Tag Archives: LW Theatres

TRUE TALES OF SEX, SUCCESS AND SEX AND THE CITY

β˜…β˜…β˜…Β½

London Palladium

TRUE TALES OF SEX, SUCCESS AND SEX AND THE CITY at the London Palladium

β˜…β˜…β˜…Β½

“an enjoyable, if slightly twee, evening out with the women in your life”

And just like that, it’s thirty years since Sex and the City first appeared as Candace Bushnell’s original New York Observer column. In the intervening years there have been books, TV series and films all exploring the lives of single, professional, and sexually adventurous women in New York City. Bushnell has revealed she sold the screen rights to Sex and the City for $100,000 in the 90s and doesn’t receive royalties, so despite the show’s incredible success – she doesn’t see a penny. Instead, she has focused her career on being a writer, with books that have consistently appeared in the NY Times bestseller lists on publication.

Perhaps it’s the thirty year anniversary of the column, or that she’s feeling a new lust for life at 65, or something else entirely, but this year Candace Bushnell, who, at least in the UK, has a much less public profile than her on screen persona Carrie Bradshaw, is touring a one woman show offering to reveal the truth at the heart of her stories.

It’s a sell-out concept with extremely high production values. At least seven pairs of Louboutins, Manolos and more are bathed in the warm glow of their own spotlights lining the front of the stage, with more dressing shelves across the back. However, this shopaholic’s boudoir is disappointingly a bit more Elle Woods than fashion-forward Carrie Bradshaw.

“the content is engaging and will thrill any fans of the show”

In the 90s and even before, through columns in Cosmopolitan and other women’s magazines, it’s clear Candace was a trailblazer, a third wave feminist with Gloria Steinem as a childhood idol, talking frankly and openly about sex. But there’s been criticism of some of the content of the TV series by today’s standards of sex and gender politics. Despite this, Carrie and Candace Bushnell clearly still appeal to many women, with gaggles of girls of all ages queuing down Argyll Street in front of the London Palladium eager to hear from the real Carrie Bradshaw.

Bushnell struts on stage with a perfect blow out, candy red dress, bare legs and of course a matching pair of red Manolos. Even her presentation is expertly polished, but so much so that it feels unnaturally robotic – barely pausing for breath from one line to the next, intentional choreographed movements across the stage from, gasps fixing her mouth and eyes in wide β€˜O’s for just a touch too long. Performance wise, it reads more children’s entertainer than mature, sophisticated adult. One can recognise something of Carrie in the way she speaks, her intonation and penchant for rhetorical questions, but it feels written-in to please the audience rather than an authentic reflection of Bushnell. I can’t help but wonder, is this another persona created to hide the real woman?

Despite the delivery, the content is engaging and will thrill any fans of the show. Bushnell tells of her romance with the real Mr Big and plays a game of β€˜real or not real’ asking the audience to guess whether she really met Matthew McConaughey in Hollywood, or dated a senator. She reveals the lessons she’s learned from relationships – which are, on the whole, quite sadly cynical: men lie; if you don’t do it someone else will; people in relationships see what they want to see. They are all delivered with a grin and appear tongue in cheek but are a pretty sad indictment of dating. The one point of hope is Bushnell’s thesis that despite the trials and tribulations of relationships with men, your girlfriends – your Mirandas, Charlottes and Samanthas – will always be there for you.

All in all Bushnell provides the entertainment for an enjoyable, if slightly twee, evening out with the women in your life. Best enjoyed after a big bottle of wine and a Cosmo or two.


TRUE TALES OF SEX, SUCCESS AND SEX AND THE CITY at the London Palladium

Reviewed on 7th February 2024

by Amber Woodward

 

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Previously reviewed at this venue:

DEATH NOTE – THE MUSICAL IN CONCERT | β˜…β˜…β˜…β˜… | August 2023

TRUE TALES OF SEX

TRUE TALES OF SEX

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Death note

Death Note – The Musical in Concert

β˜…β˜…β˜…β˜…

London Palladium

DEATH NOTE – THE MUSICAL IN CONCERT at the London Palladium

β˜…β˜…β˜…β˜…

Death note

“When the ensemble cast sing together the effect is mesmerising”

It is twenty years since β€œDeath Note” stormed into the public consciousness, originally serialised in weekly instalments in ShΓ΅nen Jump, Japan’s most popular and iconic Manga magazine. I have to confess that this global phenomenon passed me by, but I humbly accept being in a minority bracket, judging by the crowds dressed in unconcealed enthusiasm at the London Palladium. The story was originally a bit of a risk for its publishers, straying from the tried-and-tested formula of intense action catering to an audience of mainly adolescent males. But it worked, and having been adapted into various media, including a US produced Netflix film, video and card-trading games and various sequels, the musical adaptation is the next obvious step.

