State Fair - Traflagar Studio 2

It has been something of a year for long overdue UK premiers of work by classic American authors. The National has had a huge hit with Tennessee Williams’ Spring Storm and now we get a rare premiere of a Rodgers and Hammerstein musical.


Their version of State Fair was written for the big screen and it wasn’t until 1995 that the material (with added numbers from the R&H back catalogue) reached the stage in the USA. Now transferring from the Finborough theatre to the only slightly less compact Trafalgar Studio 2, State Fair finally receives its UK stage premiere.

This is by no means one of Rodgers and Hammerstein’s strongest scores, but in the intimate space for the Trafalgar Studio 2 it turns out to be a revelation. On a grey and damp August day it manages to lift the spirits and thoroughly entertains. True, with a couple of notable exceptions, you are unlikely to leave humming a clutch of tunes, but connoisseurs can hear echo’s of their more popular hits in the varied score.

In post war Iowa love, pigs and pickles combine as the Frake family descend on the annual State Fair. Like many of their scores, dig beneath the superficial sugar and there is a much more bitter tale being told though.

In an ingenious production, the postage stamp sized stage is given over to a full-on musical experience, with those in the front row in real danger from flying tap shoes in the exuberant chorus numbers. Clever use of minimal props and onstage piano accompaniment from Musical Director Magnus Gilljam complete the illusion of a much larger production. It is also a pleasure to hear a rare, acoustic and unamplified musical.

It is perhaps the cast, under Thom Southerland’s swift direction, that lift the show however. The 14 strong cast bring these slightly absurd characters to vivid life and are obviously enjoying this fun score. Highlights in a strong company include Laura Main’s love torn Margy, Jodie Jacobs as the outwardly vampish singer Emily Arden and Philip Rham as Patriarch and pig lover Abel Frake.

No the score isn’t on a par with their better known hits but this long neglected piece shows that alongside blockbuster musicals, the Rodgers and Hammerstein estate can now add a charming, fun and thoroughly entertaining chamber musical to the cannon. Where else can you hear Rodgers and Hammerstein’s only Oscar winning song alongside a love song to a pig?

Extended by two weeks, State Fair is continuing a welcome return to form of the Trafalgar 2, one of London’s most exciting venues.

King Lear - The Courtyard Theatre Stratford Upon Avon

The Bard has been a bit like buses lately, a glut of Hamlets (Tennant, Law, Simms and Kinnear) followed by a rush of King Lears. Sir Ian Mckellen gave us his Lear a couple of years ago, Sir Derek Jacobi is about to play the role at the Donmar and currently at the RSC Greg Hicks gives us his Lear.


Although un-knighted, Hicks more than holds his own against his other Lear contemporaries and proves to be the lynch pin of this gripping production. Haunted by the strains of the throne, his Lear seems to age visibly in front of the audiences eyes.

David Farr’s production seems to resonate with renewed relevance as a reflection on old age, mental health and the care of our elderly. Set in an indeterminate period, with a mix of period and modern costumes this is a Kingdom literally falling apart. Walls tumble, lights fail and familial bonds themselves collapse.

Visually stunning with Jon Basur's sparse set atmospherically lit by Jon Clark, this Lear creates a series of impressive tableaux.

Although the stage effects impress it is the power of the performance that make this Lear work. Hick’s central performance is one of understated intensity, showing the inner torments facing the discarded monarch. There are also equally impressive performances from his three daughters, Kelly Hunter and Katy Stephen’s calculating Goneril and Regan and Samantha Young’s misunderstood Cordelier. There are also compelling performances from Charles Aitken (Edgar) and Kathryn Hunter’s tiny nimble fool nearly steels the show.

Farr’s direction focuses on the text yet also manages to make one of Shakespeare’s most heavy wonderfully accessible. Comic moments are perfectly balanced with moments of sheer despair.

This timeless production does what the RSC does best. It takes a classic and makes it timely, relevant and accessible without loosing the heart of the original.

Into The Woods - Open Air Theatre Regents Park

If you go down to the woods today you’re in for a big surprise. A flirtatious Red Riding Hood, an alcoholic Rapunzel, street cred Cinderella and other assorted fairytale characters are roaming the woods but this isn’t a Disney saccharine coated tale. As his 80th Birthday celebrations continue, the Open Air Theatre brings Stephen Sondheim’s Into The Woods, his dark re-setting of the Brothers Grimm fairytales, into its spiritual home amongst the trees.


One of the first things that hits you is what a perfect marriage of show and location it is. As dusk turns into dark the Regents Park venue magically transorms into the perfect backdrop for the musical; night descending mirroring the descent into darkness on stage.

Many see Into The Woods as one of Sondheim’s ‘problem’ shows; its length and multi-layered plot often being cited as difficult. It’s also often claimed that the second Act is superfluous and unnecessary. In fact schools often stage Act One as a stand alone show in itself to save children from the darker implications of Act Two

Into The Woods is indeed a show of two half’s separated by a slight but significant shift. Act One see’s a plethora of fairytale characters take to the woods in search of love, wealth, belonging or even a child and for most their hopes and dreams are achieved by the interval.

