Theatre review: From Here To Eternity

When Stuart Brayson (music) Tim Rice (lyrics) and Bill Oakes' (book) musical adaptation of From Here To Eternity debuted in the West End in 2013, I found it hard work, but the songs from Brayson were a highlight, and have stayed on my playlists since. So on balance I decided to give it another go in its off-West End return at Charing Cross Theatre, where it gets a smaller-scale production from Brett Smock. And while it still feels like adapting James Jones' novel and the classic film for the stage was an idea flawed from its conception, this more streamlined take on the show (it's a revised script with a number of songs moved, removed or replaced with new ones entirely - the balance of book to music was one of my issues with the original) is a definite improvement. The action takes place in Hawaii in the fortnight before the 1941 Pearl Harbor attack.

Theatre review: Evita

Regent's Park Open Air Theatre says they only cancel 5% of performances due to bad weather; I must be particularly unlucky then because I'm averaging 33% over the last two years. So this is my second attempt at Jamie Lloyd's take on Evita; regular readers will both know I regularly grumble about not much liking the work of The Rev. Dr Baron Dame Sir Andrew Lloyd Lord Webber BA (Hons) MEng, QC, MD, P.I, FSB, while consistently finding reasons to go and see it anyway. In this case, it's the fact that the Open Air will be trying to recreate the success of 2016's revelatory Jesus Christ Superstar, and getting Lloyd for it is something of a minor coup for the venue. Evita is ALW and Tim Rice's take on the controversial figure Eva Perón (Samantha Pauly,) First Lady of Argentina during the 1940s and seen as the power behind the throne for her populist husband Juan Perón (Ektor Rivera.)

Theatre review:Joseph and the Amazing Technicolor Dreamcoat

The Rev. Dr Baron Dame Sir Andrew Lloyd Lord Webber BA (Hons) MEng, QC, MD, P.I. and Tim Rice’s Joseph and the Amazing Technicolor Dreamcoat was originally conceived as a show for schools but gradually grew, until in the 1990s it was finally fully reinvented as a big-budget West End behemoth – so successfully that the same Steven Pimlott production has kept returning to the stage for nearly thirty years. Laurence Connor’s is the first new take on the show since then, although the story – from an otherwise fairly obscure Genesis passage – remains familiar: Jacob has twelve sons, of whom Joseph is the clear favourite and showered with gifts, because Jacob liked Joseph’s mum more than the other sons’ mums. Joseph has the ability to interpret dreams but not the ability to read a room, so he cheerfully tells his already-alienated brothers that this unequal treatment is just the start, and he’s had a premonition that some day they’ll all fall at his feet.

Theatre review: Chess

Growing up in the 1980s I remember chess championships, particularly those that pitted an American grand master against a Soviet one, always seeming to be in the news, so at the time basing a blockbuster musical around a chess match didn't seem entirely like a terrible idea. But time can put perspective on a lot of things, and from a viewpoint not just of 2018 but pretty much every year since Benny Andersson, Björn Ulvaeus and Tim Rice's Chess first took to the stage it's been obvious that it is, entirely, a terrible idea. Musically, the songwriting team behind ABBA provide some predictably strong numbers, but the story is so notoriously bad that it's been constantly rewritten in a desperate attempt to make it even borderline comprehensible. This is the third production I've seen, each using a slightly different book, and this one barely uses any book at all, but after thirty-odd years of rewriting at least one thing has succeeded: In terms of the basic story beats at least, it is now borderline comprehensible.

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.

Theatre review: Disney's© Aladdin®

When the Lyric Hammersmith took the frankly bizarre step of not only announcing but also putting on sale their 2016 pantomime when their 2015 one had barely opened, I couldn't help wondering if they were getting in quick before Disney© came to town, in case they announced that Aladdin® would henceforth be theirs and theirs alone to stage. After their films of Beauty and the Beast™ and most successfully The Lion King™ became stage shows, I did wonder why the 1992 Aladdin® was taking so long to join them, as it always seemed very innately theatrical to me. It finally has and now comes over to the West End, with the cartoon's well-loved original songs by Alan Menken©, Tim Rice^DAME and the late Howard Ashman© joined by a few new numbers* from Menken with lyrics by Chad Beguelin™, who also provides the book. Although it's years since I saw the film it's one of my favourite Disney© cartoons so I've seen it a lot of times, and can tell this stage adaptation sticks pretty close to the script.

Theatre review: From Here To Eternity

PREVIEW DISCLAIMER: Tim Rice says he doesn't believe in long preview periods, but his producers do so the official reviewers are being kept at bay until next week.

Although based on a novel by James (not Earl) Jones, the film of From Here To Eternity is so well-known it probably qualifies Tim Rice's new musical as the latest in the movie-to-musical trend. Rice has teamed up with composer Stuart Brayson to tell the story of US soldiers stationed in Hawaii in late 1941, knowing that they're bound to be joining World War II sooner or later but not realising the incident that draws America in will come to them directly. In the meantime they're in a limbo state with little to occupy their time. Newcomer Robert E. Lee Prewitt (Robert Lonsdale) is a boxer who no longer boxes, a bugler who no longer blows the bugle, and uninterested in casual sex, which marks him out as different to the other soldiers. He falls in love with Lorene (Siubhan Harrison,) a prostitute who's also uninterested in casual sex, which marks her out out as a woman who makes poor career choices.

Theatre review: Chess

Musicals don't get much more '80s than Tim Rice, Benny Andersson and Björn Ulvaeus' Chess, which uses the rivalry between Russian and American Grand Masters as a metaphor for the Cold War. With music from the songwriters behind ABBA there's a lot of catchy tunes; the story is a bit more of a muddled affair, and Rice has regularly tinkered with the book over the years. His latest version premiered as a concert performance but Christopher Howell and Steven Harris' revival at the Union is the first time this "definitive" version has been fully staged. Ryan Dawson Laight's design configures the space into a thrust with a high platform upstage; you'll probably want to make sure you don't get stuck behind one of the pillars as the platform will probably be badly obscured from there but from our seats, at the corner of the stage, we could see fine.