Composer Frank Wildhorn shared my ignorance (I prefer innocence) of the Manga world when asked to turn it into a musical, but you’d never think it. Spurred on by his son who urged him to β€œdrop everything and do this – because it will make you cool”, Wildhorn immersed himself in the source material. The end product is a score that redefines the word β€˜cool’. A combination of electronica rock with an orchestral strength; it is both triumphant but also a lamentation. Bombastic but never overpowering, it reflects the atmospheric setting with a dark energy. Despite the subtle Japanese influences (perhaps too subtle), the production has the overall feel of an American rock concept album.

The concept of β€œDeath Note” is fantastical, yet serious. High-school prodigy Light Yagami (Joaquin Pedro Valdes) is dismayed by the failures of the justice system. Meanwhile, two β€˜Shinigami’ – gods of death from an otherworldly, unspecified dimension – watch over and decide, for fun, to drop the eponymous β€˜death note’ into the human world. Light is the one who picks it up, thereby being granted the supernatural power to kill anyone whose name he writes in the pages of the book. Far from being horrified at the prospect, he immediately grasps the opportunity to use it to wipe out anyone he deems immoral. The aim is to create a crime-free society. From this very dubious precedent, what ensues is a cat-and-mouse psychological thriller that explores the quite weighty subject of justice and vigilantism. Light’s self-belief blinds him, and his acolytes, to the supposition that isn’t he just as murderous as his victims? β€œDeath Note” shies away from instructing us which way to think, though the Shakespearian ending gives a couple of nudges.

Being unfamiliar with the β€˜Manga’ genre and its iconography and terminology is not necessarily a bar to the intricacies of the plot, although the second act requires you to be slightly more on your toes. The characters are well formed, even if occupying the same two dimensions of the original animation. Billed as a musical in concert, the dialogue is subsequently sparse, with Jack Murphy’s lyrics guiding us through the narrative. Jason Howland’s sumptuous orchestration is given full justice by Musical Director Chris Ma’s sixteen-piece band. It is a sonic binge, yet the vocal performances cut through with a clarity that displays the talent within the cast. When the ensemble cast sing together the effect is mesmerising, and each of the seven lead cast members has their moment to shine. Francis Mayli McCann, as Misa – the rock superstar in awe of Light’s misplaced taste for vengeance, has strength and versatility matched by pretty much everyone else. The richness of Adam Pascal’s Ryuk (the spirit – Shinigami – who sets it all in motion by dropping the death note into the world) is complemented beautifully by Aimie Atkinson’s Rem – the other Shinigami. Atkinson’s and McCann’s duet that opens Act Two is a moment that lingers long after curtain call.

Dean John Wilson, as Light’s nemesis – the enigmatic detective known simply as L, has the richest pickings of the dialogue, conveying some of the humour and dynamism that is lacking in the show. One presumes Ivan Menchell’s book has been cut back for the concert version. The full text would allow for more light and shade, and the implicit humour and pathos would be given a longer rein. There is a noticeable emotional detachment, and consequently there is nobody we are rooting for.

But for pure musical rapture and spectacle, this show is second to none. Every pitch perfect note resonates through the vast auditorium of the Palladium. It is monumental and memorable; but also sold out. I wouldn’t leave it long, though, to book for its transfer to the Lyric, Shaftesbury Avenue in September. Although something tells me that β€œDeath Note” is in for a long life.

 


DEATH NOTE – THE MUSICAL IN CONCERT at the London Palladium

Reviewed on 21st August 2023

by Jonathan Evans

Photography by Mark Senior

 


Death Note

 

More top rated shows reviewed this month:

 

Improv Death Match | β˜…β˜…β˜…β˜… | Aces and Eights | August 2023
Theatresports | β˜…β˜…β˜…β˜… | Museum of Comedy | August 2023
Alone Together | β˜…β˜…β˜…β˜… | Theatre Royal Windsor | August 2023
Not Like Other Girls | β˜…β˜…β˜…β˜… | The Queer Comedy Club | August 2023
Express G&S | β˜…β˜…β˜…β˜… | Wilton’s Music Hall | August 2023
La Cage Aux Folles | β˜…β˜…β˜…β˜…β˜… | Regent’s Park Open Air Theatre | August 2023
Sarah Roberts : Do You Know Who I Am? | β˜…β˜…β˜…β˜… | The Bill Murray | August 2023
String V Spitta | β˜…β˜…β˜…β˜… | Soho Theatre | August 2023
Improv The Dead | β˜…β˜…β˜…β˜… | Hen & Chickens Theatre | August 2023
Flamenco: Origenes | β˜…β˜…β˜…β˜… | Etcetera Theatre | August 2023
Ashley Barnhill: Texas Titanium | β˜…β˜…β˜…β˜… | Museum of Comedy | August 2023
The Lord Of The Rings | β˜…β˜…β˜…β˜…β˜… | Watermill Theatre Newbury | August 2023

Death Note

Death Note

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