Bend it Like Beckham - Phoenix Theatre

England football shirt

I wonder how David Beckham feels about this musical. It must be amazing to know there's a show running in the West End that depicts you as one of the best and most admired footballers of your generation and (in a more minor way) an object of desire, AND has your name in the title. What's more, this being the progressive, feminist-minded oeuvre that it is, it is the female protagonist, Jess, who sees Mr Beckham purely in terms of his footballing prowess and the gay male character, Tony, who makes (the only?) reference to his physical attractiveness.

Because of such feminist qualities including, most obviously, its championing of women's football - and of course, its exploration of other important issues such as balancing familial/cultural expectations with achieving an ambition, being held back by prejudice etc. - I wish I could say that I loved this musical, but unfortunately I did not. Everyone else in the audience seemed to love it, though, so maybe I wasn't in the right mood. I enjoyed the film very much and just didn't think the story worked as well in musical form.

Good points first: Natalie Dew as Jess was instantly likeable with her open, friendly face and earnest expressions, and completely believable. It was good to see Lauren Samuels of Over the Rainbow fame as Jules. At the risk of sounding humourless, I found Preeya Kalidas' exaggerated south London/Indian accent as Pinky tooth-setting-on-edge irritating. However, I enjoyed all her scenes with Teetu (Raj Bajaj), particularly the engagement party dancing scene near the beginning. Jess's dad (Tony Jayawardena) was very funny in a dry, deadpan sort of way; his understated reactions to the various goings-on provided some of the best humour in the show.

The musical showed more of the parents' perspectives than the film, as far as I can remember. Both sets of parents - Jess's parents and Jules's mum - came across as more sympathetic in the musical. Jules' mum (Sophie-Louise Dann) came across as particularly sympathetic as a single mum anxious to develop a close relationship with a daughter she didn't understand and to whom she couldn't easily relate. Her mistaken belief that Jules was a lesbian made for some very funny moments.

Things I wasn't keen on/didn't think translated well into a musical:

• The football. They did their best to depict the playing of football but the game is ultimately more exciting when you actually see it being played as opposed to simulated with light effects and through dance. 
• The songs. Enjoyable enough while watching the show, but I have not had a hankering to hear them again since. And I actively did not like 'Glorious'.
• It went on for too long. The full Greek tragedy-esque cycle of Jess deciding, after much agonising, not to play football but then playing football and being discovered and then deciding not to play football again seemed to occur at least one time too many.

photo credit: Come on England via photopin (license)

Next: Akhnaten

Legally Blonde - Upstairs at the Gatehouse

Legally Blonde doll

Oh my god, oh my god you guys...if you favour serious, understated oeuvres on the melancholy side with profound messages of global significance, this is not the theatrical piece for you. It was the peppiest, most upbeat, extroverted musical I've ever seen. Magnified by ten because, given the small size of Upstairs at the Gatehouse, we were only centimetres away at all times from the energetic gyrations of the actors.

This musical was a warming burst of sunshine in the middle of dreary winter. The story was the same as that of the film, with a few minor changes. I liked the set, which at first glance was reminiscent of an Inca temple. The grey stone 'temple walls'  on either side of the 'stage' doubled up as the sorority house and Harvard. Audience members sat on either side of the theatre, with the show taking place on a reasonably narrow aisle down the middle, connecting the grey stone walls.

The cast was small - only twelve people - all of whom, other than those playing Elle, Warner and Emmett, played multiple roles. Bruiser was not played by a real dog, sadly. Abbie Chambers made an extremely sweet, appealing, believable Elle, with perhaps a little more 'edge' than that of Reese Witherspoon. Robert Colvin looked exactly right for the smarmy Warner. Jodie Jacobs, as Paulette, was heart-warming, a powerful singer and very funny. It was all highly energetic and fast-moving. I was particularly impressed by the cast's ability to sing while undertaking various exercises with skipping ropes.

I probably preferred the second act to the first. Despite my implications in the first paragraph, of course, this musical does actually deliver some important messages: don't make assumptions about people based on their appearances; you don't have to conform to other peoples' incomplete perceptions of you; support your fellow women in the workplace and life in general; romantic relationships are not the be-all and end-all etc. I loved the bit when Elle is appointed lead lawyer in the case to defend Brooke, and the female interns rally to support her. I also really enjoyed the UPS guy's appearances, the bend and snap sequence and the 'is he gay or European' song. All the court case scenes were extremely funny. I liked seeing the relationship blossom between Elle and Emmett...I couldn't remember the latter from the film at all, which was a bit weird given his prominence in the story.