But at what cost are these dreams achieved? Is ‘happy ever after’ actually achievable, or even desirable? It’s the much darker and more satisfying second act that resolves these difficult questions and lifts this show into the classic category.

Timothy Sheader’s wonderfully observed production starts with a clever but effective twist, we are seeing these well known characters through the eyes of a runaway child hiding in the woods. Soutra Gilmour has created a multi level playground among the trees to allow the characters to roam and it’s a magical effect that the cast take full advantage of.

Sondheim has filled Into The Woods with some of his most enchanting music and lyrics and the top notch cast take full advantage of the material. Much like the gluttonous Red Riding Hood gorging on sweets in the bakers there is much to pick from here; Michael Xavier and Simon Thomas’ foppish Princes, Alice Fearn’s wailing Rapunzel, Beverly Rudds voluptuous blood thirsty Red Riding Hood and Ben Scott’s day dreaming Jack all impressive. Hannah Waddingham and Jenna Russell continue to impress as the West End's two most exciting leading ladies, both managing to bring a tear to the eye in the rain splashed auditorium. Even Dame Judy Dench can’t resist the lure of Sondheim with a (pre recorded) appearance as the rampaging giant.

As the London celebration of Sondheim’s 80th year continues it will be hard pushed to find a more enchanting setting for one of his most enchanting works. Even a rainy night can’t dampen the shine of this wonderfully dark but also uplifting evening.

Footloose - Spa Pavilion Felixstowe

The theatre summer school model is always going to be a challenge, rehearsing and staging a full blown musical in just two weeks. Now in its eighth year, the Spa Pavilion Felixstowe’s Summer Youth Project  is one of the region's most established projects. This year turning its attention to the stage adaptation of the 1980s classic Kevin Bacon film Footloose.


In a town where dancing has been banned, out of town newcomer Ren dances up a storm as he tries to come to terms with the hidden secrets that have torn the town apart. No the plot isn’t exactly deep but the movie does work in a stage incantation.

Featuring a string of 80s classic songs this is a strange hybrid of jute box musical and dance show and at times it is an uneasy marriage.

Now the ambition has to be admired and the participants throw themselves into the production with vigour but  this Footloose never quite hits the mark. Given the dance based nature of the show it is in the smaller scenes, rather than the full-on dance routines, that the show is strongest.

In these smaller scenes there are some nice performances; George Jennings as the town’s moral guardian Reverend Shaw and Joanna Brown as his wife Vi both giving powerful performances. Vicky Jam as their daughter Aria also turns in a strong vocal performances while Wade Ablitt provides a suitably comic turn as Willard Hewitt.

Some of the other performances need a bit more confidence to reach the rear of the Spa auditorium and some of the comedy is lost in the exuberance.

Director Rebecca Darcy has obviously had a lot to cram into the two week rehearsal period and perhaps with a longer period could have delved deeper into characterisation. Richard Healey’s musical direction drives the songs along with pace but again perhaps needs a bigger sound to fill the Spa. Some issues with sound and lighting also marred the first night.

For Footloose to really work we need to see a community divided and understand the clash of age and cultures, it’s the age old tale of young versus old, city versus country and something we never quite feel in this production. While this project should be congratulated for giving young people a chance to perform on stage and we can admire what they have achieved in two weeks more attention is needed in the detail. Past projects such as We Will Rock You show what can be achieved but Footloose never quite reaches this standard.

Earthquakes in London - National Theatre

A three hour plus play spanning the 1960s to the 2520s is never going to be easy work, and while Earthquakes in London is not perfect it gets pretty darn close. It ia brave, epic and full of theatrical invention. Mike Bartlett has crafted a grand saga that sweeps across the years but also manages to be intimate when required. Headlong Theatre's co-production with the National Theatre proves to be a highlight of the theatrical year.


At the heart is the tale of three sisters, however this is no Chekhovian diatribe.

Political rising star Sarah (Lia Williams) is battling her conscience as well as her domestic life, sister Freya (Anna Madeley) is coping with the traumas of pregnancy while youngest sister Jasmine (Jessica Raine) is in full teenage rebellion. Through in some decissions about the role of business and goverment, family loyalty and the ever present threat of global warming and you have a modern day epic.

Lives interweave as dark family secrets are revealed and the ever growing threat of climatic disaster looms. Scenes criss-cross London and while the promised earthquake turns out to be more of a wobble the seismic tremors are certainly felt.

These multiple, overlapping threads may confuse some, and, on first reflection it can seem a bit of a mess, but Rupert Goold’s inherently theatrical direction manages to steer the audience through this meandering tale.

There is so much happening within the thrilling conversion of the Cottesloe space that it is sometime difficult to know where to look. Although throwing just about every theatrical event trick in the book at the show, the staging works to draw in the viewer into this complex world.

