Nipping in just before Santa arrives, The Theatre Channel’s fourth episode delivers festive treats aplenty in The Holiday Special.
Just a quickie for this revisit to Follies, which remains as perfect a piece of musical theatre as I could hope for. I loved it then but I really love it now.
The Olivier Award-winning Follies returns to the National Theatre in richer, deeper, more resonant form and just blows me away.
As it’s the first of the month, we’re taking a moment to remind ourselves of the most popular contributions from our 20+ syndicate Mates bloggers from the month just closed. What were the reviews and other blogs that got readers clicking most? Any surprises? Our Top 25 Mates Blogs from November 2017 are listed below with summaries and links to read more.
‘Follies has been an incredible experience so far. At 24 having the opportunity to work with such fantastic people and in The National Theatre of all places is so overwhelming. I honestly pinch myself most days I’m in the building. ‘
Blinded in a childhood accident, Louis Braille’s keen intelligence saw him ruffle feathers at the Royal Institute for Blind Youth where he resided, mainly because prevailing societal attitudes considered the blind to be untrainable.
Matthew White’s production is as pretty as a picture, as a music box in fact, Paul Farnsworth’s luxe design emerging as an exceptional piece of work, using four mini revolves to great effect – the shop’s interior looks particularly stunning.
Derived in 2002 from the 1967 Julie Andrews movie, Thoroughly Modern Millie is thoroughly old fashioned. It’s sexist: all the women are actresses or typists; racist: landlady Mrs Meers feigns orientalism and speaks pantomime Cantonese to her migrant Hong Kong laundrymen; heteronormative: every flapper’s ambition is to secure a rich businessman husband and even white slavery is dismissed as “well, it’s one way to get a man”, but so heartwarming and jolly you can almost forgive its cartoon morality.
The twenties don’t so much roar as whimper in SDWC’s new revival of Thoroughly Modern Millie at the Landor. Matthew Iliffe’s production strips back not only the set and cast, but also the life and soul of the show, leaving us with a raw and undercooked slog of questionable casting and dull direction.