Things I didn't like so much: in the film Elle's admissions essay for Harvard takes the form of a video, whereas in the musical it's an in-person presentation featuring cheerleaders and flag-waving. I didn't like it - it was too silly to be funny. Plus, I like the fact that Elle gets into Harvard in the film purely on the strength of her LSAT score and video. In the musical she actually tells the admissions people that she wants to get in because of LOVE. There is a fine line between silly-but-funny-and-suspend-disbelief-able and plain ridic, and the line was crossed in this instance. There was also a long bit about Paulette specifically wanting to get together with an Irish man, which I can't remember from the film. This in itself was fine but the Irish dancing part edged over the line. 

photo credit: Casey via photopin (license)

Next: not sure

The Nutcracker - London Coliseum

Pointe shoe Christmas tree at Coliseum

I've wanted to see a traditional production of The Nutcracker for years, but have never got round to it due to a) the limited amount of time for which such productions normally run and b) the expensive nature of the beast. This being a Christmas present, for the first and possibly last time I got to sit in the middle of the THIRD ROW OF THE STALLS! At the Coliseum! I was so close to the stage I got to see not only the faces of the back row of the orchestra, but every muscle twitch of the skimpy tights-clad bottoms of the male dancers. 

I loved this production. Set in the 1900s, the costumes were exquisite, the sets gorgeous, the dancing divine and the atmosphere enchanting. It did a perfect job of setting the scene at the beginning, in conveying the excited atmosphere of anticipation before a party on Christmas Eve. The skating and sledging scene outside the house - complete with projected falling snow - was beautiful. It was all so elegant; even the fallings over on the ice were elegantly performed. 

My favourite scene was the party scene. There was so much going on! Elaborate set with big Christmas tree blazing impressively and comfortingly away at the back of the stage? Check. Party guests all doing interesting things in the background, showing that they had personalities of their own? Check. Actual children dancing (as opposed to adults pretending to be children)? Check. Eccentric magician guest? Check. Arrival of Father Christmas? Check. I loved seeing the children receive their presents and particularly liked the little old-fashioned hot air balloon present...and the way it made an appearance in Clara's dream as a life-sized balloon. Child Clara's (Sereina Mowlem's) dance with the Nutcracker doll was sweet and slightly poignant.

The Dance of the Snowflakes was enchanting, especially as it included the voices of the children singing in one of the theatre's boxes. 

Drosselmeyer (eccentric magician guest, who, according to Wikipedia, was also a 'local councilman' (!)), played by Daniel Kraus, was my favourite character. I loved his gesturings towards the curtain in the second half, for it to draw back and reveal a new, captivating scene. The Mirliton dance brought back fond memories of my own dancing days - that was the music to which my ballet class danced in a show, many moons ago. The triangular cylindrical (I don't know how else to describe them) costumes of two of the 'Russian' dancers were exceedingly impressive, as were the jumps of the male 'Russian' dancer. The dance of dream Clara (Begoña Cao) as the Sugar Plum Fairy with the Prince (Junor Souza) was another highlight.

I felt the parts featuring the mice went on for a smidge too long, especially the big fight in the first act. And I didn't get why the 'real', human Nutcracker kept being replaced by the Prince only to be replaced by the Nutcracker again. I could understand the Nutcracker turning into a Prince, but why turn back in a Nutcracker?? Wikipedia sheds no light on this. And apparently the Prince is Drosselmeyer's nephew! There's no way you would know this stuff without looking it up.

The final scene, where child Clara and her brother (Seamus McIntosh) stood outside the house and saw the balloon sail past in the distance, brought a tear to my eye. Wonderful!

Next: Legally Blonde

Guys and Dolls - Savoy Theatre

Knitted dice

I was very excited to see this production of Guys and Dolls as it starred Jamie Parker (as Sky Masterson), of whom I am something of a fan. Interesting to hear that he's been cast as Harry Potter in the upcoming stage play! Anyway, Guys and Dolls was everything I had hoped it would be: exuberant, fast-paced, uplifting and very funny. 

Listening to Jamie Parker sing is like having a shower in hot, gently melted dark chocolate. I found a few of his spoken lines difficult to understand with the New York accent, but his singing was sublime. He and Sarah Brown (Siubhan Harrison) made a believable, sympathetic duo and I enjoyed watching their romance unfold. I loved the Havana scene in which Sarah loses her inhibitions and is tossed around by various people in the dance sequence, including the excellent 'Havana Diva'.

I'd forgotten how much I appreciate the humour in G&D. I love Nathan's increasingly frantic search for a location in which to hold the craps game, and the bit where the gamblers pretend they're attending a bachelor party when the police inspector shows up. Big Jule, the notorious milk-drinking gangster from Chicago has to be one of my favourite characters; he has some very amusing lines (Lieutenant Brannigan: 'Where are you from, sir?' Big Jule: 'East Cicero, Illinois!' Lieutenant Brannigan: 'And what is your occupation?' Big Jule: 'I'm a scoutmaster!' Lieutenant Brannigan: 'Don't ever help my mother across the street!'). My favourite scene is 'Luck be a Lady Tonight', down in the sewers. The audience went wild for 'Sit Down, You're Rockin' the Boat', which was also extremely good and energetic. Excellent singing from the General of the Mission.

