David Bowie's Lazarus Musical is Weird and Wacky AF, & a Great Tribute to Himby Randi / January 14, 2021It’s Theatre Thursday! Well last night was, for the press night of the new filmed theatrical production of I Love You, You’re Perfect, Now Change, from Lambert Jackson Productions and the London Coliseum, available to watch for this weekend.
The new filmed stage production of Joe DiPietro & Jimmy Roberts’ musical I Love You, You’re Perfect, Now Change, directed by Kirk Jameson, is the rare streamed production of the past year that made the most of its dual status as both a stage show and a film. It still felt stagey, with all the raw edges and intimate casualness of theatre, but made the most of being pre-filmed, with quick changes between settings, costumes, and characters amplifying the short vignette style of the show. The style let each scene feel like a unique story despite only using the four actors the show calls for.
I Love You, You’re Perfect, Now Change (that’s the last time I’ll type that whole title out) is the 1997 Off-Broadway musical consisting of vignettes – mostly very funny, some sad – about love and relationships. From dating to marriage to widowhood, the musical shared insights into universally felt moments of hilarious cringe from the dating scene as well as semi-poignant thoughts about long-term relationships, in a way that audiences heavily related to, at least in the ’90s. Some parts are dated, from the opening number’s line about Sweet’N Low and Half & Half (I swear tg I have not heard about Sweet’N Low since my dad stopped stealing them in bulk from the deli in the year 1999), to the entire scene with the divorcee making her video for the old VHS dating services (which I had to explain the existence of to my husband, my knowledge of course coming from that one episode of Full House where Joey makes one in the basement). This production modernizes other parts, as recent productions have, inserting necessary lines about phone apps and swiping in certain directions, as well as replacing one original scene with one about dick pics. Although I don’t mind shows embracing the times they were written in, I also didn’t mind these fairly innocuous updates to avoid being too much of a period piece.
Luckily, the humor I remembered from this show remained. (Although, at the beginning I got nervous. I didn’t quite get the framing device, with the creepy church sounds and vampire movie music. We did this show in college, and I did not remember anything spooky or creepy, so the first minute or so of Halloween noises and sermons made me question all my memories and experiences but fortunately it segued into fun musical theatre pretty quickly.) From the first awkward date to, well, the next awkward date, because the awkward dates provide the funniest material, the show made me laugh quite a bit. It’s super quirky (that’s the The Word for describing it), often weird af, and overall enjoyable, especially with the help of a great cast. Simon Lipkin (replacing Trevor Dion Nicholas from the initial announcement and I haven’t found out why yet and I hope Trevor is okay because what a guy), who is always a riot even as a creepy carnival barker (Assassins, not Carousel), is in top comedic form here, especially as the lawyer in the “Satisfaction Guaranteed” scene, something perfectly suited to his goofy-yet-intimidating-yet-fun schtick. Oliver Tompsett, another one of our fave West End guys, comes off equally well as long as he’s not saying ‘lasagna’ in a, what, Chicago? accent? Please don’t. His scene with Alice Fearn as two undatable nerds realizing they’re perfect for each other is a great show of zero ego (he looks ridiculous) and all talent.
Alice Fearn and Brenda Edwards get to show off as well, playing virtually the entire range of adult female character types. Their duet “Single Man Drought” was one of the definite highlights of the production, with their strong voices and stage presence convincing you it was a power anthem despite the context of the material.
A dip in energy came from the end of the first ‘act’, with the scene of the gay couple that felt vaguely homophobic, like very 1990s with the ‘acting gay’ thing (also the baby talk-into-sort-of-rap was a musical low point, woof), through the wedding and into the married couple vignettes, probably because the dating world is just funnier than the married world. Married problems are serious and sad! But the steam picked up again with the other highlight of the night, Tompsett’s gorgeous “Shouldn’t I Be Less in Love with You?” I mean, it’s like Cassidy Jansen was off in the wings about to forgive him for screwing up Romeo & Juliet by belting her face off. (That’s an & Juliet joke.) This one song and his performance ended the typical second act doldrums of many musicals from this era. Just beautiful.
