The Gods Weep

Ok I confess, I rushed to book my tickets for Hampstead Theatre’s latest production, The Gods Weep by Dennis Kelly because it had Jeremy Irons in it and pretty much ignored what it was about, probably for the best as I’m not entirely sure that you could adequately synopsize the play’s 3 hour content! The evening got off to a cracking start as Irons, playing a kind of Gordon Gekko straight out of Wall Street role, dominated the scene in a fairly conventional board room setting. The subsequent action was then fast paced but never dull moving into a Quentin Tarantino phase before finally turning into a much calmer Waiting For Godot scenario with a staggering metamorphosis by Irons from his suited and slick get up to pajama wearing tramp in act 2. I know some critics have disliked this production but I LOVED it, it moved me, shocked me but always engaged me. I try and pop along to the wonderful Hampstead Theatre as often as I can and think they should be applauded for putting on this brave new production, please do go along and support it as it’s big, brash, ambitious and provoking - thank you Mr. Irons for taking on the challenge!

Photo from the Royal Shakespeare Company

Written By: Alison

Wicked

Love them or hate them, musicals continue to draw audiences in the West End. What I love about musicals is the glitz and the glam, and Wicked certainly delivers. WICKED first dazzled Broadway in October 2003 and came to the West End in September 2006, bringing Stephen Schwart’s powerful songs to London. Schwart’s impact on the show was illustrated when I invited my friend to join me and she exclaimed, “I’ve been listening to the soundtrack for ages!” Wicked seems unique in that many people listen to the soundtrack prior to actually seeing the production.

Based on the acclaimed novel by Gregory Maguire that re-imagined the L. Frank Baum’s, ‘The Wonderful Wizard of Oz’, it sheds a green light on the untold story of the Wicked Witch of the West, Elphaba, played by Alexia Khadime, and her friendship with Glinda, the Good Witch, played by Dianne Pilkington.

Stepping out of tube, the green lights shining down from the Apollo Victoria Theatre onto the street lead our way to the theatre entrance just as the yellow-brick road lead Dorothy to OZ.

The Wicked Witch of the West stole our hearts with her powerful and deep, yet impeccably controlled voice. Her passion and energy made her stand out, even amongst the outrageous costumes (designed by Susan Hilferty) and spectacular sets (designed by Eugene Lee). She has previously played the role ‘Nala’ in Disney’s The Lion King (West End). She truly complimented Glinda, who delighted us with every hair-flip and squeal.

The show is famous for being over the top and it did not disappoint! A rain of confetti opened the show in celebration of the death of the Wicked Witch. It took me by surprise as I was marvelling at the giant dragon looking down on us when the confetti was released. During intense moments the dragon’s eyes would illuminate a bright red, it would shake its head and flap its wings above, inciting squeals and gasps from the younger members of the audience. The set for the Emerald City extended beyond the stage by surrounding the audience with green lights. The costumes were different shades of green and gold, made of velvets and satins, and had ruffles, holes, and volume in unexpected places.

Although the production is for pure entertainment, and involves little thought to follow, it does reveal that there are two sides to every story. The show is truly a melting pot of creativity and we left with a new definition of what it means to be Wicked.

Photo From Londontheatredirect.com

Written By: Trish Langenau

Simon Annand’s photographic exhibition, ‘The Half’

Popped along to the V&A on Saturday to take a look at Simon Annand’s photographic exhibition, ‘The Half’. (We’re all extremely familiar with Simon’s work here at Richmond as we were lucky enough to have him take our pantomime production shots for Snow White). The exhibition was made up of photos taken of most treasured thesps during the half an hour before they go on stage – usually a sacred time for them – so as you can imagine the photos are quite revealing (in more ways than one for a couple), I particularly loved the photo of David Tennant (The Rivals Barbican 2000), Daniel Craig (A Number Royal Court 1999) and a stunning behind the scenes shot of Tim Vine and Jonathan Shotton in this year’s panto. What I really loved though was the projected images of Simon’s photos (note to V&A, please add a sofa in front of this as I could have happily sat here all day watching these images flick by, all quite absorbing. Be sure to go along soon though as the exhibition finishes on April 1. Also worth taking a look around the V&A’s permanent theatre exhibition, keep an eye out for Emile Tittler’s Show Business board game and Mick Jagger’s tiny stage costume!

