Tag Archives: Regent’s Park Open Air Theatre

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“Brigadoon” at Regent’s Park Open Air Theatre

“Brigadoon” at Regent’s Park Open Air Theatre

Lerner and Loewe’s show is the kind that people who don’t care for musicals dislike. From the Golden Age of the genre, even with adaptation by playwright Rona Munro, it feels old-fashioned. There are people bursting into song and dance, of course, and all in a mystical village that only appears every century. And there’s little plot to the tear-jerking romance. But director Drew McOnie leans into the hopeless romanticism with abandon. This rare revival is a quality one.

Even if you can let the twee setting – that Munro tries to make interesting – go, the characters are a struggle. It’s hard to claim anyone in the story has depth. But the cast sound good (if a little too keen to bring out accents) and give it their all. The humour is so dated it is dire. The role of Meg shows the problem, despite a spirited performance from Nic Myers, with her flirtation coming across as unhinged.

You’d have a hard heart, though, not to be swayed by the pairs of lovers on offer. Louis Gaunt portrays GI Tommy with suitable machismo. Opposite him, Georgina Onuorah makes Flora (a role she will alternate with Danielle Fiamanya during the run) falling in love at first sight convincing. The chemistry is great. As the younger couple, Charlie and Jean, Gilli Jones and Jasmine Jules Andrews hold their own and it’s all very sweet. Both are exciting performers, the former making a tremendous professional debut.

Cavan Clarke at GI Jeff in Brigadoon
Cavan Clarke

To be fair to Lerner’s book, and Munro’s updating, there’s a lot of love lost in the show, including a tragic ending. It’s a shame this disappointment doesn’t make it more moving. Still, there’s a stronger than most role for Cavan Clarke, as the more cynical GI Jeff. And the lovelorn Harry means that Danny Nattrass can shine. Both could be viewed as villains – it is creditable that this doesn’t happen.

The songs are lovely, if also old-fashioned. The lyrics take a back seat. Musical director Laura Bangay ensures a big sound (well done on the bagpipes and drums). As Nattrass illustrates, the strongest part of the production is the choreography. Given the show’s original date, the amount of dancing isn’t a surprise and, of course, this is McOnie’s forte. 

Chrissie Brooke in Brigadoon at Regent's Park Open Air Theatre
Chrissie Brooke

On a surprisingly constrained stage (Basia Bińkowska’s set has ramps, used to great effect) wonders are worked. And lyrical gestures look stylish, aided by Sami Fendall’s costumes. But scenes of violence are even more impressive. Harry breaking up a wedding, the chase scene and a Ghillie Callum (I looked that one up) are all superb. And time is taken over subsequent grief – praise for Chrissy Brooke here.

There are breathtaking moments, although probably not enough to make any converts, but Brigadoon is certainly worth a visit.

Until 20 September 2025

www.openairtheatre.com

Photos by Mark Senior

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“Shucked” at Regent’s Park Open Air Theatre

Well, this one is fun! Brandy Clark and Shane McAnally’s new musical, fresh from Broadway, is full of laughs and chipper songs. The story of an isolated community having trouble with its crops juggles sentimentality and cynicism with gusto. Strong performances from a cast that seems to be loving every moment make it easy to enjoy. 

The inhabitants of Cob County, who all appear to be related, are great figures of fun. There are lots of country bumpkin jokes and colourful characters (Keith Ramsay is particularly strong). Every kind of gag gets a go – dad jokes, dirty jokes and some awful puns. They’re delivered thick and fast and almost always land. 

Keith Ramsay in Shucked at Regents Park Open Air Theatre
Keith Ramsay

While giving us plenty to laugh at, the characters have admirable qualities, focusing on loyalty and community, that the show extols. And it feels very contemporary that their suspicion of the outside world might be warranted. Our heroine, Maizy, may not be too bright but she has the courage to travel to the big city – Tampa, Florida – to seek help with the harvest and Sophie McShera makes her character’s mini journey of self-discovery appealing.

Of course, Maizy is conned. By a not very good conman posing as a chiropodist (a great role for Matthew Seadon-Young). And her adventure complicates her love life, too, as she’s left her beau, who is called Beau, behind. But don’t worry – it’ll all work out. And along the way there are strong numbers for Georgina Onuorah and Ben Joyce, who both sound fantastic. Robert Horn’s book for the show is admittedly slim, but it is romantic without being sickly sweet.

