A backstage tour at The Duke of York’s Theatre is a fascinating look at the old London theatre.
It is often said that those of us who call London home do not benefit from the great advantages that the capital city brings. People have been heard to suggest that Londoners do not use London. Well, glancing through a copy of this week’s Time Out, I came across the backstage tour of The Duke of York’s Theatre on St. Martin’s Lane and decided to go. The tour wasn’t very expensive and lasted almost two hours and I reckon it must be one of the best value guided events around.
It is a fascinating tour of the old London theatre that was built when the area was underdeveloped and helped transform that side of Charing Cross Road into the entertainment area it is today. It’s the theatre that first staged Peter Pan, the theatre that first saw actors agree to the formation of UK Equity, and it has seen many greats play its stage since.
I can now say that I have appeared on the West End Stage, and standing on the stage looking into the auditorium, I was surprised at how close theatregoers would appear to the actors. I was also struck by how small the stage area really was and by how big the under-stage area is. Also intriguing to know that Capital Radio once owned it.
A lesson learned, that’s for sure. I will be spending more time each week with the what’s on listings and trying to take advantage of some of the things this city has to offer.
I thought Taboo was fantastic, so I wrote a review.
I went to see Boy George’s Taboo last Friday and have been contemplating the blog entry ever since. I have to say that I thought that it was fabulous and I want to see it again (I even ordered the soundtrack last night!). It’s a fictional account of a lot of real people, but most of the plot must be based on Boy George’s own life story, as I recognised many of the characters and plot lines from his book Take It Like A Man. Obviously, he is a key (though not the central) character. I would thoroughly recommend this to anybody visiting London, regardless of the way you feel about Boy George. It’s a strange time capsule of a musical, and his songs are great – although several of them are old (some of which are taken from the underrated album Cheapness and Beauty, which I regard as one of the best of all time). The story is tender, the performances top-rate, and the whole thing is laugh-out-loud funny (especially Julian Clary).Lastmiunte.com often has cut-price tickets a few days before a show. Go see it. Often.
I thought Taboo was fantastic – and I wasn’t sure what to really expect. I think I had envisaged it as something akin to Closer To Heaven, but it wasn’t really like that at all. I loved the fact that The Venue is quite small and quite intimate, which made you feel closer to the stage (and the audience bits help) and, of course, it brought memories flooding back (although I was watching events in the early ’80s from the safety of the north).
I am a big fan of Boy George’s more recent albums – Cheapness and Beauty is one of my all-time favourites. When I heard some of the songs were being reworked for the show, I was worried. Luckily, few have been re-penned, and those that have been re-done are still as good as they are on the CD (although different). I was stunned by how much the mannerisms of the Boy George character seem to be like the Boy George we see on TV, etc. It was a remarkable performance. Duncan Bennett as Billy was superb (was he really in the band Point Break? I don’t remember him), as well as being some appealing eye candy. It was a thoroughly entertaining night out, and I would recommend it to anybody.
Julian Clary was superb and, of course, looked stunning in those Leigh costumes. I would be interested to see how other people play the part, as he put his own stamp on it without it seeming to be too Julian Clary.
I’ve ordered the CD – the cheapest I could find it was £10.99 at Play247– although it was on back order, I noticed tonight that they have posted it to me. I’m sure the CD doesn’t do the show justice (they rarely do), but I hope it will be brilliant anyway! Lastminute.com always seems to have discounts on top-price tickets. I bought the cheaper seats directly from the box office and, to be honest, I think my view was as good as anybody with the more expensive ones (the theatre isn’t really large enough for it to make a difference). However, Lastminute’s discount seats are even cheaper, and I shall certainly be going again.
… on seeing the three-headed comedy, The Woman Who Cooked Her Husband at The New Ambassadors Theatre.
After walking around London all day yesterday, I finally got PY, an American colleague, and my tickets to The Woman Who Cooked Her Husband. It’s at the New Ambassadors Theatre, an intimate and interesting venue. It stars Alison Steadman and Daisy Donovan.
It’s a three-headed almost-farce-like comedy (I was waiting for a Vicar and no trousers), and it’s only mediocre. Firstly, the title gives the game away. Secondly, the story is too weak to carry for ninety minutes, and thirdly, sadly, some of the acting isn’t great. There’s an old adage that everyone’s a critic, and at £32 a ticket, I think I bloody well deserve to be. Daisy Donovan, who I find hilarious on television, seemed out of place – although maybe that was just me, as reviewers seem to think she handled herself well. However, when the main comedic thrust of her role was the comedy dancing – which might work on TV but looks very strange on the stage – I didn’t think she stood a chance. I imagine Alison Steadman did her best, but the material just wasn’t up to it. It didn’t give Daisy Donovan anything to make her West End debut with, and it didn’t give Alison Steadman anything to get her teeth into. This review says all this in a much more articulate way.
Still, despite its shortcomings, it was an OK evening. Middle-aged couples and pairs of gay men. There is something faintly disturbing about that mix. And, perhaps, one should always remember that food is as important as sex.
I saw The Full Monty at The Prince of Wales Theatre, London, last night. I have to admit it was much better than I expected. The central story you’d recognise from the film is there, but it’s adapted for the stage and set in Buffalo, New York.
In particular, the introduction of some new characters (the excellent Lynda Baron as Jeanette and the lovely Julian Essex-Spurrier as Keno, a professional male stripper) helps the story along well. The songs were strong, and I shall be looking forward to getting the CD. In my opinion,Ben Richards (Jerry) was excellent as the show’s main character, which is useful, as he seems to carry most of the show. The rest of the cast were great: Paul Keating made Ethan into an amusing character, adding a slapstick dimension to the humour, and David Ganly carried Dave’s insecurities and vulnerabilities well.
Without taking anything away from the show, I would have liked to see it set in the UK, and the main narrative driver (Jerry’s need for money to keep seeing his son) was somewhat unbelievable (even for a West End musical). However, if you fancy an evening in a theatre that is 70% groups of women (although it didn’t seem overly hen-nighty), then I would thoroughly recommend it.
