Daniel Radcliffe in "The Cripple of Inishmaan", One of the Best Plays of the Seasonby Randi / May 21, 2014
Yes this is in a Broadway theatre
Yo, Adrian, I dunno why but I had so much fun ya know like so much at “Rocky” on Broadway. It gets shaky reviews from highbrow critics (not like me tee-hee) and people who fancy themselves theatre aficionados (well that is me), but the audiences, and seemingly everyone on Twitter, love it like it’s the city of brotherly love. For shows I don’t like, I’m the first person to discount audience adoration (THOSE IGNORANT PLEBEIANS) but for shows I enjoy, like this one, come on look the audience loves it! That means it’s worth seeing!
But truly it is worth seeing. The music isn’t consistent (I found myself thinking, “Wait this is Flaherty & Aherns? The geniuses who wrote “Anastasia”???), yet even with several weak songs, the show proved that it deserved the musical treatment. It’s the only show now on Broadway that takes actual risks, many of them, and makes it pay off with a tremendously enjoyable experience. With Broadway moving towards complete takeover by jukebox musicals, revues, and over-the-top spectacles, risky and innovative musicals like this should be celebrated.
So about the actual show. Everyone knows the story, right? About the lovable down-on-his-luck boxer living in South Philadelphia (heyooo) who gets a chance at fighting in the biggest fight there is and loves a girl named Adrian? If you don’t you should go watch the movie. There’s a movie. Actually several.
My perception may have been colored because I had the best seat I’ve ever had for a show (thanks lottery! And the gods of fortune that day!). I won the cheap ticket lottery a few months ago (the show has since switched to a general rush policy with worse seats, which I think means it’s doing well) and got the seat right next to the conductor, front row center. Being that close to anything may help (but then again I had front row at “Bullets Over Broadway” and that’s not getting away with anything). The front rows are also part of the ridiculously fun Golden Circle, which we’ll get to later. Regardless, the entire audience at my performance seemed to love it, and I barely stopped smiling.
This is due mostly to Andy Karl, who plays Rocky Balboa and was deservedly nominated for a Tony Award. He is spectacular. He’s understated, super charming, funny and he works his ass off. He also drinks 3 raw eggs every performance, which is disgusting and awful but like that is commitment. Karl has a great singing voice but for this role his speaking voice was even more effective, though his (and everyone’s) accent veers more towards Brooklyn than Philly. It happens. But every time he says “Yo Adrian” – which is basically every time he opens his mouth – somehow it’s perfect and adorable and made me laugh, in the best way. Thankfully, his solo numbers were among the best songs of the show, as it should be. He has some rousing I-believe-in-me-oh-yes-you-just-watch songs, some nice ones about or with Adrian, and one really silly one to open with (“My Nose Ain’t Broken”) that establishes his character and his charm despite some cringeworthy lyrics. Also he has pet turtles. I don’t know if they are real, but he’s adorable with them. As all people are when they treat animals nicely.
Speaking of Adrian, she is a revelation. Margo Seibert’s acting is subtle and natural, and she hides this lovely voice that she expertly wields at the right moments. At several moments I had the urge to give her a hug, which was dangerous because I was close enough to actually do that. She has the most beautiful song in the show, “Raining”, which will likely become a staple performance piece of college girls trying to major in theatre. She also wears the famous red hat and white coat at the end, so nice job all around.
The lackluster songs come when other characters, like Apollo Creed, random scantily clad women, and Headmaster Charleston, were given songs that didn’t do anything to drive the plot forward. This show had enough happening; side characters didn’t need songs just to reinforce that this was a musical. They didn’t further develop the characters, but they bored the audience.
But yes so Headmaster Charleston (Dakin Matthews) is in this, playing Rocky’s coach. When I first saw him onstage I got real scared that he was going to yell at me for breaking into the school at midnight to ring a bell. Thankfully, he didn’t. He’s well cast, but he should not have a song, especially one that is lame and at the top of Act II. The beginning of Act II in any musical needs to be energetic and interesting, because a) you have to bring the audience back into the story and b) second acts are notoriously worse than first acts so why not try to fight that? This ill-planned song about how the coach used to fight or something was like RoadRunner falling off a cliff like beeeyoooahhhhhhhhhbummmmmm (#soundeffects). Filler and dead filler at best. That’s the director’s fault.
After that, the first half of the second act is pretty much training montages set to “Eye of the Tiger”, and damn if they aren’t incredibly fun. That’s how the act should have begun. I’m pretty sure Karl works out like 18 hours a day, but the workout he gets in this show would be enough for a normal person. He jogs back and forth across the stage as digital backgrounds show parts of Philly (that no sane person would run through without a vest), he does push-ups and pull-ups, he drinks the raw eggs (ew), he punches the sides of beef hanging in his friend’s meat locker (ahhhh), and yes he runs up the Art Museum steps (woooo!). I was exhausted just watching it. Hell I’m exhausted just writing about it.