Monique Ashe-Parmler and Steven Webb in Shucked
Monique Ashe-Palmer and Steven Webb

The music itself is pastiche, but strong. The silly songs are great and there’s enough heart to make you fall in love with everyone (one of the strongest numbers is about female friendship). And there’s a nice twist with two ‘story tellers’, played by Monique Ashe-Palmer and Steven Webb with fantastic energy. They provide many of knowing glances that help the show and a reassure us that we’re all here for fun. Of course, it’s corny – that joke is set up from the start – but such enthusiasm is delicious. 

Until 14 June 2025

www.openairtheatre.com

Photos by Pamela Raith

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“Twelfth Night” at Regent’s Park Open Air Theatre

This sparky new production is bold and zippy. It marks the welcome return of Shakespeare to this gorgeous venue – apart from a brief Romeo and Juliet in 2021, productions have focused on younger audiences. Director Owen Horsley offers a big, luxurious show with lots of fun and music.

Everything happens in a bar, named, in neon, after our heroine Olivia. The characters are either customers or her entourage, musicians dressed in Ryan Dawson Laight’s clever sailor-inspired outfits. Fabian is renamed Fab Ian (which tickled me no end) while Sir Toby is a drag performer and takes to the mike, along with Olivia’s fool, Feste.

It’s all eye-catching, a drunken atmosphere isn’t a bad idea, and although sometimes the single setting proves cumbersome, it isn’t a bad innovation. But underneath, the production is a traditional affair. It is spoken wonderfully. The shipwrecked twins who arrive and cause havoc, played by Evelyn Miller and Andro Cowperthwaite, sound especially good.

Music should always play a big part of Twelfth Night. And music suits this venue well. The production goes all out and composer Sam Kenyon has been busy. The band adds atmosphere and pace, with Shakespeare set to song very nicely. It’s a shame the quality of the delivery isn’t consistently high, even if Jule Legrand’s Feste and Michael Matus’ Sir Toby have plenty of charisma.

Like all good productions, Horsley searches for insight, to show us something new. Here it is with Olivia and, thankfully, Anna Francolini, who takes the role, meets the challenge. Olivia is the star turn in her own bar, getting the best of Kenyon’s numbers, carrying her brother’s ashes around in an urn, overt in her attraction to Viola, and often bizarrely dressed, she is a larger-than-life character who threatens to unbalance the show. For instance, Raphael Bushay, as would-be suitor Orsino, doesn’t seem to stand a chance. And Olivia ends up alone… with the idea that Sebastian stays with Antonio. I did wonder if this Olivia might be a little too mad… but Horsley is on firm ground, after all the character questions her own sanity.

Twelfth-Night-inset-Anita-Reynolds
Anita Reynolds

It all makes for more laughs than romance. But Horsley doesn’t shy away from the melancholy of many characters or more vicious moments in the play. “Sad and merry madness” is the key. It should be no surprise that the balance between the two can be stark. So, while the tricks masterminded by a particularly strong Maria (Anita Reynolds) are nasty, Richard Cant proves a sympathetic Malvolio. It’s all a gorgeous night out, but, as it should be, a thought-provoking one too. Great, grown-up fun.

Until 8 June 2024

www.openairtheatre.com

Photos by Richard Lakos

2023

“La Cage Aux Folles” at Regent’s Park Open Air Theatre

After so many fantastic musicals during his time as director at the venue, Tim Sheader’s final revival at Regent’s Park Open Air Theatre deserves acclaim. The much-loved 1983 piece is produced with, well, lots of love. Clearly close to many hearts, the staging is carefully crafted, Sheader’s work impeccable and the audience reaction euphoric.

La Cage Aux Folles is undoubtedly effective – but it is simple. The book by Harvey Fierstein is a model of clarity. Yet the story of drag queen Albin and his partner Georges’ child getting married doesn’t take much time. And although each of Jerry Herman’s songs are hits (not just I Am What I Am), there really aren’t that many tunes.

