Tag Archives: Aaron Clingham

[title of show]

[Title of Show]
★★★★

Above the Stag

Reviews, , , , , , , , , , , , , , ,

Title of Show

[title of show]

Above the Stag

Reviewed – 15th February 2019

★★★★

 

“The format of the show is stuffed full of comic and satirical potential”

 

[title of show] charts the story of writer and composer Hunter and Jeff (Michael Vinsen and Jordan Fox respectively) trying to write a musical with their friends Susan (Natalie Williams) and Heidi (Kirby Hughes) for an upcoming festival and all the trials and tribulations that accompany it. The beautifully meta aspect of the show is that Hunter Bell and Jeff Bowen were actually the creatives behind [title of show], which is the musical they wrote for an upcoming festival – it’s at one point described as ‘a musical about two guys writing a musical about two guys writing a musical’. This provides a delicious sense of spontaneity to the way the action on stage unfolds, as all the characters are aware that they are in a musical that is being written – one character remarks that Susan has been very quiet during the scene, she responds that it’s because she didn’t have a line in the script until now. The format of the show is stuffed full of comic and satirical potential, and moments like this wring all its possibilities fully.

However, the show was originally written in 2004 and has been considerably successful, even making it to Broadway in 2008, and so the second act of the show – which charts the journey of the show following the festival – feels disjointed and not quite as polished as a result. The first act’s blend of snappy dialogue, clever commentary and engaging songs that are fully integrated with the plot and characters are in the second act replaced with a messier concoction that feels more like a play that drags out a contrived conflict between two characters and begrudgingly throws a song in every now and then until the final sequence.

Thankfully, the shortcomings in [title of show]’s writing in the latter half is made up for by stellar direction and performances throughout. Director Robert McWhir takes every opportunity to let the story and the characters shine through, ensuring that the weaker elements feel more fleshed out and that the comedy and pathos is given the full spotlight. His smart staging makes the relatively cosy space feel huge, giving the actors ample room to take advantage of – and they certainly do. Every single cast member delivers an imaginative and encapsulating performance, although Michael Vinsen is especially exemplary in the relatability, drive, and hilarity he brings to Hunter. The only shortfall is that – as the actors don’t have mics – if they are at the opposite end of the space, lyrics can occasionally be lost.

This is a shame, as the music and lyrics are often catchy and clever. Numbers such as ‘Monkeys and Playbills’, ‘Die, Vampire, Die!’, and ‘Nine People’s Favourite Thing’ are all gleefully inventive and, thanks to Oli George Rew’s expert accompaniment, feel vivid and characterful in their composition.

The sheer love of musical theatre and the process of creation that [title of show] displays will make you fall in love with it despite some missteps, and will have you leaving the theatre truly charmed, and a little more inspired in your own dreams and aspirations.

 

Reviewed by Tom Francis

Photography by PBG Studios

 


[Title of Show]

Above the Stag until 10th March

 

Last ten shows covered by this reviewer:
Welcome ..? | ★★★★ | Bridewell Theatre | October 2018
Brat Kids Carnival | ★★★½ | Christmas In Leicester Square | November 2018
Chutney | ★★★ | The Bunker | November 2018
Motherhood or Madness | ★★★ | Katzpace Studio Theatre | November 2018
Specky Ginger C*nt | ★★½ | Katzpace Studio Theatre | November 2018
Pinocchio | ★★ | The Albany Theatre | December 2018
Fight Night | ★★★★ | The Vaults | January 2019
Original Death Rabbit | ★★★★★ | Jermyn Street Theatre | January 2019
Black Is The Color Of My Voice | ★★★ | Trafalgar Studios | February 2019
Soul Sessions | ★★★★ | Trafalgar Studios | February 2019

 

Click here to see more of our latest reviews on thespyinthestalls.com

 

Into the Woods – 4 Stars

Reviews, , , , , , , , , , , , , ,

Woods

Into the Woods

Cockpit Theatre

Reviewed – 25th May 2018

★★★★

“a hugely complex work with multi-layered lessons and warnings”

 

Sondheim and Lapine’s Tony Award winning musical, ‘Into the Woods’, is transported imaginatively to the 21st century by Tim McArthur in a slick and entertaining production. It illustrates the timelessness of fairy tales, the messages they convey and, more importantly, the ones they don’t. ‘Cinderella’, ‘Little Red Riding Hood’, ‘Jack and the Bean Stalk’ and ‘Rapunzel’ are woven together by the plight of a baker and his wife who must undo a spell of infertility cast on them by a wicked witch. In Act One we enjoy the familiar stories as they all wish for their dreams and enter the woods – the big, brutal world – in pursuit of them. Their quests successful and desires fulfilled, they can live happily ever after. Or can they? Act Two unravels these aspirations, the consequences of how they are achieved, followed by disillusionment, responsibility, revenge, loss … and, ultimately, the many realisations of adulthood, including the underlying fascination for what lies in the woods.

The array of contemporary, larger-than-life roles fits effortlessly together. Some, however, find a more rounded definition than others: Jamie O’Donnell steals the show with his beautifully detailed interpretation of Jack, giving him depth and pathos, and his mother (Madeleine MacMahon) draws a wonderful picture of his background with her strong personality. Michele Moran, as the witch, arouses both fear and sympathy and Cinderella (Abigail Carter-Simpson) and Red Riding Hood (Florence Odumosu) depict a more human and questioning side to their personalities from the beginning. As the narrator, Jordan Michael Todd skilfully creates his own charismatic persona, embedding himself surreptitiously into the action while drawing us in as the storyteller.

The ensemble singing is tightly coordinated and well-balanced but the individual voices are less consistent. Both Jo Wickham and Tim McArthur show their professional musical theatre experience and there are many strong newcomers, but a few are, on occasions, overshadowed by the band. Aaron Clingham (Musical Director) and his musicians provide the perfect accompaniment to the performance.

Staged in the round, we are wrapped up in the comings and goings of the play, with wood chippings underfoot. Joana Dias’ set design of assorted ladders gives the feeling of a play for adults, offset by the rudimentary props. The lighting (Vittorio Verta) ably fashions the dappled sunlight and shadows in the woods as well as the fairy-tale special effects.

‘Into the Woods’ is a hugely complex work with multi-layered lessons and warnings. The overriding theme appears as “Be careful what you wish for” but there is also a powerful point made to parents: “Be careful what you say, children may listen”. Mothers and fathers figure prominently, accepting or otherwise the repercussions of their parenting. It broaches the subjects of blame and greed, reinforces the supportive nature of survival and addresses our natural sense of adventure – do we want to live happily ever after or do we want to live life? Tim McArthur’s astute direction brings out these ideas and makes them relevant.

 

Reviewed by Joanna Hetherington 

Photography by David Ovenden

 


Into the Woods

Cockpit Theatre until 24th June

 

Related
Also directed by Tim McArthur
Hot Lips & Cold War | ★★★★★ | London Theatre Workshop | February 2018

 

Click here to see more of our latest reviews on thespyinthestalls.com