Slightly Off Target – Bullet Catch – The NT Shed -Review

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The Shed is the National Theatre’s temporary theatre whilst the Cottesloe is transformed into The Dorfman. It’s a great 250 seater studio space.

Bullet Catch comes to it from its success in Edinburgh last year, and fresh from a Broadway run this year.

It says in the programme “this is not a magic show; it’s a theatre show featuring magic.” I disagree, it’s a magic show, albeit one with a thought through narrative. Narrative, trick, narrative, trick… is the order of the evening. It’s a tad pretentious to claim this is anything more than a magic show (and there’s nothing wrong with a decent magic show).

Rob Drummond is the “magician”(a term he doesn’t use in the programme or on stage). He’s an engaging, pleasant and skillful one. His narrative revolves around the notorious “bullet catch trick” that has claimed the life of numerous magicians over the years.

Throughout the 1hr 20 mins he is assisted by a single member of the audience. It’s a big ask for an audience member to become such a integral part of a show. (Leading some to speculate whether they are a stooge) Ours last night was confident and candid thankfully. I wonder how it’d work with someone not quite as confident or comfortable being on stage for over an hour?

I have two issues with this show;

Number one; he exposes a magical secret/effect (one also used by Derren Brown in his An Evening of Wonders show) that isn’t his intellectual property to expose.It comes quite late in the show. I think it serves no theatrical purpose, other than to make Rob come across as cold, heartless and as if he doesn’t care, which is a shame as he’s built such good rapport with the audience. In a show where so much has gone into the narrative and framing of the effects this exposure felt unnecessary and quite lazy.  He’ll no doubt argue that he gives option for audience members to cover their eyes. True, but he takes about 2/3 mins to expose it, sitting with eyes closed for that long is not really an option in a theatre.
He should have thought of his own secret to expose rather than ripping off someone elses. (as Penn and Teller expertly do) Strangely at the end when my colleague wanted to examine a prop on stage as he was leaving the theatre, he was told he wasn’t allowed to by a stagehand “as we doesn’t want people to know the secrets“!

Number two;  his big finale is a bullet catch. He produces (via a rather lame magicians prop box) a Glock 9mm handgun. Except we’re in the UK and handgun’s are illegal,  a recent case saw a former S.A.S soldier in trouble for keeping his firearms after leaving the service. If a former firearms specialist gets in trouble with the law, I doubt wielding a loaded illegal firearm on the NT stage would go unnoticed by the police. Plus it made a noise akin to a cap gun and the petite volunteer fired it single-handed with no recoil!
This effect also featured a really “clunky” method, a real shame as rest of magic was performed effortlessly.

So for me it was an enjoyable and interesting magic show, but it didn’t hit the bullseye.

STARS: ★ ★ ★

Viva Forever – Piccadilly Theatre – Review

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I’ll be brief and to the point, I’ve wasted 75 minutes of my life watching the first half of this show and I don’t intend to waste much more writing about it;
It is the worst show I’ve ever seen. Everyone from producers to cast and creatives should be thoroughly ashamed.

Instead listen to the original songs or watch the Spiceworld movie (which is better than this show, and that’s saying something!)

Do not waste your precious life and money on this piece of theatrical tat. Let’s hope it closes soon, there was a very poor turnout tonight,
so here’s hoping.

It’ll not “spice up your life” it’ll simply waste it.

STARS : not even worthy of 1 star.

Ps. For the record, I actually like the Spice Girls and their music, I even own 2 of their albums!

The Winslow Boy – The Old Vic – Review

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The Winslow Boy is to my mind one of the greatest “well made plays”. Written with a craftmanship that is lacking in so much modern writing. The “Rattigan revival” continues unabated I’m pleased to say with this outstanding production.

Lindsay Posner’s tight direction gives this story of injustice and battling against the establishment pace. He also allows the humour to shine through in places that were new to me. I assure you this is no dreary and dull period play. It had me laughing out loud and tugged my heartstrings throughout.

It was wonderful to see and hear an audience that didn’t know the play reacting to its twists and turns and the emotional journey the Winslow boy and his family embark upon. I was also pleased to see such a wide age range  present (literally 9 – 90). All being captivated by Rattigan’s masterful story telling.

If you’ve never seen a Rattigan play, this would make an excellent introduction to his outstanding writing.

Charlie Rowe as the eponymous boy gives a compelling and touching performance as does Henry Goodman his supportive father. They are finely supported by the rest of the cast.

Peter Sullivan as Sir Robert Morton

For me though I really think it’s worth going to see, just to witness Peter Sullivan  and his splendid portrayal of Sir Robert Morton it is tremendous.

