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Webber’s Cinderella is a masterpiece of theatre.

Webber's Cinderella is a masterpiece of theatre.

ALW presents a show that is unlike any other, as a reward for his patience. For one, it’s hilarious. Both lyrically as well as in the sassy and saucy attitude, it’s quite raunchy.

It can sometimes be reminiscent of a Julian Clary pahto, more camp than a row if tents. Even though there aren’t any memorable songs it is still a tuneful, varied and enjoyable album.

This Cinderella story is set in Belleville’s “perfect” community. It tells the tale of Carrie Hope Fletcher, a young Goth who accepts her outcast status after being forced to domestic servitude at the hands of her stepmother Victoria Hamilton-Barritt and her stepsisters Georgina Castle and Laura Baldwin. __S.7__

Sebastian, her only friend (Ivano Turco making his West End debut), is Sebastian’s younger brother and dashing warrior Prince Charming. He is currently missing in action but is presumed to be dead.

Rebecca Trehearn, the Queen of Marie Antoinette is a charmingly louche Marie Antoinette. She insists that she throw a ball in order to find a bride for Sebastian. This will restore Belleville’s fortunes.

ALW’s co-conspirators, Emerald Fennell and David Zippel, throw in every topic, even gay marriage. This is what some may consider a desperate attempt to reach the Woke generation.

This dance routine involving half-naked, incredibly fit men is reminiscent of Magic Mike’s outtakes. Cinderella’s transformation takes place under the direction of Grace Jones (Gloria Onitiri), and she ends up looking just like everybody else at the ball.

Things go haywire when Midnight arrives. But not in the manner expected.

Despite mixed messages and an appearance of slightly old-fashioned progressivism, it is hugely entertaining and fun on an enormous scale.

All performances are excellent – Fletcher can transform a grace note from a growl into a singing voice in less than a second; Hamilton-Barritt takes the evil stepmother to another level by moving like an arthritisc snake and lowering her voice into a raspy baritone of 40 days. Her French-inflected duo with Trehearn’s Queen is a playful remodelling of Maurice Chevalier/Hermoine Gingold and it pretty much stops the show.

Turco, who had been quiet throughout the performance, performs a solo dance routine towards the end which has everyone roaring in appreciation. It’s technically flawless.

ALW offers us the chance to see a feat de théâtre in the second part of the play (he’s also the only person who can afford it). The proscenium stage turns into another form when ALW is on the procenium stage.

ALW is Barnum AND Bailey. Showtime!

Gillian Lynne Theatre until May 29, 2022Ickets: 0207 87 7750

Cabaret

Rebecca Frecknall’s interactive production features Jessie Buckley & Eddie Redmayne. Tickets are in high demand and selling fast. For more information about The Kit Kat Club, visit the website.

Playhouse Theatre, November 15-February 1, 2022

Big Big Sky

This is a small play but with big hearts. Tom Wells’s beautifully crafted four-hander, set in an East Yorkshire seaside café.

Lauren, a young waitress (Jennifer Jolleys), has moved out of her family home with Dennis (Matt Sutton), and she is now living in a lonely widower’s house. Angie, the cafe owner (Jennifer Daley), stops by for some leftovers.

The delicate, unspoken arrangements are rearranged by the arrival of Ed (Sam Newton), a young and anxious man who is responsible for protecting nesting seabirds against predators both animal and human.

Wells’s play becomes more than a theatrical production. It is aided with four outstanding performances that make it seem like you are actually watching four decent human beings struggle to overcome loss and grief and find their way through the treacherous waters of life.

This bittersweet gem will warm your heart and leave you with renewed faith in humanity. It is worth seeing if it’s possible.

Hampstead Theatre until September 11,Contact ickets at 0207 722 9301

The Legend of Sleepy Hollow

Wendi Peters from Coronation Street stars alongside Bill Ward in the stage adaptation of Gothic romance. The Headless Horseman, a terrifying Gothic love story about a horseman who rides across the country at the end September, is portrayed by Bill Ward.

UK Tour, September 30-December 4

Publiated at Thu 26 August 2021, 23:01:00 +0000

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