Category Archives: Theatre review

Thursday in the park with Babs.

NEW YORK STORIES

I stood in line to get tickets for a performance of “As You Like It” at the famed Shakespeare In The Park – Delacorte Theatre. It was an amazing evening of theatre and it almost made it to the trifecta but I didn’t like the amplified sound (I guess necessary for an outdoor production?). Sitting amongst the trees on a balmy night as the sun goes down watching Shakespeare’s words performed by a first rate cast (Lily Rabe was outstanding as Rosalind) was a highlight for me. After I scored the coveted free tickets I took a stroll through Central Park  and snapped some pics of park life. What a wonderful hive of activity, a magnificent park easily one of the best in the world.

Enjoy.

The queue for tickets

Supplies whilst I wait including Crack Pie

The coveted ticket

Outside the Delacorte theatre wherefore art thou?

Backstage

Basking in the sun

Off to work we go

The beautiful Bethesda fountain

The Broadway baseball league

Hitching a ride – tourist style

A game of chess daddy?

Time for a nap

Walking the dogs a plenty

row, row, row your boat

Paper in the park

am I on the set of Hair the movie?

On your hands girls

John Lee Beatty’s wonderfully setting for “As You Like It” where one didn’t know where the park ended and the set began.

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Winning the trifecta

NEW YORK STORIES – The Shows

There are 3 elements that need to be perfect for me to make a show shine above the rest, the play (content), the performances, and the production. It is very rare when all 3 hit the mark. Out of the 21 productions I saw in NYC only 5 made it to the winner’s circle. 3 plays and 2 musicals.

Here I will highlight the plays.

All three of them were from an off-Broadway stage, I’m not saying that the ones caught on Broadway weren’t any good, they certainly were, but they seemed to be held up by star performances with the play or production lacking.

3000 Miles by Amy Herzog.

This wonderful production has star performances by Mary Louise Wilson and Gabriel Ebert as a 91 yr old grandmother and 21 yr old grandson who seeks refuge at her apartment in the West Village of New York City after losing his best friend on a cross-country bicycle tour. Amy Herzog’s delicate and humorous play explores how these two unlikely outsiders cope with living  in today’s world.  One would think that the cross generational aspect of the play may bring up fireworks but Herzog doesn’t succumb to cliche instead drawing two fine and unorthodox characters and giving the actors involved roles to shine in. They are ably supported by the 2 women in the boy’s life, his ex-girlfriend (Zoe Winters) and a one night stand (Greta Lee). The  superb direction by Daniel Aukin never misses and his creative collaborators – costumes (Kay Voyce), lighting (Jaffy Weideman) and set design (Laura Helpern) are first class. Presented by the Lincoln Centre Theatre on the Mitzi E. Newhouse stage they certainly won the trifecta with this one, it has extended many times and won a joint Obie award for the leading actors as well as for best new American play – well deserved.

Gabriel Ebert & Mary Louise Wilson in their award winning roles

Lonely I’m Not by Paul Weitz

This play was recommended to me by a New Yorker. It was not on my radar but she assured me it was a very good play given a top notch production. The reviews were good and the theatre just around the corner from my apartment. I was given a discount code and at the last minute decided to venture along – 30 minutes and $30 later (a bargain) I was sitting in an excellent seat at the Second Stages theatre. To my delight in walked director Mike Nichols and his beautiful wife Diane Sawyer and they plonked themselves down 2 rows in front of me – distracting at first (did Mike laugh? what did he think of it?) but soon this excellent play grabbed my attention and I was delighted to see a top notch show.

Featuring the stage debut of TV & film actor Topher Grace (That 70’s Show) the play was written by Paul Weitz best known as a film screenwriter (Amercian Pie, About A Boy). A contemporary dysfunctional love story – a riff on the Hollywood rom com. The boy, Porter, was a Wall Street broker who suffered a meltdown and four years later is holed up in his LA apartment. Set up by a friend he goes on a blind date (literally) where he meets the girl, Heather who is blind and a workaholic determined not to let her disability get in the way. So they meet, they date, they fall in love, they fight…  The story might have an element of cliché but the finely drawn characters and excellent acting by the whole cast had me enthralled, laughing, crying and on the edge of my seat. Topher Grace (a real surprise) and Olivia Thirlby as his blind girlfriend create totally believable characters and the deft direction by Trip Cullman once again aided by fine collaborators of which particular mention should go to set designer Mark Wendland and projection designer Aaron Rhyne – the production used words, projections and holograms to great effect giving it a contemporary cinematic feel. I left the theatre happy that all 3 criteria had been met and also wondering whether Mike Nichol’s liked it as much as I did and would he direct the film version? here’s hoping 🙂

Olivia Thirlby & Topher Grace perform a rocky romance

A clever set uses words to help tell the story

Cock by Mike Bartlett

An acclaimed English import as far as play and production go but with an American cast. One could imagine that recasting could ruin the trifecta but it sure hasn’t. With a provocative title that is unable to be printed in some New York press it is also known as “The Cock Fighting play”!!

