Shows & Reviews

Shows that I've seen that in my humble opinion are worth coercing people into seeing because they've made an indelible impression on me and are theatrical-life-changing-magic (pauses to take deep breath), shows I'm excited about seeing, and hopefully shows that YOU'RE (yes, it's capslock worthy!) excited about, that YOU'VE seen and think are theatrical-life-changing-magic, or just REALLY good. It doesn't have to be magic. I guess. 

 

 

Merrily We Roll Along 

Photo credit: www.merrilywestend.com

So, I've been raving about this show for sometime now - slipping in sneaky mentions on the blog wherever I can and any chance I can get, and an interview with talented Matthew Barrow*; so frankly, a shout out/review/go-see-this-show-demand, is very overdue. There are a few things about this show you need to know - it is, most simply, theatrical perfection. It moves you to the core.

There have been an abundance of superbly written reviews and beautifully phrased tweets about Merrily We Roll Along – I can’t offer that but I do have manic enthusiasm** as my drawing card. Whenever I think about this show I get extremely EXCITED, yes, this show is so utterly superb that it warrants capslock EXCITEMENT. Since I moved to London three years ago, I have seen a theatrical production – whether play or musical – nearly every week, and Merrily We Roll Along is hands down the winner on my 'Favourite production' list.*** The transfer of the show has received more five star reviews than any musical in West End history - you can imagine what a colossal achievement that is.

Forgive me in advance, I already have a tendency to ramble and when I’m excited about something, regrettably it gets worse. But I’ll do my best!

So, what is it about Merrily We Roll Along that warrants its record breaking 5 star reviews?

Well, there are quite a few things.

I think what may often  be the case, is that when an audience is watching a musical, they may sometimes find it difficult to suspend their disbelief, and are very aware that they are watching a show, onstage, no matter how polished the show, or talented the cast and crew. And therefore, it’s a challenge to connect with the show and characters personally. Merrily tells, in reverse, the story of Franklin Shepard, a talented Broadway composer turned commercial sell out and his two friends Mary and Charley. The action on stage, the highs and lows of the characters of Merrily resonate with the audience, we (I feel it’s safe to use the collective term!) connect with them and they take us on their journey. It’s very real. By the end we’re emotionally invested.  If this sounds familiar, or you haven’t really given the old song and dance shows a chance for above reasons, Merrily is the musical to break down your walls of musical cynicism.

Also, it must be said from the outset – Sondheim is a genius. This is widely known and accepted as law, but just in case, I thought I’d reiterate!

The Merrily cast. Photo credit: www.merrilywestend.com

Now, before I go any further I have to tell you that I have not been able to see the transfer. Some of you may be thinking – well why are you writing a review of it?! Fair call.  Just before it transferred to the Harold Pinter I moved to Sydney from London, and here I will be until January; so when I return, it sadly will have finished its run. I did, however see it twice (Press Night, thanks to my Musical Theatre Dad Gary, who took me along and is now partly to blame for my love of Merrily and again towards the end of the run) at the Menier Chocolate Factory and I was utterly mesmerised.  As someone who would like to pursue a professional career in Musical Theatre, this production encapsulates everything I love about MT and why I will work towards it. Also, the aforementioned manic enthusiasm, it thrilled me so much at the Chocolate Factory that I was over the moon when I heard it was transferring, and wished anyone with any inkling for musicals to see it. So much did I gush about it that several of my dearest friends from all different parts of my life in London, who have absolutely no inkling of this kind, felt that they should see it on my behalf when I moved.**** This lovely gesture from them, which says more about my wonderful friends than my powers of persuasion, was rewarded by the Merrily company, and I’m pleased – and actually, rather smug – to say that each of them hugely enjoyed their experience and one friend said they were sat in awe. Yes, awe. 

Maria Friedman makes her directorial debut and it’s a pretty bloody brilliant first venture. What a gift she has given us. Along with many others, I am sure, I look forward to her next projects with great anticipation.

Jenna Russell, Damian Humbley & Mark Umbers. Photo: ://london.broadway.com

The cast is magnificent, there is not a weak link, with the ensemble cast playing several roles each, and giving each of their roles detail and playing a vital part in making the production the mighty one that it is. I particularly enjoyed Amy Ellen Richardson’s talk show host – she was hilarious. It is the leads that make a huge impression that stays with you after the curtains have fallen. Mark Umbers, Jenna Russell, Damian Humbley (Doing Aussies proud!) all give their characters great depth and the acting is exceptional. 

(Where I saw it, at Menier Chocolate Factory, the intimate venue allows  no room for error upon the stage.)

Jenna Russell, well, she’s pretty darn incredible isn’t she. Her Mary Flynn is no exception - lovable and downright hilarious, with some fantastic one liners. Very early into the show my friend prodded me and whispered ‘I’m in love with her.’ Rightly deserved Jenna Russell. Mark Umbers is a wondrous Frank. He has us repulsed, yet intrigued by him in the first scenes, as he sleazes and smarms around the stage. A few things peep through that hint he was once more than this man onstage, and I couldn’t hate him entirely as Frank handles quite gently, Mary, who is hell bent on destroying him in a blazing drunken triumph. As we go along, we are privy to his moments of insecurity, inner struggles, earnest optimism, and then we adore him and mourn his future, particularly after numbers such as ‘Opening Doors’ and ‘Old Friends.’ By the end, you’re on Team Frank. And as an audience member you may ask – forgive me, but it’s too good an opportunity – ‘How Did We Get to be Here?’ Well, through some superb acting and storytelling. Damian Humbley is a wonderful  and perfect Charley Kringas. He’s warm yet wry, and more than a bit fed up with Frank. He blows the audience out of the water with ‘Franklin Shephard, Inc.’ That song is no small feat. The chemistry between the three friends is evident and a pleasure to see. 

