Healthy West End But Not A Cabaret

The past year has been filled with so many theatrical delights; so much so that audiences have either been spoilt for choice or singing in musical heaven!  The West End has revived its fortunes partially, as theatreland is now full of song. The problem is this has led to a price rise across the board though and also means that plays struggle alongside some of these more audience friendly hits. Theatres are now full but smaller plays do not get a look in as they are not seen as financially viable. Summer and Smoke and Bent both closed early as a result.

I visited the West End recently and saw many productions to try and see how much variety there was there and to also compare it with Manchester, where I live. I have to say it is looking really lively. There are not as many plays as many people would like but the regions offer many plays if you are willing to travel. So let's take a trip to the theatreland.

Five of the best

AVENUE Q (Noel Coward Theatre)
This musical is still going strong in London. Fresh from Broadway, it was not the critics fave in the UK. It is hard to see why as it has so much to offer audiences, including a huge heart, hummable tunes and vibrant performances. You also feel you are watching something very unique. If you hardly ever seen musicals and are put off by the big, bombastic approach that many seem to take, this is for you. But Q also appeals to the seasoned musical fan, as it is an affectionate parody of the genre and American culture. There are also great offers available on this show if you are a student or do not mind sitting in the front two rows. I could quite happily visit Avenue Q every week.

MARY POPPINS (Prince Edward Theatre)

This big budget Disney/Cameron Mackintosh spectacle is doing better in London than on Broadway. The reviews were far more complimentary here and you can see why. At the moment the show has never been as in good shape as it is now. You would not guess that the show was two years old. Lisa O'Hare makes a delightful Poppins and is matched perfectly by Broadway's Gavin Creel as Bert. These are two perfomers well worth travelling to see as they breathe new life into this classic show. The special effects leave you smiling with delight and the show itself has cross appeal as a result. The songs are superb and the ending as Poppins flies into the eves leaves you tear stained. There is a great deal written about West End prices but this is one musical which is really worth the money. The stunning set alone is worth the £55 you pay. Never mind 'practically perfect' this Poppins is perfection itself.

LOVE SONG (New  Ambassadors) The West End has relied on Hollywood stars, of late to lure audiences. This small, intimate play relies on some of Tinseltown's quirkiest indie stars rather than heavyweight A listers and it's a better play for it. It stars Neve Campbell, Cillian Murphy and Michael McKean. Kirsten Johnson also stars but is currently ill. This 'Harvey' for the younger generation is cinematic, very slight but incredibly appealing. Campbell does very well with a very difficult part and looks comfortable on stage, considering the debacle that was Resurrection Blues. Murphy is remarkable and utterly engaging. The plot is slightly twee but this is a play that you can see after a hard day at the office and, at 90 minutes long, it fizzes along nicely as opposed to leaving you bored with backache.

WICKED (Apollo, Victoria)
What can you say about this epic Broadway hit that has not been said, already? Yes, it's pure popcorn on stage and granted, the songs are not  as memorable as they could be. But when a show receives the movie premiere treatment by the audience night after night, who cares? I have never seen such excitement preceding a musical performance in my life. The show does deliver as it has spectacle, laughter, a real knowing plot and special effects a plenty. You may not remember it two days later but Wicked is alot of fun while it lasts. Young audiences have been goping mad for this musical in London. Some have criticised the Broadway invasion of London but I personally love seeing The Big White Way descend on the West End. It has bought some sparkle and glitz to theatreland which was much needed. The show may not defy gravity but it will leave you feeling glad you left the house.

BENT (Trafalgar Studios)
Sadly this play has left London now but I caught it on its last day. Martin Sherman's classic production suffered the fate of many plays in London. The onslaught of the musical juggernaught meant that this was one of the many casualties. Alan Cumming and Chris New were both outstanding as the doomed pair. The Cabaret star was a big draw and did not fail to impress with his measured performance. I was more impressed by New though who was mesmerising to watch. The direction was solid and the play lost its power. One of the great underrated productions of the year. Gone, but not forgotten.

LIFE IS NOT A CABARET, SADLY!
CABARET  (Lyric Theatre)
The one production that I had been dying to see all year was Cabaret. I was lucky enough to see Sam Mendes' celebrated version in NY at Studio 54 and was blown away. When I heard Rufus Norris was directing a new West End version- I could not wait as I loved his stunning Festen. The casting also intrigued me as there was an unusual mix of well known faces who were not box office stars but were well known enough in theatrical circles. But, sadly this musical revival left me cold. The subtle approach of the original has now gone; everything seems to be spelt out as if the audience are 5 year olds. The clever and very funny "Two Ladies" is now a bawdy number and looks frankly embarrasing in Norris' hands. Worse still is the casting as Anna Maxwell Martin's Sally cannot sing. This is problematic as you cannot tell the difference between the 'bad' night club scenes and the songs delivered to the audience themselves within the musical sections. She also displays no comic timing either. I do not totally blame her as she is completely miscast and out of her comfort zone. Sheila Hancock is superb throughout as is Geoffrey Hutchings but they are the only bright beacons in a show which seems so pleased with itself that it forgets to entertain. This is a real missed opportunity and I hate to say it but it makes Chicago no longer look tired. It's that bad!

HIGHLIGHTS TO COME IN MANCHESTER AND LONDON

Looking forward to the year ahead - in Manchester we have Will Young in The Vortex at the Royal Exchange. We also have the return of the popular hit, Footloose at the Lowry. Plays include, Death Of A Salesman and Rozencrantz and Guildersern Are Dead at the Bolton Octagon the Library Theatre. In the West End I am looking forward to,Underneath The Lintel, with Richard Schiff at the Duchess Theatre. I am also hoping that Fiddler On The Roof transfers from Sheffield to the West End as it is a brilliant production. Henry Goodman puts his awful time at The Producers on Broadway behind him and delivers a barnstorming performance as Tevye. Whatever you choose to see, enjoy it. But do try and take in a play as well as a musical this year. It would be a shame if the variety that the UK theatre scene prides itself on, was to vanish.

For more information about West End and Regional Theatre in the UK, keep reading broadwayworld and also visit www.whatsonstage.com

Enjoy!

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