Theatre review: Brigadoon

Brigadoon! Aha! Take it now or leave it, now is all we get, nothing promised no regrets!

About 18 months after Drew McOnie was announced as Artistic Director of the Regents Park Open Air Theatre we get his first directing gig in the post, the sort of thing that gets seen as a statement of intent for his tenure. And what we get is Alan Jay Lerner (book and lyrics) and Frederick Loewe's (music) Brigadoon, which is certainly... a statement. On the 1st of May 1944, American airmen Tommy (Louis Gaunt) and Jeff (Cavan Clarke) crash in a part of Scotland so remote there's nothing on the map. But on this one day the place is far from desolate, as they encounter the bustling, suspiciously old-fashioned town of Brigadoon, where the people are mainly occupied with moving milk, beer and tartan cloth backwards and forwards, while preparing for a wedding that night. While Jeff gets pursued by the local maneater Meg (Nic Myers,) Tommy finds a more serious romantic interest.

Theatre review: Cake: The Marie Antoinette Playlist

A few days after the official follow-up to SIX, I'm off to a show with a different creative team (including some big names in its development process so far) but which has clear - perhaps way too clear - ambitions to follow in its footsteps. Cake: The Marie Antoinette Playlist also features a famous historical queen with a detachable head, Zizi Strallen (part of the Z-series of Strallens that also includes Zoltar, Zuzan and Zabulon) taking on the title role, and even casts original West End SIX stars Renée Lamb and Millie O'Connell, but things haven't panned out quite as well so far: The official line is that Cake's ticket sales were so bad the run got cut short before it had even had a press night, so the Sunday matinée I'd booked turned out to be the penultimate performance.

Dance review: Nutcracker at the Tuff Nutt Jazz Club

As ever, dance is something I juuuust about feel like I can have an opinion on (as opposed to opera which is usually just me frantically shrugging,) although Drew McOnie's version of The Nutcracker already does the Everyone's a Fruit and Nutcase gag so that's half of what I was planning to write already out of the window. Cassie Kinoshi reinterpets Tchaikovsky's music as a jazz score, Soutra Gilmour takes over an old cafe space in the Royal Festival Hall to create a pop-up venue, and McOnie recasts the story of a little girl and her toy soldier into that of a little boy having certain feelings for his Action Man doll. In Nutcracker at the Tuff Nutt Jazz Club, Clive (Sam Salter) struggles to get his father's (Tim Hodges) attention on Christmas Eve, so decorates the tree on his own and plays with the Sugar Plum Fairy that's meant to go on top of it.

Theatre review: Torch Song

Have you ever felt like a theatre's gaslighting you? It's how I felt when the new Turbine Theatre announced its launch show as Harvey Fierstein's iconic 1970s gay play Torch Song, and none of the articles leading up to the production seemed to acknowledge that it's much better known as Torch Song Trilogy. It turns out that no I'm not going mad, yes that is the title of the 1970s play cycle, and yes there is a distinction: This is in fact the 2017 version of the script that Fierstein made significant cuts to, the slight title change differentiating between the two texts. Not that Drew McOnie's production departs from the original structure, even announcing the original plays' titles in neon signs over Ryan Dawson Laight's set. It's a story whose cast grows as it goes on, so opening act "International Stud" lights up just on drag queen Arnold (Matthew Needham) as he gets changed after a show, confessing to the audience how much he longs for a man he truly belongs with in the hedonistic underworld of gay '70s Manhattan.

Theatre review: Strictly Ballroom

PREVIEW DISCLAIMER: Strictly Ballroom has its press night on the 24th of April.

I know it officially makes me a Bad Gay, but I haven’t seen Baz Luhrmann’s film Strictly Ballroom. This shouldn’t matter, of course, in seeing Luhrmann and Craig Pearce’s stage adaptation, and there’s certainly nothing so complex about the story that you’d need to already know it going in. Still, I can’t help but feel that not already being a fan of the 1992 film – as most of tonight’s packed preview audience clearly were – meant something about Drew McOnie’s production was definitely lost on me. Scott Hastings (Jonny Labey) is an amateur ballroom dancer competing in the Australian Federation, which insists that all entrants dance only the strictly prescribed steps; this is mainly because Federation president Barry Fife (Gerard Horan) has a lucrative side-line selling instructional videos that teach the set routines. Scott isn’t satisfied with only dancing someone else’s steps though.