The final scene of the widows meeting at a funeral was objectively sad in content, but it didn’t capture the emotion it aimed to. Something about it felt off, maybe a bit forced to have us immediately need to form an emotional impression of characters we have no connection to, and also yeah Lipkin sounds like a pretty Jewish name but his old New York Jew impression still felt…wrong to me. But with the joyous, catchy finale and its wonderful four-part-harmony introduction to the title song (once you get past the creepy church noises again), the show ended on a pleasant high note. Overall, it’s a solid production of this quirky (there we go again) show that tries to be goofy and ridiculous as often as it tries to be serious and important, where overall it just makes for a pretty good time.
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Hottest Ticket in Town “One Woman Show” is As Good As They Say
SPOILER WARNING! This one is very much not for those of you who are yet to see it. This one’s for those who have seen it or never will get to. Or, really, more for my own memory’s sake.
Liz Kingsman’s one-woman-show-parodying one woman show, called One Woman Show, is by far the funniest event happening in London right now, even funnier than my commentary through the walls to my loud neighbors asking how they smuggled elephants into a no-pets-allowed building. Her post-Fleabag scathing send-up of that type of overdramatic, confessional-style, sexually-bold-just-to-say-it-is show is at least in my opinion (and what else are we doing here) more laugh-out-loud hilarious and more interesting than any of the predecessors she’s sending up. She’s an unfairly funny person, clever with her words as much as she is with audio and visual gags that are still making me laugh.
The lines between truth and fiction are completely blurred, starting when you enter the theatre. There are notices on the bathroom doors, the walls, the stairs, alerting audience members that ‘Tonight’s performance of Wildfowl is being filmed’. I was so stupid I literally almost asked an usher if these signs were from another show, because wtf is Wildfowl? Thank goodness I didn’t, because it’s part of the show. One Woman Show has Liz playing a fictitious/exaggerated character Liz who is working on her one woman show Wildfowl about her insane shenanigans and it’s being filmed that night. Throughout, Liz asks the production manager for cues or to check on aspects of the recording process and it’s hard to know what’s real or not, it’s so well done. The show began at least 15 minutes late, and it seemed to be explained by the whole setup for the filming, but it becomes clear (to different people at different times) that the filming facade is just part of the scripted show, so I have no idea whether the delay is actually part of the show every night?? My brain hurts trying to keep it all straight! Don’t think about it too hard too too hard.
We meet Liz, the character, as she wakes up in a strange apartment after a wild night. Where am I, she wonders. Who is this guy? How do I get to work from here? When she sees a picture of herself on the fridge, she freaks out – how does he have this? I don’t even remember taking this photo in a beer garden where I clearly am having such a good time that I don’t realize anyone is taking my photo! Then she realizes it’s her own house. Writer Liz has analyzed what worked for Fleabag &c, and what has gotten copied ad nauseum, and mirrors those details while simultaneously skewering them. She later gets hit by a bridge, but mostly shakes it off.
From here, I could keep going on about how funny it is, even though the word funny feels incredibly ill-suited to just how funny it is, and this would be supes boring to read, so I’m going to share my favorite parts instead, mostly so I remember them later:
When Liz asks a new, secretive lover when he will be getting back from Africa, he responds: “When does anyone get back from Africa?” Husbo and I immediately made mental notes to say that nonstop for the next few weeks (side note we are going to Africa next week).
When Liz’s Australian boss Dana, who Liz imitates by standing like a flamingo, delivers her super insightful monologues that skewer the whole genre going beyond simple retorts and instead present Liz’s entire theses in unedited, hilarious form, like when she directly states to Liz, “You’re not a mess; you just want to be seen as one.” I MEAN. THAT’S THE WHOLE THING OF THESE SHOWS.
When the lighting changed for a scene and a bit of a Grammarly commercial started playing, like we were in a mfing YouTube video. I think that’s what made me laugh the hardest the entire night.
When the production manager says repeatedly that the next segment in the script has the cue PAUL and you think it’ll be about another man she slept with but instead it’s about the chain of French bakery coffeeshops we have here, PAUL.
The reveal of Phil not being a new coworker but a POTTED PLANT (so stupid) buoyed by the audio recap of everything she had previously said about him (amazing).
When she is responsible for the demise of an entire species of bird, but sees that there are so many more birds out in nature, and says dreamily “maybe I am enough.” It’s too brilliant it hurts.