So, the strength of the production comes with the performances at the eponymous cabaret. Stephen Mear’s choreography is fantastic, the performers acrobatic, and Ryan Dawson Laight’s costumes accomplished (with some lovely nods to the 1970s setting). It wouldn’t be surprising if members of this chorus – or ‘Cagelles’ – each had a show.

Carl-Mullaney-and-Billy-Carter-in-La-Cage-aux-Folles-credit-Johan-Persson
Carl Mullaney and Billy Carter

This is not to detract from the leads, from whom Sheader has secured strong comic performances. Billy Carter plays Georges and has the night club host patter down well. Carl Mullaney’s experience as a cabaret host also shows with his confident Albin. Whenever either has a microphone in hand (nice touch) there is fun. Mention should also be made of Ben Culleton, as their son Jean-Michel, who impresses with a fine voice and great dancing (with Sophie Pourret).

Behind-the-scenes action sometimes feels a little lost in the space. Seeing the Cagelles from the other side of the curtain is a nice idea (and it gives Hemi Yeroham a chance to shine as a stage manager), but you can’t help wondering if it’s all to help with costume changes. That said, the changes of outfits are worth it, and the stage needs to be big to accommodate dance scenes that release a real sense of euphoria.

Private moments suffer from a similar problem – it sometimes feels that the show might be better in a more intimate location. Georges and Albin’s romance convinces but seems small next to the big numbers. Maybe the change of scale is a sweet observation of its own? Along with their son, there is a palpable sense of care and closeness that is touching. La Cage Aux Folles has a simple message about family (hopefully one we’ve all now learned) and it makes it powerfully enough to get the audience up on its feet.

Until 23 September 2023

www.openairtheatre.com

Photos by Johan Persson

2023

“Once On This Island” at Regent’s Park Open Air Theatre

Summer theatre is off to a great, if chilly, start with this intriguing show for children. A 1990 piece with book and lyrics by Lynn Ahrens and music from Stephen Flaherty there are problems with Once On This Island. But the ambition is stirring, this production strong, and the lead performance superb.

The story is a fable set on a Caribbean Island with a peasant girl called Ti Moune falling in love and sacrificing herself for the much richer, and paler, Daniel. Once On This Island is very much her story, which is welcome. And it hopes to address serious issues as Colourism, stemming from Colonialism, is the prejudice that prevents romance.

Behind the edifying aims though, Ahrens work is frustrating. Admittedly, the accents in this production don’t help – it’s a struggle to work out what is being said. But the action, while simple, is confused: a group of tourists as a framing device is a distraction, a potted history of the Island comes too late, and Daniel’s life (and his actual fiancé) are thinly sketched.

In fact, all the characters are slim. Ti Moune’s adoptive parents have little to say or do (a shame given strong performances from Chris Jarman and Natasha Magigi). Even the Gods Ti Moune makes a wager with are pedestrian. Ti Moune herself is only appealing because of a star performance from Gabrielle Brooks. Worst of all is Daniel (despite another great performance from Stephenson Ardern-Sodje) whose only  big number surely offends all women including the one he is wooing! Daniel accepts his fate without question – which is original I suppose, maybe even realistic. But it is a mystery why Ti Moune is bothering with him.

The score is much better and very easy on the ear. It’s the music, rather than the lyrics, that provide all the emotion – romance, tension, and humour. And the music makes sure the show is entertaining. The cast responds with gusto.

Director Ola Ince has clear ideas making sure the action holds attention. Georgia Lowe’s design has surprises that belie its simplicity while Melissa Simon-Hartman costumes are a highlight. Brooks is the secret though – with a fantastically powerful voice that commands the whole auditorium her singing gives the show the sense of gravitas that it really wants.

Until 11 June 2023

www.openairtheatre.com

Photos by Marc Brenner

2022

“Antigone” at the Regent’s Park Open Air Theatre

Inua Ellams’s adaptation – after Sophocles – is a strong piece full of bold thinking. As a play about democracy, the work feels timely. And there is a passion to both the writing and the production that creates a formidable energy.

Antigone is re-imagined as a youth leader from a Muslim background. One of her brothers becomes a police officer and the other a terrorist. It’s the latter who is denied a burial by Prime Minister Creon, who passes oppressive anti-terrorist laws and gets rid of the bill of human rights.

