From cabarets to The Woman in Black via biscuits at Holby City: That Stagey Blog reflects on his latest Stagey Week.
H.R. Haitch is a brilliant example of the future of musical theatre in Britain and walks a playful line between politics and humour that provides an important dialogue about the ridiculousness of our current state of world.
H.R. Haitch is a slightly repetitive, but not unenjoyable, new musical that’s come at the right time for Royal Wedding fever – one to have a giggle at but not take too seriously.
Much like Chelsea and Bertie’s romance, H.R. Haitch might not always be particularly elegant, but it’s good fun, and its heart is in the right place. And if nothing else, it gives us a couple of hours’ escape from wondering who’s going to walk Meghan down the aisle.
Unfortunately, H.R. Haitch just didn’t hit the mark and certainly didn’t receive my royal approval. That said, it would be the ideal antidote for an anti-Royalist or football loathing person this coming weekend.
Two groups are better impersonated on television than by theatre: the Royal Family, and East Enders. In H.R. Haitch they collide awkwardly in a royal wedding spoof musical with all the elegance of a bin lorry ram-raiding Buckingham Palace.
As Kensington Palace gears up for one royal wedding, Iris Theatre is jumping down the aisle first with its musical take on stately nuptials, H.R. Haitch, now playing at the Union Theatre.
Stumble on your way out of the Menier’s restaurant and you can, literally, roll down the ramp through The Bunker’s front door. The two upstairs, downstairs theatres are currently serving up two, very different, musicals: She Loves Me and Muted.
Muted is tender and thoughtful, beautifully reflective in the way it probes into the different ways in which we grieve. And it uses its structure well, songs are less about narrative propulsion but saying what the characters don’t yet have the emotional articulacy to say out loud.
It’s not a big, showy American musical, but one that is distinctly and quietly British. With more development and dramaturgical support, Muted will really shine.
This sensitive and simply presented story of guilt and grief has plenty to break the heart, but equally gets you thinking about how other people’s actions affect your reactions.
It’s a brave ask that has any composers title their show Muted – a name that by its very nature suppresses aural beauty. In this new musical that has been a long time in development, we meet Michael a former rock singer, who has been left mute following the traumatic death of his mother.
A brand new theatre, named The Bunker, is opening in a former underground car park in Southwark Street, with an inaugural season that includes new drama from Philip Ridley and a world premiere British musical, Muted.
Muted, being staged in a concert performance in early February, looks like an interesting and exciting venture, with the gig being timed to mark its album’s launch. Penned by the double-hyphened partnership of Tim Prottey-Jones and Tori Allen-Martin from Sarah Henley’s book, Muted re-works the original musical After The Turn, a 2012 production that itself received much acclaim with Mark Shenton dubbing it “the British Rent”.