English playwright Mike Bartlett bounced onto the West End scene when this production originated at the famed Royal Court theatre. It is performed on a purpose built setting in which the audience sit on plywood benches with very thin cushions, the show is performed in the round and the meticulous direction by James McDonald choreographs the action as if you were indeed watching a cock fight play out. What are they fighting for? The love and affection of John (Cory Michael Smith) who decides one day that he does not want to live with his  boyfriend, known as M (Jason Butler Harner), anymore. He meets a co-worker known as W (Amanda Quaid) and they start up a heterosexual relationship which leads to all sorts of conflicts and confusion. M insists on dinner party showdown  in which his father F (Cotter Smith) is in attendance for support.A decision needs to be made and the tension till that final moment is breathtaking. Using no props or settings whatsoever the extremely talented cast perform their roles to perfection in a production of a very profound, funny and moving play. The audience are all in close proximity (check out the setting below) and although at times it can be startling you soon become engrossed in the drama unfolding in front of you. Theatre doesn’t get much better than this. “Cock” is playing an open ended run at the Duke Theatre on 42nd street, go see it if you are in town.

Fighting for love in the ring of life – The fine cast of Cock

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Stinker Superstar, shrill Eva.

NEW YORK STORIES – The Shows Pt 2

1. Jesus Christ Superstar at the Neil Simon Theatre.

2. Evita at the Marquis Theatre.

I have decided to pair these two productions together for two reasons. Both are from the Andrew Lloyd Webber/Tim Rice team. and both are lacklustre second rate productions of ok musicals, well at least I used to think that they were ok. Perhaps I was wrong?

Jesus Christ Superstar came from an acclaimed sell out Canadian production and all I can say is that up there in Stratford Ontario they must not get out much. Of course this is not entirely true as it originated at the renowned Stratford Shakespeare theatre festival. I saw it on my first day at a matinee, and  I refuse to blame the jet lag for my lack of enthusiasm. I was wide awake in disbelief at how poor it was. It reminded me of musical moments on “Glee”, I am a fan of Glee but it is suited to the small screen and not a Broadway stage. Cheap sets, cheesy staging and two lead performances that were completely miscast or misconceived. Chilina Kennedy who plays Mary Magdalene couldn’t hit the notes and most of the time sounded out of tune, her acting was as mechanical as the set. I saw the understudy in the role of Jesus (Nick Cartell), his role was performed so boringly passive it made me aggressive!!! The only saving grace was Tony nominated Josh Young in the role of Judas, he is a fine actor and belted out his numbers with real conviction (it’s a great theatre role), unfortunately his costumes were very oddly fitting and cheap, along with the rest of the cast – the thrift shop suit Jesus wears in the final scenes looked like reject duds from a 70’s blaxploitation film, oversized on a small white man. The score was supposedly so loud they announced you did not have to switch off your cell phones as nobody would hear it. Well it wasn’t that loud and I found the orchestrations very dull and uninspired. A cheap production transported to the great white way, ripping off the tourists who most probably deserved it since they gave it their obligatory standing ovation. I sat put in my seat defiant!!  This Superstar was a stinker. Being my first production on this trip I was taken aback and feared for the worst. This week the producers have announced that if sales don’t pick up they will close the show on July 1st marking the production as a big flop as it should be. Perhaps there is a god after all?