Sight gags in order of amazingness:
- The moat reveal for the stalls. (We really had no idea there was a moat.)
- The water bottles during the ‘break’ as they discuss what’s going on with the filming: the small bottle of water she sips from stage right…then the bigger liter of water she takes from stage left…then the gigantic water cooler replacement she takes from backstage. TOO DYING.
- Best one: At the end, when she says her performance isn’t as vulnerable and honest as she hopes unless she gets truly naked, so she goes to take off her clothes, her random unflattering big tee shirt and overalls, only to reveal she’s wearing the SAME EXACT OUTFIT underneath. Whatever anyone was expecting her to have underneath, this was funnier.
Lightning round mentions:
- Meeting at The Old Queen’s Leg, RIDICULOUSLY perfect pisstake of British pub names
- Having drinks at Las Iguas/Lassy Guas (Las Iguanas). I was hysterical it’s so stupid.
- “He walked me from Notting Hill to Bank Station.”
- Her friend with the Northern Irish brogue who funnily enough “doesn’t speak in any of my memories”.
- What made this audience laugh hardest: When she has random sex at a club and the guy is behind her and she says “this is my favorite position, because I can still narrate.”
I mean, this isn’t even half of it. I do think that line that her boss gives, the ‘You’re not a mess, you just want to be seen as one’, is sensational in how effectively and efficiently it describes this type of confessional, supposedly honest-to-a-fault genre that was saturating the market for a bit. Its hard-hittingness stands out a bit from the rest of the show’s humor but it’s the part that showed me how well Liz understood her assignment and how far her submission went above and beyond the rest.
INFORMATION
Playing at the Ambassadors Theatre, which might have the worst and oldest toilet situation in the country.
It is meant to run 1 hour 10 minutes but it started at least 15 minutes late as I said so we got out at like 10:45. Oh we went to the 9:15 show, there’s an early and a late show which I’m sure is really hard for the performer but really fun for me.
Jon Snow and ginger wife were there.
Right Now in London: 5 Must-See Musicals
August can be such a boring, dead month – everyone is on holiday, work is slow, so many things are closed, and this summer in particular it’s too hot to want to do anything. Thank goodness that London is overflowing with great theatre to see, even in these dog days of summer. This time of year can be a quiet time for theatre, as the big awards-focused shows haven’t opened yet and many of last season’s best have already closed. But luckily this August has lots of exciting, mostly new musicals. Before the incredibly exciting premieres of, for example, the gender-swapped “Company” (with Patti LuPone! PUT THOSE PHONES AWAY!) and Broadway’s heartrending darling “Come From Away”, there’s plenty to see right now on the West End and off.
Everyone always asks me for recommendations, and while I recommend that you, like me, see everything possible, I realise (I do I really do!) that my schedule of constant theatre isn’t feasible, or desirable, for most people, especially for the many tourists interested in just a few tips for their short London visits. So here are my top musical recommendations – in no particular order – that you can go see right now (well, one requires a bit of planning but you get the idea!).
5. THE KING AND I
London Palladium, until September 29
Most theatre fans will have fond memories of when they first saw “The King and I”, whether of watching the movie with their families or seeing an earlier production. Even people who don’t think they know musical theatre can sing along to “Getting to Know You” (just don’t sing along in the theatre!). But apart from the Broadway production that begot this West End transfer, this current rendition is the best there’s been.
And this is mainly due to its star, Kelli O’Hara, showing London what a true musical genius of a performer can do. O’Hara is probably the greatest soprano working in musical theatre today, and she’s providing a master class on acting through singing and on restraint as a powerful tool. Having this chance to catch her one last time in her Tony-winning role is a lucky opportunity that no one should miss. Her “Hello Young Lovers” is without a doubt the loveliest interpretation of the song ever witnessed and the most glorious musical achievement currently happening in London right now. That film star Ken Watanabe has also returned to the show, to reprise his role as the King of Siam, adds to this production’s appeal. His King easily alternates between goofy and cruel, yet he is always completely charming. And the recent return of the great Ruthie Ann Miles to the stage, here sharing the role of Lady Thiang, would be reason enough to see this production.
