Tag Archives: Theatre Royal Drury Lane

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“Frozen” at the Theatre Royal Drury Lane

Everybody knows what they are getting when Disney puts a show on stage. And that’s not just the story – in this case a fairy tale about a magical queen and her sister – and the songs, but what every scene will be. I’m not sure it’s the best introduction to theatre, but Disney does bring its films to the stage very well.

In the case of Frozen, the book, by the film’s writer Jennifer Lee, is sweet and has some surprises. This fairy tale focuses on two female leads and there’s some complexity in their characters. They make nice roles for Samantha Barks and Stephanie McKeon. And the romantic interest isn’t what you might expect – or maybe it is, Prince Charming has had a bad rep for a quite a while, after all. Regardless, there are strong supporting roles for Obioma Ugoala and Oliver Ormson (the latter very much a cartoon villain) that carry a moral well… if not lightly.

The songs, with music and lyrics by Kristen Anderson-Lopez and Robert Lopez, are simple but are effective: pleasant rather than memorable (though many younger fans are likely to disagree with this) but with a good mix of power ballads (which Barks does very well with) and waltzes. The latter are a nice touch. We want some old-fashioned costumes, after all, and Christopher Oram’s work here is lovely. The humour is better than might be expected, the snowman Olaf (Craig Gallivan, with puppet design from Michael Curry) has a good number.

Make no mistake that Frozen is a kids’ show to its core. So, for me, it’s the staging and the special effects, designed by Jeremy Chernick, that are the first highlight. Oram’s scenic design is impressive and Finn Ross’ video work adds immeasurably. The kids really do want to see the film on stage. There’s a superb reveal and, after that, the appearance of Elsa’s pig tail gets its own squeal of delight.

Cast-of-Disneys-Frozen-photo-by-Johan-Persson
Rob Ashford’s engaging and inventive choreography

A quick pace is adopted by director Michael Grandage that hides potential dull moments. Rob Ashford’s engaging and inventive choreography is the second high point. Using the ensemble to create atmosphere or even suggest scenery – an especially strong moment – makes a nice contrast to high-tech touches. Frozen looks expensive and it sure to leave (younger) members of the audience breathless. For me, its genuinely theatrical touches are even more exciting.

www.frozenthemusical.co.uk

Photos by Johan Persson

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“42nd Street” at the Theatre Royal Drury Lane

Bringing one of the most famous movie musicals to the stage, Mark Bramble and Michael Stewart’s adaptation of the 1933 backstage-on-Broadway tale relies on scale to secure success. Taking Harry Warren and Al Dubin’s fantastic collection of songs, they add more hits to the original list. Accompanying the great tunes, Randy Skinner’s Busby Berkeley-style choreography uses an enormous ensemble and every bit of the theatre’s huge stage. Spectacular is the key word.

As one of the many hit songs proclaims, “Who cares if there’s a plot or not?” Following chorus girl Peggy Sawyer’s rise to stardom, after breaking the ankle of her leading lady, doesn’t take much time. Instead 42nd Street is a collection of set pieces. Delivered big, with giant mirrors and staircases included in Douglas W Schmidt’s design. And what costumes – bravo to Roger Kirk. Who knew it was possible to be overwhelmed by sequins? To quote another song – “We’re in the money” – the producers haven’t skimped here.

Bramble is in charge and stamps his mark on the piece, like his potential onstage alter ego – another director – Julian Marsh. Tom Lister takes this role and shouts in capitals throughout, no doubt as instructed, detoxing the character’s old-fashioned pomposity and sexism. Camp is a clever way to deal with how the show has dated. But it isn’t the only possibility: so while An American in Paris give us old-age panache, here we have pastiche. Lots of humour and the over-the-top staging make everything ridiculous – deliberately so – and enormous fun.

Clare Halse
Clare Halse

Yet all the parody kills the characters. The star playing the star (she of the broken ankle) is Sheena Easton, who can belt out a number but fails to transfer personality into her role. Stuart Neal, as the shows tenor, makes all his smiling look like hard work; he is technically brilliant but the character leaves no mark. Thankfully, Clare Halse can’t be faulted as new star Peggy. She has ingénue down to a T and her tap dancing is superb. And Jasna Ivir, playing a matriarchal producer, is the epitome of value for money. Which is exactly what this show is – a West End ticket that’s worth every penny, delivering jaw-dropping, extravagant entertainment.

Booking until 10 February 2018

www.42ndstreetmusical.co.uk

Photo by Brinkhoff & Moegenbur