Josh Young shines as Judas

Evita is another second hand production that originated in London quite a few years back. Acclaimed director Michael Grandage is responsible for the first ever revival of the hit musical from the late 70’s about the life of the infamous wife of an Argentine dictator. Originally it had star performances from Patti Lupone and Mandy Patinkin in the roles of Eva Peron and Che Guevara. This time we have dull performances from Elena Roger (recreating her London success) and pop star Ricky Martin who hardly registers at all in his role. This production has abandoned the high theatrics of the original clever Hal Prince staging and opted for a more realistic approach that unfortunately lays bare the tedium of the by the numbers biography elements of the show. Eva is bored in small town, Eva meets high powered politician and beds him, Eva wants power, Eva gets sick, Eva dies. It’s a bit like watching a Hallmark TV movie. Scary that I have compared both shows to television! Now back to the leading actress Elena Roger, she’s a pint sized dynamo in the first few scenes and well suited to the choreography (Rob Ashford doing a great job) they fling her up in the air countless times perhaps because they can. But she lacks the vocal chops that the role demands sounding so shrill it hurt my ears. The gimmick is that she is from Argentina therefore authentic, well unfortunately I didn’t understand very much of what she was singing, thankfully I knew the score. A lady sitting next to me was new to the whole show and was very confused and unimpressed. A saving grace was the standout performance by Michael Cerveris as Eva’s hubby the dictator Juan Peron. He gave the role soul and compassion and has a superb singing voice, very grateful that I got to see this fine performer live on stage. As for the rest of it well lets just say that I’m not crying for Argentina, I’m crying for Broadway mediocrity.

Michael Cerveris in his Tony nominated role as Juan Peron in Evita.

It is interesting that both productions have a standout supporting performer and that both leading ladies have vocal problems. Mr Lloyd Webber and Mr Rice sure have cashed in this year with lazy revivals of old hits. What I am fearing next is that Sir Andrew has a reconceived production of “Cats” waiting in the wings – this time performed on roller-skates with authentic cat fur costumes.

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Let’s go on with the shows…….

NEW YORK STORIES – The Shows Pt 1.

I was in New York for a total of 29 days and 28 nights. I managed to catch 21 productions in total. Some shows were brilliant, others downright stinkers. I was there whilst the Tony awards were being presented – live. Fun that I had seen a few of the productions that were nominated and honoured. I’ll give my opinion of them all in coming posts but let me  just say that Lloyd Webber & Rice musicals need good productions and that playwright Kenneth Lonergan should not write & direct he also needs a good script editor…………

The Tony awards red carpet

Stinker # 1

Don’t cry for me Ricky Martin.

Lonergan should begin again.

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It’s A Wrap – Part Two

MY THEATRICAL YEAR.

Sadly my year at the theatre was meagre. If only I could have  squeezed in a trip to New York which had a bumper year, alas I did not.

But I did manage to see a few live presentations, musicals dominated, a couple of comedy gems and even a puppet show abroad!

Here they are.

SPRING AWAKENING.

Presented by The Young Australia Broadway Chorus at St Kilda’s National Theatre. An amateur production yes but this was a chance for me to see the Tony award winning Broadway musical live. Performed by a young cast exact of age to the characters they represent on stage – teenagers coming of age both mentally and most importantly sexually. Based on the play by German author Frank Wedekind which premiered to great controversy in 1906. A musical dealing with teen sexual awakening and with a rock score by Duncan Sheik and Steven Slater. A fine cast performed with all the energy and dedication to the piece that I am sure was witnessed on the great white way. A lot of young talent to be admired, I loved the piece and enjoyed this production – was glad to finally catch up.

MARY POPPINS.

This Cameron Mackintosh hit production featuring a fine hand picked Australian cast was a real delight. Everything worked! – the dancing, the scenery, the singing and the songs. Professional theatre at its best. Highlights being Verity Hunt-Ballard as the famous Nanny – bossy but with a heart of gold, and Debra Byrne as the bird lady who sang the famous “Feed The Birds” so moving and sublime of voice. A treat for kids and adults. I really enjoyed every moment, musical theatre doesn’t get much better than this.

XANADU.

The stage musical version of the infamous flop movie musical starring Olivia Newton John was a surprise hit on Broadway but a dismal failure down under. Presented under a Big Top tent at Melbourne’s Docklands it had horrendous sound problems and I suppose did look rather cheap. It was not a total write off thats for sure. I for one loved the book by Douglas Carter Beane and the energy of the hard working cast. I enjoyed it far more than many I guess? (it failed to tour round the country as planned) and I can tell you the reason why – Christie Whelan in the leading role of Kira – daughter of Greek god Zeus, all Aussie accent, leg warmers and roller skates. She is such a fine comedienne (her timing is exquisite) and has a rip roaring Broadway belting type voice. A standout in the MTC production of “The Drowsy Chaperone” and I am told the best thing in the recent revival of  “The Important Of being Earnest”, upstaging Geoffrey Rush is no mean feat. Surely she will be cast in the new planned Australian production of the musical “Legally Blonde” but her talents deserve so much more than that. For me Xanadu presented to me a star what more do you need?