So about the actual show. Everyone knows the story, right? About the lovable down-on-his-luck boxer living in South Philadelphia (heyooo) who gets a chance at fighting in the biggest fight there is and loves a girl named Adrian? If you don’t you should go watch the movie. There’s a movie. Actually several.
My perception may have been colored because I had the best seat I’ve ever had for a show (thanks lottery! And the gods of fortune that day!). I won the cheap ticket lottery a few months ago (the show has since switched to a general rush policy with worse seats, which I think means it’s doing well) and got the seat right next to the conductor, front row center. Being that close to anything may help (but then again I had front row at “Bullets Over Broadway” and that’s not getting away with anything). The front rows are also part of the ridiculously fun Golden Circle, which we’ll get to later. Regardless, the entire audience at my performance seemed to love it, and I barely stopped smiling.
This is due mostly to Andy Karl, who plays Rocky Balboa and was deservedly nominated for a Tony Award. He is spectacular. He’s understated, super charming, funny and he works his ass off. He also drinks 3 raw eggs every performance, which is disgusting and awful but like that is commitment. Karl has a great singing voice but for this role his speaking voice was even more effective, though his (and everyone’s) accent veers more towards Brooklyn than Philly. It happens. But every time he says “Yo Adrian” – which is basically every time he opens his mouth – somehow it’s perfect and adorable and made me laugh, in the best way. Thankfully, his solo numbers were among the best songs of the show, as it should be. He has some rousing I-believe-in-me-oh-yes-you-just-watch songs, some nice ones about or with Adrian, and one really silly one to open with (“My Nose Ain’t Broken”) that establishes his character and his charm despite some cringeworthy lyrics. Also he has pet turtles. I don’t know if they are real, but he’s adorable with them. As all people are when they treat animals nicely.
Speaking of Adrian, she is a revelation. Margo Seibert’s acting is subtle and natural, and she hides this lovely voice that she expertly wields at the right moments. At several moments I had the urge to give her a hug, which was dangerous because I was close enough to actually do that. She has the most beautiful song in the show, “Raining”, which will likely become a staple performance piece of college girls trying to major in theatre. She also wears the famous red hat and white coat at the end, so nice job all around.
The lackluster songs come when other characters, like Apollo Creed, random scantily clad women, and Headmaster Charleston, were given songs that didn’t do anything to drive the plot forward. This show had enough happening; side characters didn’t need songs just to reinforce that this was a musical. They didn’t further develop the characters, but they bored the audience.
But yes so Headmaster Charleston (Dakin Matthews) is in this, playing Rocky’s coach. When I first saw him onstage I got real scared that he was going to yell at me for breaking into the school at midnight to ring a bell. Thankfully, he didn’t. He’s well cast, but he should not have a song, especially one that is lame and at the top of Act II. The beginning of Act II in any musical needs to be energetic and interesting, because a) you have to bring the audience back into the story and b) second acts are notoriously worse than first acts so why not try to fight that? This ill-planned song about how the coach used to fight or something was like RoadRunner falling off a cliff like beeeyoooahhhhhhhhhbummmmmm (#soundeffects). Filler and dead filler at best. That’s the director’s fault.
After that, the first half of the second act is pretty much training montages set to “Eye of the Tiger”, and damn if they aren’t incredibly fun. That’s how the act should have begun. I’m pretty sure Karl works out like 18 hours a day, but the workout he gets in this show would be enough for a normal person. He jogs back and forth across the stage as digital backgrounds show parts of Philly (that no sane person would run through without a vest), he does push-ups and pull-ups, he drinks the raw eggs (ew), he punches the sides of beef hanging in his friend’s meat locker (ahhhh), and yes he runs up the Art Museum steps (woooo!). I was exhausted just watching it. Hell I’m exhausted just writing about it.
All of this leads to the crux of the show, and the #1 reason to see it: The Fight. Everyone who assumed that this epic battle between Rocky and Apollo Creed could not be performed well on a stage is proved wrong. So…everyone. This is when it pays to pay more for good seats up front, because the first 8 or so rows of the center orchestra, called the “Golden Circle”, are taken up on stage ON A BROADWAY STAGE OMG to act as the arena’s audience to the fight. The big boxing ring comes front and center on the stage, and the lucky audience members sit behind this on bleachers, looking out onto the rest of the audience (chumps). Then, the entire set – the bleachers holding these audience members and the ring – moves out into the orchestra, where people had just been sitting! So the people sitting in the side orchestra seats are now sitting along the sides of the ring. It’s all pretty awesome, and then the fighting begins and it’s ridiculous. I don’t know how they do it other than assuming that they are actually beating the shit out of each other for like 20 minutes. Punches fly and, as far as I could tell, land. Sweat and blood drip off their faces, and in the light you can see whatever other substance flies off boxers when they get hit. It’s insane, and intense. HOW IS THIS HAPPENING? Seriously? I met Andy Karl after the show and he looked pretty and not dead, so it’s pure stage magic happening up there. It’s one of the coolest sequences to occur on a Broadway stage, and how great that it relies solely on two actors and not on crazy technology. In this way, the show is kind of old-fashioned, yet the show as a whole – in my view the first to handle sports successfully – is modern, risky, and a must-see.