With so many productions on in London and in a time where we’re all needing to think about what we spend our hard-earned pounds on. A superbly written play, that the director brings to life in new ways and acted by a stellar cast gets my vote for great value for money and a great theatrical experience.

★ ★ ★ ★

Premium Seats for £126 – Are They Worth it?

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The price of a West End theatre ticket has now tipped over the £100 mark. “Tipped” is not the right word, “leaped” would be better. The Book of Mormon released their new tickets which included a hike in prices. A day later The Audience followed by raising its premium seats to £126 as well.

I have to say I think it’s a shame that the West End has crossed the £100 line. I understand theatre is an expensive creative endeavour and people clearly are willing to pay this price (and more to touts). However I do feel that it prices the regular theatre goer out of the range of some shows. Even if you could get a half price premium ticket to either of the above shows, you’d still be forking out £63. I’m certainly not going to bother to see The Book of Mormon for a good few years when they’ll be offering discount tickets.

Likewise The Audience while it’d be nice to see Helen Mirren performing, the play itself doesn’t appear to be getting a “you must go and see this” response by those I trust. I have a feeling the opinions of critics could become more of a factor for people choosing which show to see going forward.

Don’t get me wrong, I DO expect to pay for tickets, and I’m well aware of the financial implications putting on a West End Show (or any show for that matter) entails. I just feel that the West End has taken a step which I think in the long-term may have negative effects. I like anyone have to budget and make choices with my hard-earned money. Shows charging what I perceive to be excessive tickets prices won’t get my wonga.

Many are excited about the “new” audience The Book of Mormon is bringing to the West End, however if they leave assuming the price of all the other shows is £126, I’m not sure that’s a good thing. Many contemporaries of mine avoid the West End due to a perception that it is “too expensive”. I take my hat off to the marketing gurus behind The Book of Mormon though, they have truly created a juggernaut that is bringing in millions of pounds worth of tickets. I’m skeptical that their success will spill over to other shows though. 

Some have said it is “only” £126 for a ticket, but going to the theatre is seldom an individual event. I have only been to a show or play on my own a handful of times. I go with my wife usually, so now suddenly it’s £252 for tickets, plus a bite to eat beforehand, a programme for show, ice cream in interval and travel. All of a sudden a West End show is a several hundred pounds.

We keep being told the West End is bucking the recession trend, I wonder how much of this is due to the increase in ticket prices as opposed to an increase in audiences? I’m thrilled the West End is doing so well and there is a genuine buzz around about the great shows that are on offer at the moment. I’m just concerned that the trajectory can’t keep going up and up.

Perhaps the West End is a different theatrical beast? It is an event to go there, and it’s prices and shows should reflect that? It does cater for a more transient audience than other theatres and it certainly does offer spectacle and some of the best theatre in the world. Maybe I just need to get used to sitting up in the gods and save my pennies for those shows I really want to see. The West End is my “local” theatre which is a privilege I know, maybe I’m being greedy, as I want to see everything all the time.

I also think the ticket prices help people promote/justify the shows with the zeal The Book of Mormon has created. Very few people who fork out £126 (or more to the touts) are going to say afterwards, “yeah it was an ok show” are they?

When I write my reviews a key consideration I now have is, “does this ticket represent good value for money?”, in the current climate, that is really important. As I think the productions have to justify their ticket prices, is an “ok” show really worth those premium rates?

Let’s hope the rates plateau at this for the forseeable future, and we’ll see what happens.

(Last year I wrote a post, 16 Ways to go the Theatre and Not Pay Full Price click here to read it)

Once will not be enough. Once – Phoenix Theatre London – Review

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Once Title

I had few preconceptions or expectations as I made my way to The Phoenix Theatre to see Once last night, I only found out it was based on a film at the weekend when a friend told me! All I knew was that it had won a slew of Tony Awards on Broadway and it was set in Dublin. A city I fell in love with when I visited it in 2011.

Once is a musical that is so emotionally, musically and theatrically different to anything else on a West End stage at present. Since leaving the theatre its melodies, emotions, images and thoughts have lingered like few productions do.

The cast are actor/musicians each playing a part and various instruments. The playing is superb and invokes the emotions the main characters Guy and Girl go through, whilst telling the story of the book.  It really is  an ensemble piece, each person has their own story which you’re drawn into. The ensemble stay onstage throughout and accompany the songs as applicable.

Declan Bennett as Guy and Zrinka Citesic as Girl

Declan Bennett as Guy and Zrinka Citesic as Girl

This is a  lyrical show and has a more relaxed pace in keeping with the people and setting. This was a refreshing change. It was lovely to sit back and be charmed by this gentle tale.