HAIRSPRAY.

A local production of the Broadway hit. What a disappointment. Under the direction of David Atkins and choreography from Jason Coleman it was promoted as a state of the art production with never seen before staging. I was appalled! The set consisting of computer lighting that conjured up animation that was both lame and horribly unoriginal. Fortunately for me I did see a production of the Broadway original in London and it was brilliant fun. Sadly the over the top hammy performances and unsubtle direction made this night in the theatre unbearable for me. I could go on and point out all the faults from both cast and creatives but I can’t be bothered – enough time spent on this turkey.

ROCK OF AGES.

A total reproduction of the Broadway hit musical that is a real guilty pleasure. Slick direction, slick design, choreography that excites and songs from the 80’s rock music cannon – yes it is another jukebox musical. I saw a final preview and it was rocking. The cast were clearly having a rip roaring time and the audience hooting and hollering were too. A silly storyline about the redevelopment of the famous Sunset Strip in Hollywood doesn’t have much chop, but the enthusiasm and clever direction worked a treat. Sadly it also failed to tour around the country as planned but a film version is due out mid year directed by Adam Shanckman (Hairspray) and featuring Tom Cruise in the scene stealing role of rocker Stacee Jaxx.

NEXT TO NORMAL.

This local production of the Broadway musical was presented by the Melbourne Theatre Company. It lacked the pathos and excitement that I experienced in the Broadway production of which I blogged about a while back . The set was over active and a total distraction and the cast led by Kay Kendall lacked the talent required to pull off this fantastic musical. Oh well we can’t always get it right.

PARADE.

I went along to see this high school production of another Broadway musical because it gave me the chance of seeing it live and complete. I have long been a fan of the Tony winning score by Jason Robert Brown so it was good to see it performed. An unusually grim choice for a school musical it tells the story of Leo Frank wrongfully accused and convicted of raping and murdering a young schoolgirl back in 1913 in America’s south. Frank was a successful Jewish businessman and the show deals with anti-semiticism and media sensationalism – still going on today! It was a flop when it was presented on Broadway back in 1998. With its grim subject matter it is hardly Broadway feel good fodder but its score is still highly regarded as one of Broadway’s finest. The schoolkids involved in this production did very well, some voices not up to scratch but others (particularly the lead boy) were quite impressive. Hats off to St Michael’s Grammar.

LOVE NEVER DIES.

This overhyped and underwhelming dud of a musical is only worth mentioning for the fine set and costume design by Gabriela Tylesova. Dull and boring even with so much movement going on. To distract one of all the shortcomings of the production perhaps?  You can catch it on DVD soon as it was filmed during its Melbourne run.

GREY GARDENS.

Fantastic casting and performances made this local production of the Broadway show based on the acclaimed documentary a real highlight of my theatrical year. I expect Pamela Rabe to win a few awards for her heartbreaking performance as Little Edie Beale. Nancye Hayes as Big Edie held her own too and is eagerly anticipated for her upcoming role as Miss Hannigan in the new revival of “Annie”.

LILY TOMLIN.

This is the second time I have managed to see Lily Tomlin in her live comedy act and she didn’t disappoint. A marvel at face manipulation and full of endless energy she had me laughing out loud and riveted as she took on all her favourite creations with their unique take on the modern world. I love Lily!

EDDIE IZZARD – STRIPPED.

My first time seeing Eddie Izzard live was a last minute decision and I am glad I made the right one. I laughed in wonder at his observations regarding the creation of the world. It really impresses me when performers of this calibre manage to entertain for almost 3 hours (including interval) on stage solo. It must be so exhausting. Izzard is a master at it.

SMOKE AND MIRRORS.

“Smoke And Mirrors” was another first for me. It was the first time I was to see the acclaimed performer iOTA perform live. After performances in “Hedwig And The Angry Inch” and as Frank-n-Furter in a revival of “The Rocky Horror Show” this was the show I caught up with his talents. Performed in the famed Spiegeltent at the Arts Centre. Part vaudeville, part fantasy, part circus act iOTA led a troupe of performers on a musical journey fantastical and funny, moving and magical. He didn’t disappoint, I’d check him out again sometime.