Photo from V&A website

Written By: Alison Tracey

English National Opera

This production at the magnificent London Coliseum, (another Matcham designed building) was a real treat.

If you like your Opera's 'angular' then this could be the one for you. The stage rake is the same as the Upper Circle at Richmond' or the A39 that comes out of Minehead in Somerset, about a 1/10 gradient. It is beautifully lit by Adam Silverman and the whole production is dramatic. Patricia Racette gives her all as Katya especially the giant leap into the 'Volga' at the end- if you're going to leap then this is how to do it. However, for me, the show is stolen by the wonderful Susan Bickley as Marfa Kabaniche, somebody who you do not wish to cross if they're having a bad day (a bit like our Chief Executive if we haven't sold enough tickets). Susan Bickley plays the part so well that it causes the audience to boo in pantomime style at the end which then turns into cheers. If you wonder about the story, think 'Coronation Street' with the Molly, Tyron and Kevin triangle, somehow I don't think Molly will however leap into the pond in the Red Rec!

This was really great night out, great production and some fine singing. I didn't know the Opera beforehand and okay I am not going to rush out and add it to my CD collection but for the production I'd give it 4 stars out of 5, highly enjoyable.

Photo from English National Opera Website

Written By: David

Waiting for Godot

This much vaunted production of Samuel Beckett’s classic, Waiting for Godot, is still delighting audiences at the Theatre Royal Haymarket. Sir Ian McKellen (theatreland royalty by anyone’s reckoning) plays Estragon and, together with Roger Rees, Ronald Pickup and Matthew Kelly, lured us into the beautiful surroundings of the Theatre Royal which has recently been restored to its original 1819 glory. What better way to spend a rainy afternoon? The restoration alone is reason enough to purchase a ticket, as the royal blues, stunning painted ceiling and mock tapestries that adorn the walls of the stalls were breathtaking. Although our hearts are with Richmond Theatre’s beautifully maintained interior, this is also a truly spectacular example of how to look after a theatre!

When we attended last week, we of course knew that nothing would happen, but we were glued to our seats all the same! Recently winning a Whats On Stage Award for Theatre Event of the Year, the show definitely satisfied our expectations. Sir Ian McKellen’s skeptical Gogo complimented the optimism of Rees’s Didi by constantly asking, “Why?” We enjoyed Rees’s Didi, who was originally played by Patrick Stewart, and felt that there was a great dynamic between him and McKellen. The set, which famously calls for “A country road. A tree. Evening”, stayed true to the simplistic tradition of the play while managing to still be innovative. Director Sean Mathias chose to emphasise the play’s theatricality by creating a stage within a stage. The clever design included a proscenium arch (complete with theatre boxes), remains of masonry in the background, a tree, and stone bench. Everything was falling apart. The top of the arch revealed it’s interior construction and had pieces of plywood sticking out in all directions. “Evening” was conveyed by using a spotlight to represent the moon: a simple, but dramatic effect. Ronald Pickup, playing Lucky, and Matthew Kelly, playing Pozzo were also outstanding. We enjoyed Kelly’s extravagant interpretation of Pozzo as it brought energy to the entire show.

The final performance at Theatre Royal will be on 4 April, so we wanted to catch it before it leaves London for the world tour, and urge you to do the same. Click the link below to purchase tickets:

http://www.waitingforgodottheplay.com/

Photo from Theatre Royal website: hhttp://www.trh.co.uk/show_waitingforgodot.php

Video from Waiting for Godot Video Landing Page: http://www.waitingforgodottheplay.com/