Rufus Norris throws everything at the production. The result is garish, adolescent and intolerably dull. Too much show and too little style and substance. As Everyman, Chiwetel Ejiofor strives manfully to break through the tedious bonds of Norris’ psychedelic/hallucinogenic vision. He succeeds occasionally, and there is no doubting his conviction and passion.
No Milk for the Foxes is a solid piece of theatre preaching to the leftie middle class choir but ultimately that choir needs more a little more than “Aren’t we all a bit screwed? Let’s talk about how screwed we all are” for its political work to be truly worthwhile.
In the case of Betty Buckley as Carlotta, the casting was inspired. Her powerful and joyful rendition of I’m Still Here stopped the show. But it was Anita Dobson’s self-deprecating turn as Stella which finally galvanised the entire company into glorious cohesion: her attack in Who’s That Woman was splendid (a gutsy belt matched her […]
Wicked is tremendous shape and the current cast gives it full value. If you have never seen it or if you have seen it, now is the time to go again – you too could be changed for the better.
What makes the musical stand-out is it unashamed gaiety, and I use that word in its modern sense. This is, as Nicholas De Jongh said when the piece premiered, “the first truly gay musical to be written and composed by Englishmen” to reach the West End. It is also essentially youthful, and quite uncompromising in […]
But in the end the tension between the daily count of the passage of time and the avoidance of narrative direction is too much to sustain and in the final sections we return to a more predictable expositional technique with a measure of relief. Moreover, the performances of the actors notably relax once the abstract, […]
There is an acute fascination in watching the richly intense banquet give way, bit by bit, to the advances of the common folk, to see the lavish table become stripped bare, and then transform into a place for measured debate instead of entitled excess. The wonderful lighting from Bruno Poet only accentuates the lush transition, […]
Ah, Wilderness! Young Vic 4 stars In his 1932 play Ah, Wilderness, Eugene O’Neill returns to familiar themes such as family life, alcoholism and thwarted idealism but it stands out among his work for having a lightness of touch and event moments of comedy. Set in Connecticut on July 4 in 1906, it is a […]