THANG LONG WATER PUPPET THEATRE –  HANOI

I went to see this water puppet show when I was holidaying in Hanoi, Vietnam. It was very touristy and a little tacky but it did have live performers, thankfully it was quite short too. I am glad I saw it as it is always good to soak up some local culture while abroad.

NT Live – FRANKENSTEIN

Filmmaker Danny Boyle’s production of Mary Shelley’s classic novel was very disappointing. I am sure that seeing it live may have been more electric but the ever imposing cameras of the NT Live presentations didn’t capture it. The performance I saw featured Benedict Cumberbatch as the monster and Johnny Lee Miller as his creator Victor Frankenstein. (they alternated the roles in the shows run) I felt that Cumberbatch gave way too much of a ‘gimp’ style performance that seemed so overblown in the confines of a cinema with close up camerawork. The rest of the cast had nothing much to offer and I must say I was bored by the banality of this particular adaptation.

NT Live – THE KITCHEN

I enjoyed this production much more than “Frankenstein”. The play by Arnold Wesker was first performed at the Royal Court in 1959 and is set in the kitchen of a very busy London restaurant. It tells of the trials and tribulations of its workers – the chefs, kitchen hands, waitresses et al. It had moments of great theatricality and choreography that was very creative. The miming of the cooking and the sequence in which full service was occurring was a highlight. Once again the imposing camerawork from the NT Live presentation hampered some of the better moments and didn’t help with some of the theatrical hammy performances (close-ups are not kind on a theatre actor reaching out to the back row). I do enjoy seeing these NT Live events but I wish they would hold back on the ‘clever’ camerwork and let us watch the show as if we were there in the front row, not riding on top the lens of the camera.

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Eddie and the Edies.

I saw two theatrical productions this weekend and both were excellent and challenging in their different ways.

GREY GARDENS: THE MUSICAL

Grey Gardens is based on the 1975 documentary by Albert & David Maysles that depicts the story of the eccentric Beales, a mother and daughter both named Edith. They lived in squalor in a run down mansion called Grey Gardens in the Hamptons –  New York. Of interest here is that they are the aunt and cousin of Jacqueline Bouvier Kennedy Onassis.

Strange subject for a Broadway musical you might say, but it works very well. In the documentary the women talk and bicker to the camera telling how it was and how it could have been. How did these former socialites end up like this? The musical’s first act shows us the early years of the Beales and the circumstances that led to their strange co-dependancy. Act 2 closely follows the documentary. The musical has a book by acclaimed playwright Doug Wright (I am My Own Wife, Quills), lyrics by Michael Korie and music by Scott Frankel the score owes a lot to the musical style of Stephen Sondheim. It was first performed off-Broadway in 2006 then transferring to the main stem in a revised version. It won Tony awards for it’s leading ladies Christine Ebersole and Mary Louise Wilson.

The Australian premiere has been mounted by The Production Company and features two of Australia’s most talented women – Pamela Rabe and Nancye Hayes. Rabe plays Big Edie in act 1 and in act 2 takes on the role of Little Edie with Hayes portraying the elderly mother Big Edie.

It is a fine production, deftly directed by Roger Hodgman, simple and no fuss, letting the actors shine and boy do they shine. Rabe is monstrous as Big Edie, hilarious and heartbreaking as Little Edie – able to ham it up as the roles allow, her final song is very poignant. Hayes is very much her equal, funny and moving as an old lady frustrated at losing her faculties and relying on her odd daughter’s support. The rest of the cast are very good, I couldn’t fault this fine production which gave it’s final performance from a limited season on Sunday.

Nancye Hayes & Pamela Rabe

Pamela Rabe as Little Edie in Act 1

EDDIE IZZARD – STRIPPED

What a dazzling talent Mr. Izzard is, standing alone on stage for nearly two hours (with intermission) a full force funny man like no other- Izzard the blizzard I say!!!

Izzard’s comedic style has been described as rambling, whimsical and self-referential. His storytelling goes off on all sorts of tangents, with hilarious results. This particular show has a structure in which he explains the formation of the world and civilisation from the beginning of time when ‘god’ had a few busy days being creative. His left leaning politics are apparent but not overdone making it all the more powerful. Highlights for me were a rant on Apple ITunes agreements and downloads, and an observation of the vegetable bok choy, his thread on the Latin language was side splitting, actually the whole night was side splitting and his appreciative audience lapped it up. His talents of voice control and physical comedy to match are outstanding, comedy with this much intelligence is very rare, I just loved every minute of it. Eddie Izzard you are a marvel.

