance that’s impressively agile, utterly committed and shows a voice that uncannily approaches Bowie’s own. But the role of Newton overwhelms other characters. Only Michael Esper comes close, injecting passion and some much needed humour into the devilish role of a psychotic called Valentine. Quite what the character is there for is one of many opaque points. Strange it all is. Relentlessly. Ivo van Hove directs, relying heavily on a central screen and video projections (courtesy of Tal Yarden) that are the key to Jan Versweyveld’s cool design, along with the choreography of Annie-B Parson. It has to be stressed that the filmic extras are among the best you could see on stage. And the movement is brilliant. Van Hove creates startling images. But, combined with the uncharismatic temporary venue that houses the show, it’s all too reminiscent of a music video and strangely one note-monotonous in its intensity, despite all that novelty.

Until 22 January 2016

www.lazarusmusical.com

Photo by Jan Versweyveld

Uncategorized

“The Railway Children” at the King’s Cross Theatre

Boasting a purpose-built theatre and a real-life steam train, York Theatre Royal’s adaptation of E Nesbit’s children’s classic is an extravagant family treat. Even the waiting area is a delight – a retro theme-park-style refreshments room that serves as a place for youngsters to let off steam. There’s no bad behaviour inside, though. I can report that this clever adaptation is a hit with the kids.

The work of Mike Kenny, the show isn’t just a question of nostalgia – and a big tick for that. The story of three youngsters, whose father mysteriously goes away after a visit from some policemen, forced into poverty and a move to the country, is told with clarity. Damian Cruden’s direction uses the railway platforms and moving stages on the tracks to great effect: the cast is constantly on the move.

There’s a lot of waving.

It must be dispiriting for any performer to be upstaged by a steam train, but it has to be admitted that the locomotive is impressive. Nonetheless, Serena Manteghi, Jack Hardwick and Louise Calf play the children skilfully. They engage their audience conscientiously and have stronger roles than the adults in the piece.

To be fair, the humour is very much aimed at children. There’s little effort to create a wider appeal – unusual nowadays – but it’s a consistently applied decision that pays dividends. A room full of attentive under-tens is not to be underestimated and a calculated price worth paying for leaving adults a little restless at times.

www.railwaychildrenlondon.com

Until 8 January 2017