Photo credit: Tristram Kenton

   That Josephina Gabrielle, she is fabulous. She is deliciously wicked and wonderful as Gussie and we feel and warm to Glyn Kerslake’s affable Joe. Clare Fosters plays a gentle and joyful Beth beautifully, and her rendition of ‘Not A Day Goes By’ is raw and heart breaking, and unlike any version I’ve heard. Definitely one of the most memorable numbers for me - and yes, I most definitely cried. Your heart breaks during both versions of ‘Not A Day Goes By’ - for Mary, her long suffering love for Frank in contrast to the ecstatic young lovers oblivious to her pain just a few feet away, and what is to come. By the end, you want to gather up the cast and give them a big hug.

Other highlights are ‘Opening Doors’ and ‘Bobby and Jackie and Jack’.  Sondheim’s intricate melodies, complex polyphony and beauty are present in all their glory – which brings me to the band. They are brilliant. At the Chocolate Factory the band were visible on the left hand side of the stage and they deserved every bit of spotlight, they were electric and I’m sure have continued to be so at the Harold Pinter. The sheer amounts of energy employed by all in the show which is sustained throughout, deserves a hats off!

You can’t help but come out of the show on a high, uplifted and inspired to go out and pursue what it is what you want to do in life, whatever your heart’s mission is. And to think, when it was first put on Broadway Merrily only lasted 16 performances, I think it’s safe to say Maria Friedman and the entire company/crew et al have done Sondheim proud and given the deserved glory to his wonderful score and lyrics.

Director Maria Friedman. Photo: Merrily West End Facebook Page

I’m shortly going to run out of positive adjectives and sentences to describe how wonderful and soul warming this production is. Another reviewer – a legit one, for a proper publication! – stated that if her review could encourage just a few more people to go see Merrily, then her work was worth, and I earnestly echo her sentiments. Theatre like this doesn’t come around often - I mean no disrespect, there is wonderful theatre happening all the time - but a production like this, not often at all. When they do come around, it’s our job and privilege to go and see them. And it’s us really, who are rewarded for it. I urge you to go see it before it closes on July 27^th.

Clare Foster & Mark Umbers. Photo credit: Merrily W.E. Facebook

Thank you for letting me ramble on about this – and well done if you made it to the end! If you don’t believe me – see the incredible amounts of praise heaped on the production by the press and sophisticated, famous people with taste and, writing skills here.

To book tickets visit the Merrily website and follow on Twitter.

*To read Matthew's interview.

**I may have alarmed cast members on Twitter with overzealous praise. You might be laughing, I’m mortified.

***Followed closely by the Finborough Theatre’s production of Drawer Boy. Another great off-West End theatre – I have never seen anything any less than superb there.
   
****(This is the last footnote, I promise.) I have also raved about it so much here in Sydney that my dear friend and Speech & Drama teacher is getting into London a day earlier to see the show. That's dedication. And that's me making sure I don't get in trouble for not mentioning said dedicated act on the blog!
                                                                                       
       

 

A Clockwork Orange (Sydney: April 23rd - 5th May)

 

It feels an age since I've been to the theatre, it's not, it's been two weeks, but I'm having withdrawal symptoms. So it's safe to say I'm quite excited about my first Sydney theatre outing. But I'm even more excited because I've been anticipating seeing Action to the Word's A Clockwork Orange for some time. It had a sell-out run in London, rave reviews - and I missed it. Thank you international tour.

Anthony Burgess made quite a literary commotion with his dystopian novella, and since it's publication in 1962, it's still standing strong as one of the most significant pieces of literature in pop-culture. 'A Clockwork Orange' tells the story teenager Alex and his gang - the 'droogs' and their tumultuous journey and exploits. Alex is violent, hard, sinister, intelligent and charismatic all jumbled together. It's disturbing, provocative, shocking, violent and triumphant (I could go on with the adjectives, but I'll give it a rest).  It will be intriguing to see its theatrical transformation.

And reception to Alexandra Spencer-Jones' all male production has been positive to say the least. As well as the aforementioned sell-out run in London, the Guardian hailed it as the novella's most successful stage transposition, the UK Stage 'swaggering and punchy' and What's On Stage 'A show everyone should experience.' And the reception over here hasn't been too shabby with the Australian Stage stating that this 'vibrant adaptation of a classic text is a must-see.' 

All in all, it looks to be confronting, exciting, physical and promises some excellent dance/fight choreography. Looking forward to a theatre experience that will shake up the audience - positively. 

A Clockwork Orange is playing at the Seymour Centre, April 23 - May 5. For tickets and performance dates in Perth, Canberra and Brisbane, visit http://www.clockworkorange.com.au 

For an interview with James Meryk, cast member of Action to the Word's A Clockwork Orange, head over to Interviews.

And you will find a more eloquent preface of A Clockwork Orange  - and video! - from The Age here.