Catching this talent while you can is a must, although I have realised upon my latest visit that “The King and I” is kind of a weird show. It’s not necessarily that it has aged poorly, like other Golden Age shows have, but there’s an obvious direction the show would follow today (that someone at some point would ask Anna and/or the King, “Why do we have to pretend to be westernised to prove we aren’t barbarians? And why do we have to prove anything to prevent invaders from taking over our country illegally?” after which would come a story of being proud of your heritage or something) instead of the odd route it takes (“giant skirts and high heels will prevent conquest!”). Nevertheless, it’s a classic for a reason, and this is the production to see while you can.
London Palladium, until September 29
Most theatre fans will have fond memories of when they first saw “The King and I”, whether of watching the movie with their families or seeing an earlier production. Even people who don’t think they know musical theatre can sing along to “Getting to Know You” (just don’t sing along in the theatre!). But apart from the Broadway production that begot this West End transfer, this current rendition is the best there’s been.
And this is mainly due to its star, Kelli O’Hara, showing London what a true musical genius of a performer can do. O’Hara is probably the greatest soprano working in musical theatre today, and she’s providing a master class on acting through singing and on restraint as a powerful tool. Having this chance to catch her one last time in her Tony-winning role is a lucky opportunity that no one should miss. Her “Hello Young Lovers” is without a doubt the loveliest interpretation of the song ever witnessed and the most glorious musical achievement currently happening in London right now. That film star Ken Watanabe has also returned to the show, to reprise his role as the King of Siam, adds to this production’s appeal. His King easily alternates between goofy and cruel, yet he is always completely charming. And the recent return of the great Ruthie Ann Miles to the stage, here sharing the role of Lady Thiang, would be reason enough to see this production.
Catching this talent while you can is a must, although I have realised upon my latest visit that “The King and I” is kind of a weird show. It’s not necessarily that it has aged poorly, like other Golden Age shows have, but there’s an obvious direction the show would follow today (that someone at some point would ask Anna and/or the King, “Why do we have to pretend to be westernised to prove we aren’t barbarians? And why do we have to prove anything to prevent invaders from taking over our country illegally?” after which would come a story of being proud of your heritage or something) instead of the odd route it takes (“giant skirts and high heels will prevent conquest!”). Nevertheless, it’s a classic for a reason, and this is the production to see while you can.
4. BRING IT ON
Southwark Playhouse, until September 1
The fact that I’m recommending this show even though the small black box theatre is not air-conditioned proves how much fun it is. Even though the audience (and the cast!) was dying from the heat, everyone was having a ball, because the exuberant cast’s energy mixed with the fun music makes for a winning, perfect-for-summer combination.
“Bring it On” is inspired by the famous Kirsten Dunst movie (possibly the best movie ever) and subsequent franchise but with a completely different story – a move I greatly appreciated from book writer Jeff Whitty, as it lets the musical stand on its own merit instead of being compared to a much tighter movie. With mostly vivacious music by Lin-Manuel Miranda, Tom Kitt, and Amanda Green, “Bring it On” makes it easy to have a good time. There may be too many lackluster ballads, and they generally fail to further the story or the character development, but even just a few of the lively ensemble numbers make it all worth it. Especially given the very young, fresh (and yes inexperienced) cast, that’s really where this show shines and where everything seems to come to invigorating life.
It’s not a great musical – it’s not going to be considered one of the classics of the age or anything – but it’s an incredibly easy show to enjoy right now. The humour and energy and of course the cheerleading will have you smiling pretty much the whole time. And, I can’t think of any show that will make young people more excited to return to school.
Southwark Playhouse, until September 1
The fact that I’m recommending this show even though the small black box theatre is not air-conditioned proves how much fun it is. Even though the audience (and the cast!) was dying from the heat, everyone was having a ball, because the exuberant cast’s energy mixed with the fun music makes for a winning, perfect-for-summer combination.
“Bring it On” is inspired by the famous Kirsten Dunst movie (possibly the best movie ever) and subsequent franchise but with a completely different story – a move I greatly appreciated from book writer Jeff Whitty, as it lets the musical stand on its own merit instead of being compared to a much tighter movie. With mostly vivacious music by Lin-Manuel Miranda, Tom Kitt, and Amanda Green, “Bring it On” makes it easy to have a good time. There may be too many lackluster ballads, and they generally fail to further the story or the character development, but even just a few of the lively ensemble numbers make it all worth it. Especially given the very young, fresh (and yes inexperienced) cast, that’s really where this show shines and where everything seems to come to invigorating life.