Theatre review: On The Town

Continuing Drew McOnie's inexorable rise to challenge Matthew Bourne as Britain's most famous choreographer, and after his dances were one of the reasons for last year's Jesus Christ Superstar's success, he returns to Regent's Park to add directing to his CV as well. And it makes sense to have the same person direct and choreograph On The Town because it's the kind of show where the two seem very much like the same job: It was originally conceived as a ballet, and wordless dance sequences still form a huge part of Leonard Bernstein, Betty Comden and Adolph Green's musical. Best known for the Gene Kelly / Frank Sinatra film version, and for its big number "New York, New York," it follows three sailors on 24 hours' shore leave who each have a different idea of how to spend their big day, but all end up going on the same quest once Gabey (Danny Mac, who turns out not to be a discount cosmetics brand but a person,) sees a poster of a beauty queen on the subway.

Theatre review: Jesus Christ Superstar

We're going way back through the mists of time for this one, back to a time when Dr Baron Dame Sir Andrew Lloyd Lord Webber BA (Hons) actually came up with more than two tunes per show, and Jesus Christ Superstar is all the better for it. Originally a concept album, it means that although it's staged fairly frequently, it's usually as a concert, so Timothy Sheader's full staging in Regent's Park is something of a rarity. Lloyd Webber and Tim Rice created a musical passion play with a sympathetic slant on the reviled figure of Judas (Tyrone Huntley.) Jesus Hector Christ (Declan Bennett) has been building a following for the last three years, and although Judas still believes in his teachings, he has three main concerns: That Jesus Horatio Christ doesn't quite practice what he preaches, especially in the case of Anoushka Lucas' (strong-voiced but not all that impactful) Mary Magdalene; that they're not helping the poor directly any more; and the refusal to deny rumours of being the actual son of God.

Dance review: Jekyll & Hyde

PREVIEW DISCLAIMER: This is only on for a week so I don't think the press have been in yet.

The only reason I knew the Old Vic has a history of presenting dance was that the upper circle is named after Lilian Baylis, who also has one of Sadler's Wells' dance stages named after her. It's a connection new Artistic Director Matthew Warchus said he wanted to bring back in his first season, and he does so by giving a platform to Drew McOnie, the choreographer behind the breathtaking moves of In The Heights, and his own company. It's a high profile that could, and on this evidence should, send McOnie on the road to being the next Matthew Bourne - his Jekyll & Hyde has the dangerous sexiness of Bourne's career-making Swan Lake. McOnie and composer Grant Olding adapt Robert Louis Stevenson's novella, and don't make the mistake of trying to stick to it too closely (the story's too famous for its own good; its whole structure builds to a huge twist that everyone already knows.)

Theatre review: The Lorax

The colourful worlds and wacky rhymes of Dr. Seuss would make him seem a natural fit for stage adaptation, but his books are so short that expanding his stories to make a full-length show can't be easy without losing a lot of their charm. David Greig, though, has succeeded in giving new life to one of the writer's most heartfelt stories, as he brings a musical version of The Lorax to the Old Vic. In this expanded version of the environmental fable, the Once-ler (Simon Paisley Day) is a dreamer who travels the world hoping and failing to invent something amazing, until he stumbles upon a forest of colourful Truffula trees, that produce an incredibly soft and fluffy wool. Knitting it into a shapeless thing he calls a thneed, it becomes a must-have accessory despite nobody being quite sure what it is. He builds a thneed factory and a town supported by its economy, ignoring the warnings of the Lorax (voiced by Simon Lipkin,) a woodland creature responsible for the trees and worried about what'll happen when the Once-ler starts chopping them down.

Re-review: In The Heights

After a sold-out run at Southwark Playhouse last year, Luke Sheppard's UK premiere of In The Heights was widely rumoured for a transfer. It's taken nearly 18 months to happen, but the timing may be fortuitous - as a London audience eagerly awaits the latest Broadway smash Hamilton to make it across the pond, Lin-Manuel Miranda's earlier show is an exciting alternative, and as the limited run has already announced an extension it seems to be doing well in its new home. That home is the King's Cross Theatre, a disused platform of the train station, converted specially to house an adaptation of The Railway Children. So the show has been restaged to suit a larger, traverse stage, but Drew McOnie's memorably energetic choreography has settled in well, with a lot of the original cast also returning.

Theatre review: In The Heights

Set among the Dominican and Puerto Rican community of New York's Washington Heights neighbourhood, Tony-winning musical In The Heights has taken a few years to make it to London, but finally does so explosively at Southwark Playhouse. Lin-Manuel Miranda and Quiara Alegría Hudes' show follows a couple of local families, starting with the narrator-like Usnavi (Sam Mackay) who runs a grocery store and coffee shop with help from his younger cousin Sonny (Damian Buhagiar.) Their grandmother Claudia (Eve Polycarpou) is a matriarch to the whole community, which also includes entertaining hairdresser Daniela (renowned Flashclomper Victoria Hamilton-Barritt,) who is having to relocate her salon to the Bronx because the rent on her Heights place has got too high.