Tag Archives: Alisha Capon

THE CREAKERS

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Queen Elizabeth Hall

THE CREAKERS

Queen Elizabeth Hall

β˜…β˜…β˜…β˜…

“Gather up your kids and have a good time at The Creakers!”

The Creakers is a musical version of Tom Fletcher’s much loved children’s book of the same name. It’s about a group of kids who have to rescue their parents from a sinister world lurking below their beds. It’s a refreshing change from all the overly familiar panto fare on offer on London stages at the moment. As musical adaptations go, however, The Creakers fails to capture the magic of its original material. That’s not because it isn’t a talented production at the Queen Elizabeth Hall on London’s South Bank. But this version is a cautionary tale in how difficult it can be to adapt a brilliant story in book form, for the stage.

Set in Whiffington, a town with a waste disposal problem as its name suggests, The Creakers tells us about Lucy, a girl who is β€œdifferent” though we are never told exactly how. Her single Dad is also the town’s rubbish collector, which adds to her problem of social acceptability. Most of the first act of the musical is about establishing the characters in the story, with frequent references to the social pecking order. There’s also a scandal brewing about the rubbish. The Mayor of Whiffington has decided to get rid of the overflowing rubbish by dumping it in the ocean. This is the inciting incident that sets the main story of The Creakers in motion. It turns out that a bunch of mysterious creatures called the Creakers depend on that rubbish for their food, building supplies, and even for their creativity. At night the Creakers emerge from under children’s beds, and feast on the mess and debris that kids (and their parents) have left lying around. Deprived of their sustenance, the Creakers take revenge by kidnapping the parents of Whiffington. Lucy and the kids have to figure out how to get them back.

It’s a good story, and it plays on childhood fears that everyone, child and adult alike, can identify with. The sustainability theme in the accumulating rubbish is a bit trickier, but from a staging perspective, it gives an imaginative set designer and costume designer lots to work with. Andrew Exeter and Ryan Dawson Laight take full advantage. But the rubbish is also a distraction from the main action. That’s Lucy’s goal of extracting the parents from the underground world of Woleb. (Yes, I figured it out.) And it takes the whole of the first act of The Creakers to get to the point where we finally meet these wonderful creatures, and the show takes off.

Despite the slow moving first act, and energetic songs that don’t always advance the action, The Creakers will succeed in winning you over by the end. The performers give their all to the many different roles they are called on to play, and that includes manipulating the puppet Creakers (designed by Lyndie Wright who knows everything there is to know about puppets.) Tom Jackson Greaves manages both the direction and choreography with flair in a space that is really a concert hall, and not a theatre. The small band produces a big sound with the superior acoustics of the QEH, and it was a treat to actually see them in the second act. Lucy (Eloise Davies) and her friends Ella (Iona Fraser) and Norman (Ally Kennard) are the main movers and shakers in the show but there’s a wealth of talent to see in minor roles all undertaken by a seamless ensemble.

If you’re wondering whether you can risk taking your child to a show that deals in accumulating rubbish and monsters lurking under the bed, have no fear. There’s a guaranteed happy ending. And no one will be surprised to discover that the Creakers are, in fact, the Save the Planet warriors we have been waiting for. As one satisfied customer remarked β€œI won’t have a nightmare tonightβ€”I’ll have a funmare!” So ignore all the dramaturgical quibbling above. Gather up your kids and have a good time at The Creakers!



THE CREAKERS

Queen Elizabeth Hall

Reviewed on 27th December 2024

by Dominica Plummer

Photography by Pamela Raith

 

 

 

 

 

 

 

Recently reviewed at Southbank venues:

DUCK POND | β˜…β˜…β˜…β˜… | December 2024
KARINA CANELLAKIS CONDUCTS SCHUMANN & BRUCKNER | β˜…β˜…β˜…β˜… | October 2024
JOYCE DIDONATO SINGS BERLIOZ | β˜…β˜…β˜…β˜… | September 2024
MARGARET LENG TAN: DRAGON LADIES DON’T WEEP | β˜…β˜…β˜…β˜… | May 2024
MASTERCLASS | β˜…β˜…β˜…β˜… | May 2024
FROM ENGLAND WITH LOVE | β˜…β˜…β˜…Β½ | April 2024

