Review – The Wizard of Oz, Crucible Theatre, Sheffield, 6th January 2018

Posted on January 10, 2018 by therealchrisparkle

It has become our habit over a number of years now to go up to Sheffield for the first weekend of January to enjoy whatever is their Christmas show and also the Lyceum panto all on the same day. Tradition also has it that we are accompanied by Lord and Lady Prosecco as their main Christmas pressy from us. However, in a break from tradition, shock horror, this year we switched the panto from matinee to evening, so we started off by seeing Robert Hastie’s new production of The Wizard of Oz.

A few confessions; when I read that this was to be their Christmas show I wasn’t entirely filled with enthusiasm. There’s something about the whole Wizard of Oz concept that doesn’t really appeal. Maybe because it is such a hardy perennial I feel that it’s an unadventurous option? I’m not sure. Another confession; I’ve never really seen the film. Of course, I’ve seen clips, and I know what the Cowardly Lion is all about, and I’ve seen Judy Garland follow the yellow brick road. And I know why people want to see the wizard – because, because, because, because…..because. Nevertheless, it’s always fascinating to see the full show of something you’ve only ever caught extracts from before. It’s like being familiar with old show tunes but never knowing their context within their original musical show, which is something I love exploring – it’s great for stopping gaps in your general knowledge.

You, of course, gentle reader, are totally au fait with the story of the Wizard of Oz, so there’s probably not much I can tell you about it. Dorothy lives with her Aunt Em and Uncle Henry with her “only friend in the world”, Toto the dog (not entirely true; she gets on fine with the farmhands, Hickory, Zeke and Hunk, but that’s by the by). Horrid neighbour Miss Gulch accuses Toto of having bitten her (and if you were Toto, so would you) and she has a lawsuit for the dog to be taken away and dealt with – that’s one helluva euphemism. But Dorothy’s not going to take that lying down. After a futile attempt at escape she hides in the farmhouse where a massive storm tornado destroys the building and Dorothy wakes up in the land of Oz. As you do. In Oz, the farmhands have become the tin man, the scarecrow and the cowardly lion; Aunt Em is Glinda the Good Witch of the North; and Miss Gulch is the Wicked Witch of the West. Good of course triumphs, the Wizard is curiously revealed as something of a fraud, Dorothy manages to get back to Kansas and we all live happily ever after. Well maybe not Miss Gulch.

Despite my initial lack of enthusiasm, within about three minutes of the show starting I absolutely loved it and that feeling of wonderment didn’t let up all the way through, even with a couple of minor reservations. Having read a synopsis of the film I believe this is a very fair and faithful representation of that MGM masterpiece; so if the story isn’t perfect then I guess the film isn’t either. On reflection, it’s quite a slight tale, and a disproportionately long part of it is taken up with Dorothy meeting her three companions along the yellow brick road, and for me that did sag a little. Trouble is, that’s probably also the most famous part of the film so it wouldn’t be right to make a few cuts here and there along that particular journey to the Emerald City. There’s also a song number – The Jitterbug – that I believe was dropped from the film but has been reinstated in later stage versions. Whilst the staging of it was exquisite – more of which shortly – the song itself was one of those rather self-seeking stagey shindigs performed for its own benefit and not really furthering the story along. Let’s just say I wouldn’t have minded not seeing it.

However, that staging… hats off to Janet Bird for her design because it’s superb in its simplicity and effectiveness. I won’t give a detailed description of it because the transformation from Kansas to Oz is one of the show’s best surprises. Suffice to say, in a world of special effects and CGI it’s a delight to see something that is basically very straightforward and almost old-fashioned work to such a tremendous effect. She must have also had a plenty of fun creating all those different types of costumes; the farmy, Midwest domestic clothes, the outrageous witches, the scarecrow, tinman and lion, and of course the Munchkins, who all looked adorable – which is what Munchkins are meant to do, or so I understand. Richard Howell’s lighting also plays a significant and inventive role in creating with world of Oz – especially with its delineation of the Yellow Brick Road, and also in the almost disco-style ultra violet light of the Jitterbug scene. And Toby Higgins’ backstage band of ten musicians thwack out these well-known tunes with razor-sharp vitality and beautiful arrangements.

At the heart of the show is Dorothy; it’s a very big role and she’s rarely out of the action. Gabrielle Brooks impresses right from the start with her wide-eyed innocence and firm sense of justice and kindness. She has a wonderful singing voice and reduced Lord Prosecco to tears with her rendition of Over the Rainbow (oops, that’s me in trouble). I’m sure Ms Brooks can no longer be classified a “kid” but she really conveys a moving illusion of childhood in her performance. I already knew that Sophia Nomvete was a great performer, having had her move me to tears in The Color Purple, and once again she gives a beautiful, gutsy, funny performance as Aunt Em and Glinda. I was particularly looking forward to seeing Jonathan Broadbent again as he had been so toe-curlingly hilarious The Norman Conquests last year in Chichester, and he was just perfect as the Cowardly Lion, a genuinely funny and touching performance. Andrew Langtree and Max Parker as the Scarecrow and the Tin Man also give very good performances as did Michael Matus in his roles, particularly as the Oz Gatekeeper, a maniacal Rottweiler if ever there was one. Catrin Aaron is a terrific baddie as both Miss Gulch and the witch, and Ryan Ellsworth a rather mysterious Professor Marvel, and suitably understated Wizard. I’m not sure whether we saw the Yellow Brick Road Team or the Emerald City Team of munchkins, but they were great, throwing themselves into their song with true relish. And the adult ensemble too were excellent with their enthusiasm, their musicality and conveying the sheer joy of this very positive show.