It’s not a great musical – it’s not going to be considered one of the classics of the age or anything – but it’s an incredibly easy show to enjoy right now. The humour and energy and of course the cheerleading will have you smiling pretty much the whole time. And, I can’t think of any show that will make young people more excited to return to school.
3. HAMILTON
Victoria Palace, open run
You can’t talk about musical theatre anymore without mentioning Lin-Manuel Miranda’s behemoth masterwork, and that’s for good reason. “Hamilton”, one of the most astounding, brilliant musicals ever written, has changed the game, infiltrated all realms of culture, and proved that musical theatre is relevant. One of the few properties to actually surpass the insane hype surrounding it, “Hamilton” has the most incredible score, and it’s the only show that teaches you more than an entire year’s worth of U.S. History could, all while being entertaining instead of like school.
If you are one of the few people who haven’t yet memorised the entire score, “Hamilton” tells the story of one of America’s formerly-overlooked-but-now-most-famous founding fathers, who worked his way out of a life of poverty in the British West Indies. His determination and brilliance helped him escape endless trauma and become an influential part of the American revolution and the foundation of the new republic. Yet his ambition and wit get him into trouble too, giving him a lifetime of experiences most rappers would love to write about. A hip-hop musical about the founding fathers seemed crazy at first, but now it’s entirely accepted as incontestable that this type of music should tell this story.
So I know you can’t buy tickets for this weekend, but don’t worry, it’s not going anywhere. It will be playing for a looong time. And if you are the semi-spontaneous sort (it is done two days in advance, so it’s not the thrilling ‘ahh I won and the show starts in 30 minutes!’ type of exciting ticket lottery), you can enter the daily ticket lottery for only 10 quid at this website. Otherwise, you can start looking for tickets for a few months in advance (the benefit of seeing it in London and not New York). Be warned that, because of its cultural infiltration, the show has become its own sort of tourist attraction, and the audience can be rowdy. The Delfont Mackintosh staff at the Palace can’t (and won’t) do much to curb the talking, the singing along, and the phone use (and subsequent filming and photo taking), but if you can stomach that (which, to be fair, is increasingly happening at all sorts of shows nowadays), you’ll have the time of your life.
Victoria Palace, open run
You can’t talk about musical theatre anymore without mentioning Lin-Manuel Miranda’s behemoth masterwork, and that’s for good reason. “Hamilton”, one of the most astounding, brilliant musicals ever written, has changed the game, infiltrated all realms of culture, and proved that musical theatre is relevant. One of the few properties to actually surpass the insane hype surrounding it, “Hamilton” has the most incredible score, and it’s the only show that teaches you more than an entire year’s worth of U.S. History could, all while being entertaining instead of like school.
If you are one of the few people who haven’t yet memorised the entire score, “Hamilton” tells the story of one of America’s formerly-overlooked-but-now-most-famous founding fathers, who worked his way out of a life of poverty in the British West Indies. His determination and brilliance helped him escape endless trauma and become an influential part of the American revolution and the foundation of the new republic. Yet his ambition and wit get him into trouble too, giving him a lifetime of experiences most rappers would love to write about. A hip-hop musical about the founding fathers seemed crazy at first, but now it’s entirely accepted as incontestable that this type of music should tell this story.
So I know you can’t buy tickets for this weekend, but don’t worry, it’s not going anywhere. It will be playing for a looong time. And if you are the semi-spontaneous sort (it is done two days in advance, so it’s not the thrilling ‘ahh I won and the show starts in 30 minutes!’ type of exciting ticket lottery), you can enter the daily ticket lottery for only 10 quid at this website. Otherwise, you can start looking for tickets for a few months in advance (the benefit of seeing it in London and not New York). Be warned that, because of its cultural infiltration, the show has become its own sort of tourist attraction, and the audience can be rowdy. The Delfont Mackintosh staff at the Palace can’t (and won’t) do much to curb the talking, the singing along, and the phone use (and subsequent filming and photo taking), but if you can stomach that (which, to be fair, is increasingly happening at all sorts of shows nowadays), you’ll have the time of your life.