Eddie the incredible

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Beware!!! Wet Paint

Theatre Review:

LOVE NEVER DIES.

Andrew Lloyd Webber’s eagerly anticipated (not by me) sequel to his megahit blockbuster musical Phantom Of The Opera has arrived in Melbourne – opening tonight at the Regent Theatre.

After receiving very mixed notices when the show opened in London in March 2010,  Sir Andrew has decided to re-tool it and Melbourne, Australia was the chosen city to stage the new incarnation, prior to landing on Broadway. If he approves of this version it could be heading to the great white way.

The Melbourne production is being “re-imagined” by an all-Australian creative team led by director Simon Phillips, designer Gabriela Tylesova and acclaimed choreographer Graeme Murphy.  They have replaced the London originators – Jack O’Brien (director), Bob Crowley (sets & costumes) and Jerry Mitchell (choroeographer).  O’Brien & Mitchell were responsible for the smash hit feel good musical Hairspray and Crowley designed Mary Poppins. An odd choice for a dark gothic sung through musical, but Sir Andrew knows best. So out with the old and in with the new!

Simon Phillips is responsible for another feel good musical – Priscilla Queen Of The Desert (me thinks another odd choice) but Gabriela Tylesova has a decent resume of clever designs in both Opera and drama. Alas the book writers (all 3 of them!!- Sir Andrew, Frederick Forsythe & Ben Elton??) remain the same, along with the lyricist and composer – well of course they would Sir Andrew has his hand in 2 of those paint tins.

So what do I think of the show? (I attended the final preview last night).

To borrow from the phrase penned by the wonderful bloggers The West End Wingers – the paint is still wet and dripping. The show is still like watching paint dry, and as we all know, “paint never dries” !!!!

Love Never Dies advances the Phantom story by 10 years and is set in New York’s Coney Island fairground in 1907. Christine Daaé is invited to perform at Phantasma, a new attraction in Coney Island, by an anonymous impresario. Along with her husband – the downtrodden Raoul (now a drunkard and gambler) and her 10 year old son Gustave (surprise surprise there is a revelation at hand – long into the show but very obvious from the beginning) they arrive in Brooklyn. Madame Giry and her daughter Meg (more Phantom alumni) turn up performing in and running a weird burlesque- come freak show at the aforementioned Coney Island, brilliantly realized in the set design. It turns out the mysterious man is of course the Phantom who wants Christine to sing for him one more time. It all sound familiar? Well it is, almost a carbon copy of the original. I was bored instantly by the storyline – or lack of it. The set kept me rapt for most of the running time (1 hr first act – 50 mins 2nd thank heaven!!). The music was derivative and no surprise, I can’t even recall a showstopper, perhaps the title song was supposed to be the one, the lyrics were incredibly banal – Glenn Slater (Sister Act – The Musical!!! and a few Disney films!!!) – well he ain’t no Sondheim that’s for sure.

The cast led by Ben Lewis as the Phantom and Anna O’Byrne as Christine are mostly fine of voice but of dubious acting talent. Sharon Millerchip as Meg Giry is a highlight, but stage veteran Maria Mercedes as Madame Giry is wasted and has a very strange end of first act moment. The small child playing Gustave was ok but Simon Gleeson as Raoul lacked acting chops. There is also a trio of freaks who comment from time to time, but they made no impact whatsoever.

I must mention that I was gobsmacked when the Phantom takes Gustave on a journey to his weird freak show lair, the synthesiser rock score pumped up and the set moved around a bit here and there, it was a blatant attempt to recreate the famous trip to the underground lair in Phantom (the boat and candle sequence) this time with Christine’s spawn. It was visually interesting but made no sense, a lot of the time the “freaks” just wandered around aimlessly on the vast stage not knowing what the hell was going on – as was I. And as for the stupid finale well go see for yourself if you dare. I was disappointed that the rollercoaster ramps and bridges didn’t produce a coaster, they just got moved around a lot rose and fell, I was expecting a “chandelier” style effect but it was not so. Overall the sets are quite beautiful and spectacular and the costumes exquisite, the lighting and sound design first rate. The choreography was not really anything to write home about.  The direction by Simon Phillips – well he does corn very well and this show is as corny and unoriginal as they come. I don’t think anyone has a chance to make the paint dry on this work of non-art.

As for the title Love Never Dies, well maybe that is so, I just wish the career and ego of Sir Andrew might succumb!!

 

 

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