The gender stereotypes can be grating in this musical - the way the women are desperate to get married while the men aren't bothered - but the non-gender-stereotype-related humour more than compensates for this. Plus, it is set in the 50s. Plus, the characters, when played well, are endearing, which diffuses any irritating attributes. The character of Miss Adelaide always has the potential to be more irritating than entertaining, but in this production (as played by Sophie Thompson) she grew on me and was genuinely likeable.

I would strongly recommend!

photo credit: Knitted Dice Roll via photopin (license)

Next: The Nutcracker

Pride and Prejudice - Hampstead Parish Church (Guest post)

Elegant Regency figures

The much-awaited and much-delayed guest review of Pride and Prejudice has finally arrived. My sincere apologies for the long wait, o fans of Alice’s London Theatre Blog – especially those in Russia who must be particularly desirous of the comfort and homely succor that this blog provides now that the Winter Solstice is upon us. I actually saw this production twice in one day. While the main reason for this was a plethora of visiting friends and relatives, my enjoyment was only magnified by the repetition – a testament to its energy and depth.

As it happens, I very nearly auditioned for this myself, but chose not to in the end. When the cast was announced, I was filled with an overwhelming sense of regret, such that only an experienced am-dram acting diva can feel, because I knew it would be a fantastic performance that I could no longer be part of. My expectations proved entirely correct.

Hampstead Players’ stalwart Sarah Day was perfectly cast as the concomitantly virtuous and sharp-witted Elizabeth Bennet, as amused by the world’s foibles as she is quietly dedicated to reposting them. Jon Waters seemed equally sincere as the congenitally arrogant Mr Darcy, his stiff pride providing much of the production’s comedy.

Two more stand-outs for me, amongst this very large and strong cast, were Rosie Wheat as the conceited alpha female Caroline Bingley, floating about the stage in a graceful haze of obnoxious self-satisfaction, and Matt Williams, whose perfect timing and facial expressions made for a Mr Collins so deluded that he was as painful as he was hilarious to witness. Special mention also goes to Margaret Pritchard Houston who, in addition to creating many of the impressive costumes (well done to the Players for going all out on this, you really can’t have a Jane Austen play without the textile eye candy), managed to make her handful of appearances as a put-upon servant laugh-out-loud moments, without ever being distracting or implausible.

I was also particularly taken by Alice Lambert’s unique rendering of Mary Bennet. The middle Bennet is generally portrayed as something of a fool, clumsily attempting pompous sermonizing to compensate for her plainness. This Mary, though clearly not immune to wanting to fight her own amongst her sisters, stood out as naturally elegant and swanlike, serenely gliding about the stage and providing what to her seemed like genuine aid to her less enlightened fellow mortals, delivered directly from the higher plane of philosophical abstractions which fortune had made her mind’s natural terrain. The tragi-comedy came from her more earthbound sistren’s reaction to these convoluted and cluelessly timed pontifications, and Mary’s hurt and incomprehension at being constantly rebuffed.

The true star of the piece was of course Jane Austen’s dialogue and the fascinating world to which has created a window, and through which we can see a strange intermingling of graceful pleasures and stiff hierarchy, strong individualism embedded into family honour, where women are permitted and expected to dazzle and shine as honourable and “accomplished” persons in their own right, all with the ultimate goal of proving their price at their family’s stall at the genteel marriage market.

It was this world that director Jane Mayfield was able to summon to the 21st Century, through an excellent adaptation of the book, delightful sets, an engaging pace with fast transitions, and some wonderfully choreographed (credit to Cristina Bancora) ballroom scenes, providing just the backdrop to the verbal sparring that we all want and expect from a great Jane Austen adaptation. It had none of the modern intrusions and frothiness of the 2005 film adaptation, and all of the the verve and dexterous philosophising of the 1813 book. Well done!

by Nicolas Holzapfel

Next: Guys and Dolls

Othello - Bridewell Theatre

Tower Theatre company's image

This was my first experience of Othello in any form. I'd never even read it before. Not good for an ex-English student, I know. The Tower Theatre Company's compelling production proved an excellent introduction to the play.

The transformation of Othello (Ray Johnson) from sympathetic, loving bridegroom (albeit not without problems: prejudice and the disapproval of his father-in-law) to desperate, vengeful maniac was plausible and disquieting. The plausibility of his descent into jealousy was aided by Martin Maynard's believable performance as the manipulative Iago. Iago was played in a subtle, understated way, certainly not as a stereotypical villain. He came across an an 'ordinary bloke' who happened to be a sociopath. Which is how most male sociopaths probably come across, hence why it is difficult to identify them.