2. FUN HOME
Young Vic, until September 1
I have so much faith in this extraordinary musical that I’m recommending it even though I haven’t seen this production yet (next weekend!). With an accomplished, emotional score by Jeanine Tesori and Lisa Kron, “Fun Home” feels so intimate and so real that you’ll feel as if you are a part of the family. Based on Alison Bechdel’s beloved graphic novel about her family and her childhood, the musical weaves between present and past as Alison looks at three different stages of her life to consider her relationship with her parents.
“Fun Home” is the rare kind of show that lets the poignancy of quiet family life stand on its own merit, without booming belted stand-and-plant solos or excessive dance numbers to distract from the emotion. It’s a difficult show that relies on the abilities of child actors to do a lot of the heavy lifting, but when it works and you connect to the material, it’s a uniquely special theatrical experience.
Young Vic, until September 1
I have so much faith in this extraordinary musical that I’m recommending it even though I haven’t seen this production yet (next weekend!). With an accomplished, emotional score by Jeanine Tesori and Lisa Kron, “Fun Home” feels so intimate and so real that you’ll feel as if you are a part of the family. Based on Alison Bechdel’s beloved graphic novel about her family and her childhood, the musical weaves between present and past as Alison looks at three different stages of her life to consider her relationship with her parents.
“Fun Home” is the rare kind of show that lets the poignancy of quiet family life stand on its own merit, without booming belted stand-and-plant solos or excessive dance numbers to distract from the emotion. It’s a difficult show that relies on the abilities of child actors to do a lot of the heavy lifting, but when it works and you connect to the material, it’s a uniquely special theatrical experience.
1. MATILDA
Cambridge Theatre, open run
So unlike the rest of this list, “Matilda” isn’t recent to London by any means. But I realise that there are no British musicals on this list of what to see in London right now, which just seems wrong. Luckily, I’m not just including this to tick off a “British musical” box – “Matilda” is really and truly the best British musical, modern or classic, and I will happily argue with anyone who says otherwise.
This genius adaptation of Roald Dahl’s beloved book proves Tim Minchin as one of the best lyricists in the business right now. While I eagerly wait for his next project, I’m grateful that “Matilda” is still playing in the West End since it features the only truly great, complex original score that we’ve seen here in far too long. And not only is the score beautiful, affecting, and funny, the book is one of the best of modern musicals, in a time where musical book-writing as an art seems to be given less and less respect. Although it’s ostensibly a show for children (a little girl I once sat next to had an accident, bless her), Dennis Kelly’s intricate, eloquent book and Minchin’s beyond clever lyrics ensure that even adults will need to pay attention and, like the show’s heroine, use their smarts.
Cambridge Theatre, open run
So unlike the rest of this list, “Matilda” isn’t recent to London by any means. But I realise that there are no British musicals on this list of what to see in London right now, which just seems wrong. Luckily, I’m not just including this to tick off a “British musical” box – “Matilda” is really and truly the best British musical, modern or classic, and I will happily argue with anyone who says otherwise.
This genius adaptation of Roald Dahl’s beloved book proves Tim Minchin as one of the best lyricists in the business right now. While I eagerly wait for his next project, I’m grateful that “Matilda” is still playing in the West End since it features the only truly great, complex original score that we’ve seen here in far too long. And not only is the score beautiful, affecting, and funny, the book is one of the best of modern musicals, in a time where musical book-writing as an art seems to be given less and less respect. Although it’s ostensibly a show for children (a little girl I once sat next to had an accident, bless her), Dennis Kelly’s intricate, eloquent book and Minchin’s beyond clever lyrics ensure that even adults will need to pay attention and, like the show’s heroine, use their smarts.
As for those big newsworthy shows coming later in the year, I suggest you buy your tickets now for the aforementioned “Company” and “Come From Away”, as well as “Hadestown”, Don’t say I didn’t warn you when they all sell out!
Get your tickets to these shows and more at Encore Tickets!
*Post sponsored by Encore Tickets*
Get your tickets to these shows and more at Encore Tickets!
*Post sponsored by Encore Tickets*
