Tag Archives: dominion theatre

An American in Paris (Dominion Theatre)

The poster and publicity for this present it as ‘a new musical’, but that might surprise the Gershwins, who wrote this parade of songs (some from the 1951 film, some from other sources) which move along the story of Jerry Mulligan – here played by alternate Ashley Day in his debut in the role – and Lise Dassin, played by Leanne Cope, who also did the role on Broadway.

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He’s a soldier who stays in Paris after the Nazi occupation has been routed to become an artist, as idealistic Americans often do.  He keeps seeing pretty Lise and falls hard for her, knowing it cannot just be coincidence.  Soon they start meeting by the Seine, but she doesn’t want to discuss her past or personal circumstances.

Abrasive Adam Hochberg (David Seadon-Young) is the piano player and the commentator on the action, and it was fun to see him deal with a technical malfunction in the first scene which stopped the show at the big reveal of the video projection: we were soon off again, though, into the busy streets where Nazi sympathisers were still about and idealistic Frenchmen like Henri Baurel saw lucrative futures for them across the Channel.

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Jerry finds a patroness in the ‘international dilettante’ Milo Davenport (Zoë Rainey), a Ginger Rogers-like cougar who likes a lot more than his paintings, while on the periphery Henri’s parents M and Mme Baurel (Julian Forsyth and Jane Asher) worry about their son’s lack of interest in settling down to marriage, and slowly find their shared love of jazz music coming to the fore again.

The leads are required to mix styles from both grand ballet and musical theatre (Day is primarily from the latter, but his moves look stellar enough to me, and he has a glorious toothy smile which makes you warm to the character; Cope is a ballerina but displays a fine singing voice in her solo ‘The Man I Love’), and the show benefits from a talented company of dancers, swings and chorus.

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The sets need to be mentioned: Bob Crowley (formerly with the National and the RSC) is scene and costume designer, and 59 Productions Ltd are responsible for the many projections which conjure up time and place, as well as a feeling of being in a city which celebrates the creative arts.  And the music by George Gershwin with lyrics by brother Ira both feel timeless and a world away, with the friend scene-setting of ‘I Got Rhythm’ rubbing shoulders with Jerry’s solo ‘I’ve Got Beginner’s Luck’ and the four-part ‘For You, For Me, For Everymore’.

A couple of things I would change: ‘Stairway to Paradise’ cries out to be a huge production number with showgirls from the start, and Adam’s part is really reduced (OK, he’s not Oscar Levant who was essentially playing himself in the film, but still) so we lose some of the humour and asides the character could make.  There’s also something of a running joke of Henri being possibly gay which felt forced.

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Christopher Wheeldon directs and choreographs in the old style, and he does brilliantly, using his cast and his orchestrations (by Christopher Austin and Bill Elliott, conducted by John Rigby).  This is just a good old-fashioned musical, with great tunes, more than competently performed.

And yes there is a long ballet to the ‘An American in Paris’ suite, full of eye-popping colours and flashy moves, punctuated by some tender pas de deux between Day and Cope.  Elsewhere, there are mirrors and windows, and misunderstandings, and even a Jew in hiding subplot, but the story isn’t really why we’re here.  Superlative.


Jeff Wayne’s War of the Worlds (Dominion Theatre)

You may be familiar with the 1978 album which brought the progressive rock bombast to the words of HG Wells to tell the story of the journalist George Herbert’s encounter with invading martians threatening the Earth.

To give it its full title, ‘Jeff Wayne’s Musical Version of War of the Worlds’ has had several years touring arenas, first with a kind-of hologram presentation of an actor impersonating Richard Burton and mouthing his narration, and more recently, with screen presence of Liam Neeson, allowing additional segments of text to be included and the plot, such as it is, to be developed further.

Don’t expect a full musical presentation here.  What you do get is Jeff Wayne on stage with an all-female string ensemble and a rock band led by Chris Spedding on bass, driving through the familiar instrumental backing and synth wailing you’ll remember from that album.  You’ll get Neeson’s narration, sometimes as video inserts on cloth backdrops, sometimes as full holograms.

The on-stage cast includes Michael Praed (if you’re a certain age, you will remember him as Robin of Sherwood) as the journalist, singing ‘The Eve of the War’ and ‘Forever Autumn’, the musical’s two big numbers.  You have David Essex, there for nostalgia’s sake as he was the original recording’s Artilleryman, voice not quite there anymore but appearing as the ‘Voice of Humanity’ with Chris Thompson’s shoes to fill in the Thunder Child number.

The Artilleryman in this production is Daniel Bedingfield, but he was off the afternoon we saw this and we enjoyed understudy Simon Shorten’s performance instead, especially in the staging of a rather Village People-ish ‘Brave New World’, with a troupe of lads and lasses stomping around with shovels and rhythmic steps.  There are leading ladies, too, with Madalena Alberto as Carrie (a much extended role from the original), and Sugababe Heidi Range in Julie Covington’s old role as the Parson’s wife, Beth.

And then there’s Jimmy Nail, as the Parson, and he overacts like crazy whole trying to sing the role the way the late lamented Phil Lynott did back then.  The singing is OK, but he needs to tone down his portrayal, especially in one of the two new superfluous songs, ‘Life Begins Again’, which takes a musical coda from the original recording and develops it into a bloated number which works about as well as the intrusion of a group of candle-holding children signalling to the alien craft in Act One.

There is a bit of CGI, and a real cylinder and Martian pod, and a bit of artfully choreographed red weed, and, of course, autumn leaves.  There are tongues of fire which shoot up as fireballs at alarming close quarters to the cast, and a bit too much smoke spilling over the edge of the stage.

But you can’t fault this on spectacle, and you can’t fault Wayne on his rockingly good creation.


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"To waste one second of one's life is a betrayal of one's self! I wonder what's on television?"

Retraction Watch

Tracking retractions as a window into the scientific process

Loud Alien Noize

Revealing the True Origins of Silence

Pfeiffer Pfilms and Meg Movies

Blog titling at its best

Emily Baycroft

Freelance Theatre Producer and Administrator

MTAS

WE MADE BADGES COOL AGAIN

A Red Lip And A Nude Shoe

Dior Dreams On A Kmart Budget

is there room for me to sew?

Quilting, Reading and the Movies

The Case for Jeanette and Nelson

"Whaddya gonna do? I love her. I think she loves me." -Nelson Eddy on the Jack Parr Show, 1960

STARDUST AND SHADOWS

Opinions on Classic Hollywood , B Movies, Grindhouse, SF film , Classic Horror, Film Noir, Books, and related subjects by Canadian film guy TERRY SHERWOOD. (This site is not affiliated with author Charles Foster and his book Stardust and Shadows.)

The Wonderful World of Cinema

This blog is all about cinema, movies and stars of every decades. It's wonderful!

Movie classics

Thoughts on older movies, especially those from the 1930s to 1950s.

Hiss and Tell

Featuring Gryff, the angry diabetic cat, and the humans who serve him

TESSA BARRIE'S LOST BLOGS

LIFE'S TOO SHORT TO BE NICHE ...

[insert title here]

just one of many things i'm still trying to figure out

buchanblog

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The Phantom Frame

Information about the creative works of Gareth Preston

West End Blog

Bringing you independent, honest, experienced reviews of current theatre shows. We believe theatre is something truly magical and can be enjoyed by everyone.

Archive Television Musings

"To waste one second of one's life is a betrayal of one's self! I wonder what's on television?"

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