Perhaps at times Bartlett plies the green message with to heavy a hand and the lengthy script would benefit from a few judicial cuts but this is one of the most thrilling advances in theatre for many a year.

Critics behaving badly

A few years ago I received my first 'hate mail' following a newspaper review where I suggested that a play may have needed more rehearsal times. A fellow audience member disagreed strongly with my verdict, as they are entitled to, and was quite vocal in telling me what she thought of me.


Now that things have moved from print to electronic media, the interaction has also advanced. Reviews still illicit strong responses but in this digital age it is easier to fire off an email in the heat of the moment, rather than cold reflection of putting pen to paper.

Now we may disagree but (personal attacks aside) I will defend people’s right of reply and celebrate the wonders of a difference of opinion. After all, the world would be a dull place if we all liked the same.

This week things have taken a slightly surreal turn however. A fellow critic has taken offence that I have disagreed with his views on a recent show we both attended.

Now I defend his right to his personal views and his review was well written and his view as equally valid as the next persons. The show in question has had divergent views as is often the case. What has been surreal in this case is the unexpected arrival in my inbox this morning of an email full of personal attacks. We’ve never met, are not in competition, actually rarely review the same productions but apparently he has been incensed enough that we disagreed to put fingers to keyboard and pen an abusive missive.

Now I'm not going to give them the oxygen of publicity by naming them, but would suggest that it is perhaps time they reviewed their own views on critical freedom of opinion.

Rant over

Kiss Me Kate - Theatre Royal Bury St Edmunds

Cole Porter’s classic Kiss Me Kate is a bit like a vintage wine, despite its age it still feels as fresh and hilarious today. It may have been written in 1948 but is still ranks as one of Porter’s finest works.


It is also deceptively complex, despite the superficial light and frothy appearance. The lyrics are full of Porter’s trademark wit and rhyme, requiring performers that can deliver convincing musical comedy, a task that many, even experienced performers, fall down on. Thankfully the youthful talent in Suffolk Young People's Theatre cope admirably and give a first class performance. It is even more a remarkable achievement when you realise that the company are assembled each year and produce the show in just three weeks.

The plot may be familiar and the story often told but this is a production full of credible performances that belies their young age.

In a strong company there are some names to watch out for in the future. Matt Turner and Charlotte Palmer work well together as the sparring  Fred and Lilli. Palmer’s raging I Hate Men and Turner’s witty Where Is The Life I Late Have Led being particularly strong.

Naomi Morgan as the flirtatious Lois and her long suffering gambler boyfriend Bill (Sam Hunt) also work well, as does Aidan Napier’s loose limbed General Howell.

There are some moments that would benefit from director Nigel Turner injecting a bit more pace and the slow scene transitions loose audience attention. James Recknell’s conducting at times struggles with the rhythm of Porters score, especially noticeable in the large choral numbers of Another Op'nin', Another Show and Too Darn Hot which lost momentum and much needed atmosphere.

At the end of the day however it is Suffolk’s emerging young talent we should be focusing on and judging by these bravura performances, the local and national theatre scene has a bright and talented future.

Sondheim at 80 Prom - Royal Albert Hall

So the London love affair with Stephen Sondheim continues, with a gloriously ravishing prom dedicated to the Maestro. Tickets were snapped up within a couple of hours of going on sale and queues for day prom tickets began in the early hours of the morning so there was a huge sense of anticipation in the hall before the concert even began.


With such a prodigious catalogue of work to choose from, there were always going to be some favourites left out. In fact you could fill an entire prom season with Sondheim’s work, let alone a two hour concert.

Following Broadway’s tribute to Sondheim this was very much London’s turn, with many of the country’s finest Sondheim interpreters roll called on stage, though conducted and conceived by Broadways’ David Charles Abell.

Abell’s programme goes for the heart strings, showcasing material from a range of shows that demonstrates the variety of the composer and lyricist’s world. It’s a potent mix of the moving and comedic as we hurtle through 50 years worth of material.

From the belting Broadway Baby and Being Alive, the gloriously dark Ballard of Sweeney Todd, the comedic Frogs and Everybody Ought to Have a Maid and the moving Children will Listen, there is something for everyone in this programme.

There are though some defining moments. Dame Judy Dench and her definitive rendition of Send In The Clowns received the first (of many) major ovation of the evening while Sunday In The Park with George perhaps claimed a spot as Sondheim’s most moving score with Move On and Sunday bringing a tear to even the most hardened eye. Also claiming a right to be resurrected from critical disdain was Merrily We Roll Along. Its anthemic Our Time showing there is much in this score to cherish.

Despite the first class performances of cast and orchestra, in the end there is only one true star of the evening, the composer himself. Looking visibly moved by the outpouring of affection from the audience, Sondheim can be in no doubt that London’s love affair with his work is stronger than ever. For sheer emotion and atmosphere this is an event hard to beat.