The changes are though-provoking and benefit from fulsome characterisation: not just Zainab Hasan’s lead role, which she performs with aplomb, but all Antigone’s family, who are depicted with equal care. The result is great roles for her brothers Eteocles and Polyneices, played by Abe Jarman and Nadeem Islam respectively. And her sister Ismene, played by Shazia Nicholls, is far more than the usual foil. Creon, who has been looking after the family, is made a strong study in power and Tony Jayawardena’s performance in the role is superb.

Ellams’s appraisal is full of intelligence, leaving the efficacy of protest an uncomfortably open question. Our heroine is released from prison through public opinion rather than debate – it’s ratings that count for rulers. And Ellams has a strict eye on privilege; it’s made clear that Antigone and her family have power. The roles of Haemon and Eurydice come to the fore, making important parts for Oliver Johnstone and Pandora Colin who bring a great deal of emotion to the show.

Sections of the script in verse are the highlight: Ellams’s language brings force to the stage. But while the choreography from Carrie-Anne Ingrouille is good, the music by Michael ‘Mikey J’ Asante is overpowering. Sound is often tricky at Regent’s Park but isn’t the only problem in the production. Ellams’s plotting is great – this Antigone is exciting – but Max Webster’s direction feels rushed. A fast pace doesn’t always make a play more thrilling; the production comes across as nervous.

There are, also, tensions between the original and what Ellams’s has made from it. The contrasts are welcome but cause clucky moments. The remnants of Sophocles’s play, like the characters’ names or concerns for the city state, lead to stumbles. The show needs more change rather than less. Overall, this isn’t a big problem. And the solution seems easy – keep the structure of the source but do away with the ornament – but it does stop good ideas becoming great theatre.

Until 24 September 2022

www.openairtheatre.com

Photos by Helen Murray

2022

“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

2021

“Carousel” at Regent’s Park Open Air Theatre

The joy of theatre is that it changes all the time – it’s alive. And most can agree that Rodgers and Hammerstein’s classic musical, wonderful as it is, needs some changes. The show’s lead, wife-beating fairground attendant Billy Bigelow, is a tough sell for our times. And the too casual acceptance of his violence, including that from Mrs B, means that the romance leaves a nasty taste, despite the sublime score. Boldly attempting a new kind of Carousel, director Timothy Sheader can be applauded – the aim is admirable – even if the production doesn’t quite succeed.

Tom Scutt’s bare design is an indication that this Carousel isn’t going to be pretty or charming. Any nostalgia about the New England setting is replaced with British regional accents that manage to bring an air of working-class realism surprisingly well. And Drew McOnie’s excellent choreography shows us a world of work and violence. The only sheer delight is a wonderful Carrie Pipperidge, where Christina Modestou’s lilting Welsh voice made me wonder how she would deal with all manner of show tune standards.

Carly Bawden and Christina Modestou in Carousel at Regents Park
Carly Bawden and Christina Modestou

Women come to the fore in Sheader’s vision for the show. To be fair to Rodgers and Hammerstein, that isn’t hard. Carly Bawden’s Julie – the lead with bad taste in men – intrigues; she has an otherworldly quality to go with her out-of-this-world voice. Joanna Riding’s matriarchal Nettie is convincing, while the carousel owner Mrs Mullin is made a forceful presence by Jo Eaton-Kent. The ensemble provides memorable moments, confronting the audience and Billy about his crimes.

Carly Bawden and Declan Bennett
Carly Bawden and Declan Bennett

As for our kind of hero, Declan Bennett’s Billy has none of the usual charisma… fair enough. Billie is a weak, feckless character (too easily swayed by Sam Mackay’s somewhat pantomime villain, Jigger) and Bennett does this well. But Billy being boring makes the love story at the heart of the show unbelievable. We know Julie is a fool to fall for him, but if the audience doesn’t fall as well – just a little – the show becomes robbed of emotion.

A chilly Carousel then, but that isn’t the biggest problem here. While Sheader’s vision can be respected – it’s clever and clear – changes to the score are less successful, and updating the music is a riskier affair. Again, the approach is bold: a classic American score has hints of Americana (with surprisingly modern touches), but seemingly at random. The additions will keep you guessing – they entertain – but hampered by excessive amplification the sound is sometimes cheap and tinny. Overpowering the singers more than once, the music is almost unpleasant. And that can’t be the kind of new ride Sheader intended.