Amy Wackett was sympathetic as the innocent Desdemona and I really enjoyed Emily Carmichael's performance as the put-upon Emilia, wife of Iago. The development of Emilia's relationships with Iago and Desdemona were interesting to watch. It was a relief when Emilia defended Desdemona.

This was a very physical production with kisses, extended fights, bum slaps, stabbing, (spoiler alert) smothering, strangling...It was all performed to an impressive standard. Incidentally, Othello's physical manifestations of torment were uncomfortably reminiscent of my mental state towards the end of my last job but one.

Every part was well-played; one felt that even the unnamed characters had definite personalities and stories. I enjoyed the relationship between the messenger (Mai Le Dinh) and soldier (Ken Thomson) - was it a burgeoning romance? I also liked the serious, slightly pompous military attache (Nicolas Holzapfel).

The set was minimal, with three 'levels' and a basic 'house' with doors facing the audience on the second level. It had a metallic, forbidding feel to it, which suited the atmosphere of foreboding. The costumes worked well; while it was a 'modern dress' production they weren't strongly tied to any particular era and were different enough from contemporary fashions to allow one to easily imagine the action taking place in an alternative universe*. The costume colours tended to be dark and muted and were very well co-ordinated, particularly in the women's outfits. I loved Desdemona's purple get-ups. Even the shoes matched!

The use of mobile phones and iPads was innovative and amusing. A ringtone is heard. 'What trumpet is that?' Iago checks his mobile. It was all done in a suitably subtle way; there was no shoehorning of modern accoutrements or references.

My only 'criticism', if you can call it that, is that I would've liked to have seen more evidence of the fact that this was taking place in hot climes. I think more suggestion of the heat would have added to the atmosphere of tension.

*With the slight exception of the John-Travolta-in-Saturday-Night-Fever outfit that appeared in the second half.

Next: Not sure. I know I said I was expecting a Pride & Prejudice review...well, I'm not sure whether that's ever coming. Sometimes, like many of the characters in Othello, you just can't have what you want or expect.

Nell Gwynn - Globe Theatre

Sumptuous set of Nell Gwynn

Having seen Blue Stockings two years ago, I was excited to see Jessica Swale's latest offering. Following Nell's journey from humble theatre orange seller to successful actress and mistress of Charles II to aspiring playwright, Nell Gwynn was a big ball of wit, exuberance, ribaldry and joy. It was definitely my favourite Globe production of the year.

Gugu Mbatha-Raw was sympathetic and engaging as the courageous, determined, witty Nell. After being persuaded by actor Charles Hart (Jay Taylor) to try her hand at acting, Nell discovers she has a gift for it and quickly becomes indispensable to the company of players, much to the discomfort of Edward Kynaston (Greg Haiste), the company's established actor specialising in female roles. When the King shows an interest in Nell she is torn between her rewarding theatrical career (and Charles Hart, with whom she is romantically involved) and the prospect of a more comfortable - albeit potentially insecure - life with Charles II (David Sturzaker), with whom she has fallen in love.

The play was bawdy but not gratuitously so. Nell's humour was so infectious and her character so sympathetic that you couldn't help laughing along with her. The humour wasn't restricted to bawdiness; it was very witty and contained modern references (e.g. King Charles' anti-austerity remark). Kynaston was extremely funny as a stereotypical thespian, keen to demonstrate all the moves he had learned at 'fan school' in an attempt to intimidate Nell, and insisting on having an incredibly detailed backstory for the minor character he ended up playing. Nancy (Amanda Lawrence), the menial responsible for mending the company's costumes, was also a source of much of the play's humour. I loved it when it transpired that she had a perfect understanding of French as a result of having worked in France under Molière. 

My favourite scene was that in which Nell mocks the King's new mistress, Louise de Keroualle (Sasha Waddell), during a performance attended by the King and Louise. After Louise boasts to Nell that she intends to come to the performance wearing a 'grand chapeau' that will reduce Nell to insignificance, Nell comes on stage singing a song in French making fun of Louise, accompanied by other actors carrying an elaborate hat too gigantic to be worn.

The set was wonderful, complete with Royal Box and other theatre accoutrements. The costumes were excellent, including the many wigs. The music was great; songs entertaining.

One of the main themes of the play was the dearth of complex female characters in plays; once admitted into the company Nell tries to get Dryden (Graham Butler) to write more realistic and believable female characters. It was interesting to see this theme in the context of a play set in the seventeenth century, as it is of course still very relevant today.

Next: Probably Pride & Prejudice (guest post)