THE CREAKERS

THE CREAKERS

THE CREAKERS

 

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KISS ME, KATE

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Barbican

KISS ME, KATE at the Barbican

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“This is a blazing production, burning with wit and charm, song and dance, and with a feelgood finale that is far hotter than a British summer”

We are officially in summer in a couple of days’ time, although it might not necessarily feel like it. But a couple of bars into the overture of Cole Porter’s classic, β€œKiss Me, Kate” and the clouds disappear. We are instantly put in a good mood, unable to resist the warmth and the joie de vivre this sizzling and silly musical has to offer. Porter is on top form, complemented brilliantly by Sam and Bella Spewack’s book which adopts Shakespeare’s β€˜play-within-a-play’ trick, taking its subterfuge to new heights.

Both β€˜Taming of the Shrew’ and β€˜Kiss Me, Kate’ have gathered accusations of misogyny over time, but if you look deeper, the bard and the songsmith are, in fact, championing women’s rights. And Bartlett Sher’s revival brushes off any remaining crumbs of sexism that may linger with this revival. The sheer force of the two leading ladies’ performances, of course, helps immensely.

The show opens with a curtain call. One that is being rehearsed for the opening night of β€˜The Taming of the Shrew’. Fred (Adrian Dunbar), the egotistical director and producer, is starring as Petruchio while his ex-wife, Lilli (Stephanie J. Block), plays Katherine. The two bicker constantly, like Burton and Taylor on a bad day, yet Dunbar and Block effortlessly reveal the deep-seated, hidden love and affection they still hold for each other. The only casualty here is the β€˜will-they-won’t-they’ dynamic – we just know from the off that they’ll eventually reconcile, despite Lilli being betrothed to a strait-laced, regimental General Harrison Howell (a delightful cameo from the underused Peter Davison).

 

 

Meanwhile Lois (Georgina Onuorah) and her gambling, misbehaving boyfriend, Bill (Charlie Stemp), are enjoying their own backstage tussles. Not least because there’s a thing going on between Lois and Fred. The shenanigans don’t stay in the green room, however, but are dragged kicking and screaming onto the stage, playing havoc with Shakespeare’s storyline. Throw in a couple of gangsters chasing a gambling debt (Hammed Animashaun and Nigel Lindsay), and the farce is complete.

It is a star-studded production, with an equally starry ensemble. Everyone has a moment to glow in the spotlight, yet nobody outshines anyone else. Each swing, and chorus member, portrays a well-defined, unspoken personality too. Anthony Van Laast’s choreography is stunning, not just visually but also in its storytelling, reaching its climax in the Act Two opener, β€˜Too Darn Hot’, which elicited an ovation that finally had to be cut short by the performers themselves, worried that they might miss the last train home.

Matching the dancing skills are the vocal skills. Georgina Onuorah and Stephanie J. Block mix power with fragility, wit with emotion. Onuorah’s show-stopping β€˜Always True to You in My Fashion’ is another highlight, while Block’s β€˜So in Love’ is steeped in gorgeous torment. Slightly out of his depth, Adrian Dunbar reprises the number. He can hold a tune, for sure, but his vocal shortcomings do stand out against the sheer wall of virtuosity he is surrounded by. Dunbar’s own virtuosity is confined to his character acting and comic timing which is, indeed, spot on. Hammed Animashaun and Nigel Lindsay, on the other hand, are a double act with a triple threat, showcased by their superbly comic performance, and brilliant rendition of β€˜Brush Up Your Shakespeare’.

Catherine Zuber’s costumes perfectly mirror the various elements of the show, mixing the eroticism of the backstage, sultry and sexy glamour with the onstage Elizabethan grandeur. Michael Yeargan’s revolving set seamlessly guides us through the stage door onto the stage, via the dressing rooms and back again. This is a blazing production, burning with wit and charm, song and dance, and with a feelgood finale that is far hotter than a British summer. While it’s definitely not too darn hot outside, inside the Barbican, it’s sizzling.

 


KISS ME, KATE at the Barbican

Reviewed on 18th June 2024

by Jonathan Evans

Photography by Johan Persson

 

 

 

 

 

Previously reviewed at this venue:

LAY DOWN YOUR BURDENS | β˜…β˜…β˜… | November 2023

KISS ME

KISS ME

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