Tag Archives: Rob Ashford

“Frozen” at the Theatre Royal Drury Lane

Everybody knows what they are getting when Disney puts a show on stage. And that’s not just the story – in this case a fairy tale about a magical queen and her sister – and the songs, but what every scene will be. I’m not sure it’s the best introduction to theatre, but Disney does bring its films to the stage very well.

In the case of Frozen, the book, by the film’s writer Jennifer Lee, is sweet and has some surprises. This fairy tale focuses on two female leads and there’s some complexity in their characters. They make nice roles for Samantha Barks and Stephanie McKeon. And the romantic interest isn’t what you might expect – or maybe it is, Prince Charming has had a bad rep for a quite a while, after all. Regardless, there are strong supporting roles for Obioma Ugoala and Oliver Ormson (the latter very much a cartoon villain) that carry a moral well… if not lightly.

The songs, with music and lyrics by Kristen Anderson-Lopez and Robert Lopez, are simple but are effective: pleasant rather than memorable (though many younger fans are likely to disagree with this) but with a good mix of power ballads (which Barks does very well with) and waltzes. The latter are a nice touch. We want some old-fashioned costumes, after all, and Christopher Oram’s work here is lovely. The humour is better than might be expected, the snowman Olaf (Craig Gallivan, with puppet design from Michael Curry) has a good number.

Make no mistake that Frozen is a kids’ show to its core. So, for me, it’s the staging and the special effects, designed by Jeremy Chernick, that are the first highlight. Oram’s scenic design is impressive and Finn Ross’ video work adds immeasurably. The kids really do want to see the film on stage. There’s a superb reveal and, after that, the appearance of Elsa’s pig tail gets its own squeal of delight.

Cast-of-Disneys-Frozen-photo-by-Johan-Persson
Rob Ashford’s engaging and inventive choreography

A quick pace is adopted by director Michael Grandage that hides potential dull moments. Rob Ashford’s engaging and inventive choreography is the second high point. Using the ensemble to create atmosphere or even suggest scenery – an especially strong moment – makes a nice contrast to high-tech touches. Frozen looks expensive and it sure to leave (younger) members of the audience breathless. For me, its genuinely theatrical touches are even more exciting.

www.frozenthemusical.co.uk

Photos by Johan Persson

“The Entertainer” at the Garrick Theatre

Once more stepping into the shoes of Laurence Olivier, Kenneth Branagh is Archie Rice in this final production of his tenure at the Garrick Theatre. Branagh is more than up to the role of Rice – a brilliant fictional creation who somewhat overwhelms John Osborne’s end-of-empire themes – and gives a sterling star turn that provides value for money.

Archie is a “tatty old musical hall actor” on the wrong side of the law. He says he’s never done anything “really dishonest” but, apart from having good taste in beer, he is fairly unsavoury. Branagh doesn’t shy away from the tawdry life of a travelling player plying a dying trade, or the awful way this ageing philanderer treats his wife and neglects his children. Yet he still manages to bring out Rice’s charisma and admirable self-knowledge.

Greta Scacchi
Greta Scacchi

Joining Branagh in the limelight is Greta Scacchi as the long-suffering wife. This is a revelatory role for the actress. Leaving glamour aside, she utterly convinces as the dowdy, down-at-heel shop assistant with a drink problem in a superb performance that combines humour and depth. Then comes Archie’s father, Billy, a more successful performer in his day – a role into which Gawn Grainger injects possibly too much humour. Overall, Rob Ashford’s direction of this family drama is masterfully done.

Tightly focused scenes of tension aren’t Ashford’s only trick. Christopher Oram’s grand set (praise, too, for lighting designer Neil Austin) is all about the theatre. The drawing-room action happens as if in the green room: an effective device to show how Archie is always performing. It’s a brave move by Osborne to insert Archie’s comedy routine into family arguments (these jokes were bad even in 1957) and underscores the unfulfilled existence of ‘the entertainer’ both on and off stage.

Sophie McShera and Kenneth Branagh
Sophie McShera and Kenneth Branagh

Maybe it’s his elders being so apolitical that annoyed Osborne. Archie’s sons provide the contrast, with a tragic tale and a strong performance from Jonah Hauer-King as the next generation, who enjoy a better education but face just as precarious a future. It’s really an angry young woman, Archie’s daughter, played by Sophie McShera, who is supposed to be the key. If her anger at the Suez Crisis hasn’t stood the test of time, it reminds us that we all have political responsibilities. There may not be quite the firebrand spirit nowadays to make this play incendiary, but this fine production is still well worth seeing.

Until 12 November 2016

www.branaghtheatre.com

Photos by Johan Persson