Bob Crowley’s set is one of the most simple, yet creative and clever I’ve seen. An effective use of mirrors and lighting takes us through various locations even though the set is a fixed Dublin bar. A nice touch is the bar is open for business before the show and during the interval if you fancy a drink onstage!

The pre-show onstage bar with cast playing for us, a brilliant idea.

The pre-show onstage bar with cast playing for us, a brilliant idea.

For me though, I finally feel like there has been a musical written for me,  about people, and emotions that are relevant to me, a youngish man in a city with his own hopes and dreams. I must also highlight that any men out there who say “I don’t like musicals” fear not if your other half suggests a trip to Once. It’s more like a shindig at your local with an emotional punch than a “jazz hands” musical you may have been dragged along to in the past.

Glen Hansard and Marketa Irglova’s songs are gorgeous. I purchased the soundtrack straight after seeing the show, I was so keen to hear it again. On my way to work today listening to it in the car I was again blown away by the beauty of the melodies and lyrics. Being set it Dublin there are also a few that get your toes tapping too. The songs  If You Want Me and Falling Slowly have stayed with me like few melodies do after a musical.

This is a musical with soul. No superficiality, no glitz, no, this is an emotional tale told with raw heartfelt gusto. Just what the West End has been crying out for.

It’s a show about love and I’m head over heels for it. Once will not be enough for me I’ll be back soon to take it all in again.

STARS : ★ ★ ★ ★ ★

Tickets can be bought from : Shows In London

Wicked – The Apollo Victoria Theatre – Review

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Wicked

I saw Wicked when it originally opened way back in 2006. I thoroughly enjoyed it and so the opportunity to revisit it all these years later was something I was keen to do.

How has it weathered these last 6 years?

Well it was a Tuesday night and the place was packed, with a hugely diverse bunch; tourists, families, couples, young, old and me the critic! The Apollo Victoria is a large theatre to still be packing the crowds into, the fact that this show is still doing that is testament to the quality of the show. Overhearing a few conversations during the interval also revealed a great many around me were on their second viewing (like me) or had been 3/4 times already. What keeps drawing people back for more?

Firstly it’s a well structured musical, it has a constant climb culminating in the jaw dropping Defying Gravity that closes  Act 1. This is then continued through Act 2. The story is a very clever take/prequel on the Wizard of Oz. Which appeals to young and old alike. It has a moral to the tale, but it’s cleverly woven into the text and never feels preachy. I’d also forgotten how much humour there is in the show, some genuine laugh out load moments. It’s always argued that a musical needs a great story first and foremost, Wicked certainly does.

Musically it is a superb score, again I’d forgotten how good the songs are AND how witty and clever the lyrics are as well. I was reminded why this show caused such a stir when it arrived in London back in 2006, finally we had a new musical that wasn’t a rehash of some old pop songs. The songs cover the whole gamut of emotions from comical to tear-jerker to songs that just blow you away.

Normally I buy a programme before I take my seat, when I go to a show. Last night I thought “no need, got one from last time.” Yet the moment Act 1 was over I rushed out to foyer to purchase one as I HAD to know who this phenomenal cast was and especially who was playing Elphaba and Glinda.

One of the greatest Musical Theatre performances I've ever seen - Hayley Gallivan as Elphaba.

One of the greatest Musical Theatre performances I’ve ever seen – Hayley Gallivan as Elphaba.

Hayley Gallivan was Elphaba, in what is one of the best musical theatre performances I’ve ever seen, outstanding vocals, that literally had the hairs on the back of my neck raised as she sang, especially Defying Gravity. She commanded the stage as the “wicked” witch and communicated the journey this complicated character makes with skill and sensitivity.

Michelle Francis was the “good” witch Glinda in what was another sublime performance. Her interactions with Elphaba were superb and in her songs she got to show her fantastical musical talents.

The show is really all about those two characters, and rightly so, but the rest of the cast gave their all, to me that’s what I was most impressed with, the cast came out from first second and gave their all to this show and didn’t stop until the curtain fell at the end, to standing ovations and rapturous applause, whoops, cheers and me crying out “BRAVO!”

So what more could you want? Great score, clever lyrics, a story that’ll make you laugh and think, a cast going at full throttle , stunning costumes, a set that is magical and 2 of the best performances on the London stage. I certainly won’t be leaving it another 6 years before I return to be caught up in the magic of the witches that is Wicked.

STARS : ★ ★ ★ ★ ★

For great deals on tickets for Wicked go to Shows In London.co.uk