Until 25 September 2021

www.openairtheatre.com

Photos by Johan Persson

2021

“Romeo and Juliet” at Regent’s Park Open Air Theatre

It’s great to be back in the theatre, especially at my favourite outdoor venue. Last year’s revival of Jesus Christ Superstar was a blessed break between lockdowns I’m still grateful for. But even loving the location, and welcoming the opening of a new season, this production isn’t going to set anybody’s summer on fire.

At just over an hour and half, director Kimberley Sykes’ version of Shakespeare’s tragic love story is speedy and serves as an effective introduction to the play. Being used to interpretations (with different times and locations), you might find this no-nonsense version, with no tricks or twists, a relief. But there’s also a sense of something remiss in such a stripped back show.

Take Naomi Dawson’s scaffolded design. This is a set that has its moment… no spoilers here. But is it worth the wait? For most of the show the cast seem lost, running around and providing the audience with little sense of a space inhabited (Juliet’s balcony is deliberately ill-defined). Giving small attention to Prince Escalus adds to a sense of characters out of any time or place.

One conceit Sykes does introduce is to have characters who die leave the stage and join the audience. But these ghostly presences in the stalls add little. And a break in the logic ends up frustrating – Juliet undergoes the same experience, raising from the dead, after taking her sleeping draft. But of course, she isn’t dead.

Regrettably, this is a production it is hard not to damn with faint praise. The performances are competent and the delivery clear. Isabel Adomakoh Young and Joel MacCormack take the title roles and acquit themselves well. There might be more romance, but leads are good in scenes with Peter Hamilton Dyer’s Friar Lawrence. There’s also an impressive Mercutio to enjoy in Cavan Clarke’s controlled performance.

There just isn’t anything remarkable here, so the overall impression is of a perfunctory production. But let’s end on a high note, with Giles Thomas’ music for the show. Combining dance with a suggestion of Vaughan Williams, the score adds romance and tension managing to be noticeable while never overpowering the action. Thomas’ work is excellent and provides the show with a much-needed highlight.

Until 24 July 2021

www.openairtheatre.com

Photo by Jane Hobson

2020

“Jesus Christ Superstar” at Regent’s Park Open Air Theatre

It wasn’t the pandemic that scuppered my first effort to see this revival of Timothy Sheader’s award-winning production, but the British weather. A word about that trip, though, since the atmosphere was wonderful, even if torrential rain brought an early end to the evening. It just wouldn’t be summer without a trip to Regent’s Park Open Air Theatre and the weather was a comforting touch of normality.

More importantly, front-of-house staff get the first cheer here: kitted out in PPE, but always smizing, they were welcoming and excited, even while wearing a visor and taking a temperature. Getting back to the theatre is the important thing. And, even with the show’s billing as a concert, the chance to hear Andrew Lloyd Webber’s masterpiece is welcome – for Tim Rice’s excellent lyrics as much as the score. But that ‘concert’ description is modest. True, there’s no set for the show. And performers are careful to socially distance. But the idea of a fresh look at the Gospel story is present and powerful. And the manner in which current constraints have been used by Sheader, his cast and his choreographer Drew McOnie is brilliant. The production is far from a reduced experience.

From the moment when performers simultaneously take off face masks (to a cheer), the show is gripping. The use of microphones and cables as props, albeit an invention born from social distancing necessity, is effective. And McOnie’s work really comes into focus. Isolated movements, reflecting the emotions of whoever is singing, don’t just feel appropriate to our times – with the space around each performer, intensity is increased. There feels like more to look at and more appreciate than ever.

Jesus Christ Superstar focuses on characters’ immediate, personal relations to the story (including speculation as to Christ’s frame of mind with the marvellous number Gethsemane). This makes the acting in the roles – and Sheader’s direction of them – key. Declan Bennett’s Jesus is mercurial and complex, full of humanity, with a unique charisma. As all know, the show belongs to Judas, and a surprisingly sweet-sounding Ricardo Afonso explores circumstance and motivation in dynamic fashion. Current reviews already testify to the achievements of the cast. Their performances are a further aspect of the show that even the most simple of staging enhances rather than detracts from.

Until 27 September 2020

www.openairtheatre.com