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Curtains the Musical Whodunnit is a Bloated But Fun Romp
Today’s theatre review is Curtains, currently playing at London’s Wyndham’s Theatre until January 11.
Let’s address the elephant in the room first. I love David Hyde Pierce (who doesn’t?), but I am still a bit of a salty salty dog over his semi-surprise Tony Award win over Raul Esparza (in Company) in 2007. DHP won for the then-new musical comedy-murder mystery Curtains, which I enjoyed on Broadway due to clever story-telling and pitch perfect casting, which, okay fine, included DHP’s flawless performance as one of the most inventive new musical theatre characters in recent memory. Now that the sting of Raul’s loss is somewhat faded, I was eager to see Curtains again without the resentment my younger self harbored over a nonsense award. Currently in the West End for just a few days more, and starring English comedian Jason Manford, I can newly appreciate Curtains as a fun romp of a show that despite its flaws guarantees a good time.
Curtains features a score by Kander & Ebb – I know – so right off the bat you’re like ‘oh this is for real.’ Though it doesn’t boast any future classics, the score is serviceable and fine, with some really good parts. I find the book, by Rupert Holmes, more impressive and funny. It helps that the story this musical tells is so clever: It’s opening night of a musical’s pre-Broadway premiere in Boston (I was just at one of those!), and the horrendously untalented leading lady is murdered during final bows! Egads! Lt. Frank Cioffi of the Boston PD is on the case, investigating cast and crew as they’re on lockdown in the theatre, which is too perfect for him since he is…an enormous musical theatre fan and amateur performer. I just love that SO MUCH. What a fantastic character! (I said that in Fred Armisen’s Mr Birch voice from Big Mouth, if you couldn’t tell but you could.) More murders happen and more twists and unexpected turns, but through it all the most important thing isn’t that people keep dying – it’s that a musical is being made, people! No okay the lackadaisical attitude most of the characters have to multiple murders is kind of weird, but I do understand valuing good theatre above all else so can you really blame them. (Ok no it is kind of weird.)
Though comparisons to a master like DHP are unavoidable and no good for anyone, Manford is very capable and fun and his Cioffi is an amiable goof who can’t help but comment on the show – and actually help improve it – instead of focusing on his investigation. His departures from his intended role and inability to control his enthusiasm for musical theatre is a MOOD, as the yoots say, and I love it, obviously. As writer-turned-unwitting-star of the show-within-a-show (called Robbin’ Hood of the Old West…it seems…terrible), Georgia is played by Carley Stenson, best known by most of the UK from the classic TV show Hollyoaks but a veritable West End star on her own merit. Her voice is wonderful, and her performance in general, although I could deal without all the Robbin’ Hood choreo trying to make her overly sexy. Other performers who stood out included Emma Caffrey as Bambi, the allegedly ditzy dancer, and the too hilarious Samuel Holmes as the bitchy director.
This show could benefit from about 20 minutes of fat trimmed off; it would make it a much snappier show that vibes better with its intended tone. In fact, I’m pretty sure it was at most 2 ½ hours on Broadway, but the moments of too-slow pacing in London have extended it to almost 3 hours! That’s nuts! And it’s too bad that the score highlights the show-within-a-show numbers more than the ones that tell the story, like the repeated “In the Same Boat” bits and the entire Robbin’ Hood saloon/brothel-y number “Thataway!”, which felt like it was 15 minutes. Even with the important events at the end of that number, it should be at least half as short. Same with the Singin’ in the Rain style “A Tough Act to Follow”, it felt way too long (but maybe because the love story between Cioffi and Niki, one of the actresses, is too hard to buy). But there are some great songs that are performed very well, like the best of the score “Show People”.
So even with some slow moments, and too much focus on Robbin’ Hood, and despite how godawful I’m sure Robbin’ Hood is, Curtains is a fun and funny whodunit that succeeds despite some flaws. What struck me most is how perfect this show is for high school and college, since there are SO MANY great parts, all of which get a chance to really show off. And there’s so much humor and good will that it’s always pretty enjoyable.
INFORMATION
Curtains ends its run at the Wyndham’s Theatre on January 11. This audience was shockingly well behaved!!
The Wyndham’s toilets situation is a travesty: if you are seated in the stalls, the ladies bathroom is house right/stage left and only has TWO STALLS. If you sit in Row E or F, as I did, you will be the first there, but otherwise you have to go upstairs to the lobby to have a chance. TWO STALLS.
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*
