Tag Archives: Theatre Royal Drury Lane

“The Tempest” at the Theatre Royal Drury Lane

Director Jamie Lloyd delivers every time. The big draw for his new production of Shakespeare’s late play is the West End debut of Sigourney Weaver as Prospero and, since she never leaves the stage, we get a lot of her. You came for a star? You get a star…

Weaver’s is not the clearest delivery I’ve heard, but it is good. She is a focused presence, often stationary, drawing in energy as her character’s magic controls what’s going on. We never doubt this Prospero’s power – which diminishes tension a little – but Weaver is truly magnetic.

No doubt it’s a thrill to see such famous faces on stage (Lloyd’s career proves as much). But the production has more to offer. There’s a reason actors of Weaver’s status want to work with him: the production is bold, controlled, and has big ideas.

Let’s take the bombastic first; Soutra Gilmour’s set is stunning. Shakespeare hasn’t been staged at the Theatre Royal Drury Lane in a long time and the space, so perfect for big musicals, is huge. Maybe with a nod to Weaver’s movies (although it is described as “barren”) the isle’s setting looks like a moonscape. Gilmour works marvels with huge curtains of gauze. For added drama there’s Jon Clark’s ambitious lighting design including some tricky total blackouts.

The island is, famously, “full of noises”. Sound designers Ben and Max Ringham must have been rubbing their hands at the job. Their work is loud. Too often the amplification is to the detriment of the poetry, but the effects are good and help with the plot. The Ringham’s are also co-composers to a score from Michael ‘Mikey J’ Asante, available to buy soon I’d bet.

For all the epic feel, the production is emphatically not cinematic. Lloyd knows theatre shouldn’t compete with film – it has something else to offer (that’s his point when he uses live recordings). There are good old fashioned theatrical techniques here, including a lot of aerial work for… Ariel!

To further balance the grand touches, this is also a cerebral version of The Tempest. Weaver reflects the thought process behind the grief, revenge, and forgiveness that is going on. And Lloyd points out that much of this is happening in people’s heads. It is the mental anguish Prospero’s illusions creates that are continually emphasised (notably, the joyous wedding masque is downplayed). There’s a focus on choreography, with characters coming forward into a spotlight or circling one another in their confusion. It all looks great. And, often it makes the play easy to follow. But there is a sense that characters are puppets for Prospero… or maybe for Lloyd.

Much of the cast suffer from the stylised staging. The play’s villains merge into one, despite the efforts of Tim Steed and Oliver Ryan. Young lovers (Mara Huf and James Phoon) fade into the background. Like romance, there’s little room for humour so Jason Barnett’s Stephano and Mathew Horne’s Trinculo (always difficult roles) are also lost. Jude Akuwudike and Selina Cadell, as Alonso and Gonzalo, fare better and make their roles unusually interesting.

Mason Alexander Parks in The Tempest
Mason Alexander Park

It’s the characters that are other-worldly that excel. An unrecognizable Forbes Masson takes the part of Caliban; the physicality of his performance is commendable. Mason Alexander Park’s Ariel is particularly impressive, benefitting from the music in the show and its special effects. Affection for Prospero is balanced well with the desire for freedom, giving the character a melancholy touch. And there’s an element of theatricality to this Ariel that is fascinating; they seem to enjoy tricks played and fear induced. Park is the only challenge to Weaver’s dominance and does so well that they may be the real star of the show.

Until 1 February 2025

www.thejamielloydcompany.com

Photos by Marc Brenner

“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) 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 is 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

“42nd Street” at the Theatre Royal Drury Lane

Bringing one of the most famous movie musicals to the stage, Mark Bramble and Michael Stewart’s adaptation of the 1933 backstage-on-Broadway tale relies on scale to secure success. Taking Harry Warren and Al Dubin’s fantastic collection of songs, they add more hits to the original list. Accompanying the great tunes, Randy Skinner’s Busby Berkeley-style choreography uses an enormous ensemble and every bit of the theatre’s huge stage. Spectacular is the key word.

As one of the many hit songs proclaims, “Who cares if there’s a plot or not?” Following chorus girl Peggy Sawyer’s rise to stardom, after breaking the ankle of her leading lady, doesn’t take much time. Instead 42nd Street is a collection of set pieces. Delivered big, with giant mirrors and staircases included in Douglas W Schmidt’s design. And what costumes – bravo to Roger Kirk. Who knew it was possible to be overwhelmed by sequins? To quote another song – “We’re in the money” – the producers haven’t skimped here.

Bramble is in charge and stamps his mark on the piece, like his potential onstage alter ego – another director – Julian Marsh. Tom Lister takes this role and shouts in capitals throughout, no doubt as instructed, detoxing the character’s old-fashioned pomposity and sexism. Camp is a clever way to deal with how the show has dated. But it isn’t the only possibility: so while An American in Paris give us old-age panache, here we have pastiche. Lots of humour and the over-the-top staging make everything ridiculous – deliberately so – and enormous fun.

Clare Halse
Clare Halse

Yet all the parody kills the characters. The star playing the star (she of the broken ankle) is Sheena Easton, who can belt out a number but fails to transfer personality into her role. Stuart Neal, as the shows tenor, makes all his smiling look like hard work; he is technically brilliant but the character leaves no mark. Thankfully, Clare Halse can’t be faulted as new star Peggy. She has ingénue down to a T and her tap dancing is superb. And Jasna Ivir, playing a matriarchal producer, is the epitome of value for money. Which is exactly what this show is – a West End ticket that’s worth every penny, delivering jaw-dropping, extravagant entertainment.

Booking until 10 February 2018

www.42ndstreetmusical.co.uk

Photo by Brinkhoff & Moegenbur