NYT Announces 2013 Season
Paul Roseby announces plans for the future of the National Youth Theatre
North London’s newest theatre opens doors.
The Park Theatre in Finsbury Park, North London, opens to the public for the first time.
Surviving Actors returns to Manchester for new event
The convention will take place on Saturday 18th May and will feature loads of industry professionals.
Fourthwall launches NEW internet radio podcast
A new performing arts podcast show, The Download, features interviews with playwright Philip Ridley and West End leading man Simon Thomas.
Blog: Postcard from the One Man, Two Guvnors tour
We catch up with former First Word writer Rosie Wyatt, somewhere between New Zealand and Australia.
Blog: Interactive theatre/cinema
Peter Hinton, a regular performer with Future/Secret Cinema shares his experience of a truly audience interactive experience.
Blog: Taking on an iconic role
Nadim Naaman writes about taking on the iconic role of Anatoly in the first UK Revival of Chess
Into Training: Starting Out
Ed Theakston continues his journey through his first year of training.
Review: Liza on an E, Vaudeville Theatre ✭✭✭✭
Jeffrey Jones is enthralled by Trevor Ashley’s two-hour homage to Liza Minnelli.
Review: The Play That Goes Wrong, Trafalgar Studios 2 ✭✭✭
There’s much to enjoy in this West End Transfer, yet Phil Matthews wonders whether this play matches the talented cast and direction.
Review: Merrily We Roll Along, Harold Pinter ✭✭✭✭✭
Emily Hardy follows the Menier’s transfer of Merrily We Roll Along to the Pinter, and finds its impact has increased, along with its capacity.
Review: Bare, Union ✭✭✭
Overhyped, overwrought, and finally over here, Bare is best enjoyed solely for the fantastic cast, writes Emily Hardy.
Review: Curtains, Landor ✭✭✭✭
Danielle McNally finds the Landor once again proves it deserves its burgeoning reputation as London’s premier producing house for musicals.Robert McWhir’s charming revival of Curtains at the Landor transports its audience into the backstage dramatics of a 1959 musical. When the shows ostracized and untalented leading lady is murdered on the opening night the undeniably talented cast and crew seem a little too relieved. Lieutenant Frank Cioffi is a musical fanatic in his element, staging a lock-in to solve the murder, whilst simultaneously excitedly re-staging the flailing musical Robin Hood.
The core of the text describes a love and a passion for the stage and the theatre. These values are embedded into this production through the dynamic ensemble, whose jubilation and excitement washes over the audience in its entirety. Jeremy Legat as the detective is particularly adorable, offering an emotive and vulnerable performance likened to a lovesick teenager in the presence of their idol. Bryan Kennedy also gives a stand-out performance as the hilariously self-indulgent director who skilfully interrupts scenes with absurd reactions and outbursts throughout.
Martin Thomas’ theatricalised setting of pulleys, ropes, and a half proscenium offers a rehearsal space, a stage, and a backstage area in one. Thomas’ delicate design supports and guides the performers as they move deftly between the metatextuality of the show-within-a-show. McWhir’s staging is purposeful and energised, expertly accompanied by Robbie O’Reilly’s stylish and sharp choreography. Michael Webborn’s musical direction lovingly adds an additional layer of humour and endearment to the show, expertly treading between the lines of performer and accompaniment.
This high-spirited intimate production could brighten the darkest of days with its fearless enthusiasm
Whilst the narrative is confined to a theatre in 1959, and the production to the intimate space of the Landor theatre, the delivery and performances shine beyond arbitrary restrictions into an enjoyable realm of their own. This particular murder investigation is an ironic mockery of creating a show and the pressures and stereotypes of the industry.
The audience is awestricken in close-proximity to the infectious excitement of the ensemble throughout the performance at the Landor. This high-spirited intimate production could brighten the darkest of days with its fearless enthusiasm. As the show concludes the ensemble repeats a reprised version of A Tough Act to Follow; with this company’s tireless energy and emphatic performances, this sentimenet seems appropriately apt. No doubt, however, the enterprising Landor will rise to the challenge. Laurels? Resting? Not in Clapham.
**** (4 stars)
Runs until 1st September