Stage-to-screen review: tick, tick... BOOM!

Touch wood and everything, but I seem to be back at a point where a completely theatre-free week is a bit of a rarity for me, but I did know that a couple, like this one, were coming up. So I made sure to hang on to a few of the radio or screen adaptations of stage works that I used to keep myself and this blog going during lockdown, including the Lin-Manuel Miranda-directed adaptation of tick, tick... BOOM! This also ended up being the week Andrew Garfield got an Oscar nomination for the film, so it's turned out to be fairly apt timing as well. I seem to be regularly drawn back to Rent despite my very mixed feelings about it, but Jonathan Larson's punctuation heavy* earlier musical is one I'd only seen once in a fringe production which left me distinctly underwhelmed. But Miranda does have the advantage of a new screenplay by Dear Evan Hansen's Steven Levenson to help make sense of the story.

Theatre review: Bring It On

Currently in residence at Southwark Playhouse, I’m quite surprised that youth company British Theatre Academy managed to get the rights to Bring It On - given Hamilton fever is still high I would have thought there’d be lots of competition to cash in on Lin-Manuel Miranda’s name. Miranda contributes songs alongside Tom Kitt and Amanda Green, with Avenue Q’s Jeff Whitty providing the book, based loosely on the 2000 teen comedy. Very loosely – I’m pretty sure in the film Eliza Dushku transferred to Kirsten Dunst’s school rather than the other way round and Phill, who seems to have a worryingly encyclopaedic knowledge of its many straight-to-video sequels, thought some of the plot points might have come from them. Campbell (Robyn McIntyre) has just been made captain of Truman High’s award-winning cheerleading squad, when a rezoning of the school district means she and unpopular student Bridget (Kristine Kruse) have to spend their senior year at the rough Jackson High, which doesn’t even have a cheerleading squad.

Theatre review: Hamilton

PREVIEW DISCLAIMER: Although tonight's performance wasn't due to be a preview when I booked it, the repair works on the Victoria Palace overrunning meant the press night was put back*.

If there was any doubt that the people I work with aren't really theatre fans, Exhibit A: When they asked me what I was doing for my birthday and I said I was going to Hamilton they said "what, in Scotland?" Outside of my office, though, excitement over Lin-Manuel Miranda's latest musical seems to be at fever pitch. Quite apart from all the awards it's been the hottest ticket on Broadway since it opened, and its (slightly delayed) London opening more or less sold out instantly. I'd deliberately avoided listening to any of the songs so it could stand on its own, but it was clear that even on its third public performance the theatre was full of people familiar with the score and enthusiastic for Miranda's high-speed history lesson about America's founding fathers and particularly Alexander Hamilton (Jamael Westman,) who appears on the $10 note but is otherwise comparatively obscure.

Theatre review: Working

Studs Terkel has been one of America’s favourite radio hosts and journalists since 1945, and is known especially for his interviews with regular people and the books he’s published collecting them. Working, which unsurprisingly looks at people from the perspective of their jobs, is the most famous of these, but is still an unlikely subject for a musical, and Stephen Schwartz and Nina Faso’s adaptation is in its turn an unusual musical: In its current form, only three of the songs are by the Wicked composer himself, as Schwartz asked a number of other writers and musicians to contribute different voices. Craig Carnelia is the most frequent contributor with four songs, James Taylor and Micki Grant each provide two, and there’s one by Mary Rodgers and Susan Birkenhead. Since its 1977 debut it’s been further rejigged, so now it also boasts the current biggest name in musical theatre with two songs by Lin-Manuel Miranda.

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.