But for true grit and determination, and a performance like few others I’ve seen, Rhiannon Wallace, the puppeteer who performed Toto in Oz absolutely stole the show. Oz Toto is a scruffy urchin in comparison with Kansas Toto, who struck me as being rather superior. Ms Wallace’s facial expressions constantly changing to portray the dog’s emotions was such an effective method of fully creating this character who, after all, is very central to the plot. Ms Wallace must be a contortionist to bend down constantly and get herself into all the little nooks and crannies that Toto finds home. A memorable performance!

The Wizard of Oz has been new Artistic Director Robert Hastie’s first Christmas show at the Crucible and, on this form, the tremendous standard set by Daniel Evans in the past looks very likely to continue. Demand has meant that the production is extending by a week, so you have just over a week to try to get to see it – and it’s really worth your effort. Congratulations all round for a great show!

Review – The Color Purple, The Musical, Menier Chocolate Factory, 3rd August 2013

Posted on August 6, 2013 by therealchrisparkle

Saturday night saw another trip to the Menier Chocolate Factory, one of my favourite theatre venues. One thing you can say about the Menier productions, they’re never bland. Usually they come up with something really good and entertaining; occasionally they offer you a real stinker; and sometimes, if you’re lucky, you get to witness something mega-wonderful. The Color Purple (The Musical) is, I’m delighted to say, in the latter category. Full instant standing ovations are, I think, becoming a little more commonplace nowadays, but for the performance of The Color Purple on Saturday night it was absolutely deserved. Something I’ve rarely seen is that the emotion of the show and the quality of the performances were so strong that mini-ovations were breaking out around the audience during the second act, responding almost organically to the thrill of the show. That tells its own story.

Do you remember the 1985 Spielberg film? I can vaguely recall it – I know I enjoyed it, and found it moving; I seem to remember Mrs Chrisparkle (Miss Duncansby as she was in those days) dabbing away at the tears in the car park afterwards. If the synopsis on wikipedia for the film is accurate, then the musical is very faithful to the original plot. Briefly, it’s the story of Celie, forced to marry a violent farmer (“Mister” is all she knows of his name) and her beloved sister Nettie, who goes to Africa with some missionaries; of Celie’s cruel home life and her will to survive, how she regains confidence and love through Shug Avery, and how the two sisters are finally reunited.

It’s based on Alice Walker’s novel, of course, and has music and lyrics by Brenda Russell, Allee Willis and Stephen Bray, who between them have inter alia written such notables as Earth Wind and Fire’s “September”, “What Have I Done To Deserve This” by the Pet Shop Boys and Dusty Springfield, and Madonna’s “Into The Groove”. For this show they have created some superb songs – jazzy, lyrical and showbizzy – which are played with great funkiness by the band. The book is by Marsha Norman and is tight, clear, intelligent and packing an emotional punch. The show opened on Broadway in 2005 and ran for over two years, where it was nominated for ten Tony Awards. It’s taken some time for it to reach the UK, but, boy, was it worth the wait.

One of the great things about the Menier is that when you descend the steps into the auditorium you never know how they are going to have re-jigged the acting space. It’s such an incredibly flexible venue; it must be a dream come true to an innovative director. For this production the seating is on three sides and the acting stage is a bare platform that juts massively into the available space and dominates the room. There’s no other scenery, and a few basic props only, which leaves it all up to your imagination to fill in the gaps. The stark bareness of the set emphasises the harshness of the day-to-day reality for the main characters, and it works beautifully.

John Doyle has assembled an incredible array of talent in the cast who work together as a terrific ensemble but it’s also studded with several star performances. The demanding main role of Celie is played by Cynthia Erivo, who we really enjoyed in Sister Act last year. As “Sister” Deloris she came across as a big powerful lady; in The Color Purple, it’s extraordinary how actually she is quite a diminutive presence, her stature reflecting both her youthfulness in the early part of the show and her lowly position in the pecking order of life as it proceeds. What she lacks in height she absolutely makes up for in power – in droves. She feels, and projects, all the emotions of Celie’s rollercoaster life; her face can light up with childish joy or be tortured by the agony of torment. Her rendition of “I’m Here” in the second act had the audience delirious with pleasure. It’s a superb performance and she wins all our hearts; absolutely top quality.

Another star performance comes from Nicola Hughes as Shug Avery, Mister’s on-off girlfriend, who also becomes Celie’s on-off girlfriend. Full of confidence and exuding a “look-at-me” je ne sais quoi from every pore, Miss Hughes has a cracker of a voice and an innate sexiness that makes her perfect for the part. She too lives every emotion throughout the show, and I actually thought she was going to burst into tears at the finale. There’s a remarkably vivid and powerful performance by Christopher Colquhoun as Mister, creepily terrifying in his sadism with the young women, but later giving me goose bumps for his “epiphany” moment in the song “Celie’s Curse” which was just sensationally performed. His quiet, defeated and partially redeemed persona at the end of the show was a superb contrast to his prior wickedness. Stealing every scene she’s in is the wonderful Sophia Nomvete as Sofia, the gutsy girl who’s “Hell, No!” attitude usually gets her what she wants but is her downfall too. She’s extremely funny as the self-assertive Sofia when life is going well, but the scene where she has been beaten up was one of the saddest I’ve ever seen on stage; Miss Nomvete struggling to breathe whilst helpless drops of saliva involuntarily escape from her battered mouth. That’s a memory that will last a long time.

There’s also great support from the rest of the cast. Abiona Omonua is very convincing as Nettie, Celie’s kind-hearted and loving sister, and she and Miss Erivo have a great on-stage relationship; Adebayo Bolaji as Mister’s son Harpo has a great stage presence and brings out both the humour and decency of the role; and Lakesha Cammock makes a lively and funny Squeak, the new waitress at Harpo’s juke joint who gets delightfully jealous at any opportunity. But the entire cast is brilliant; in fact, I don’t think I’ve ever heard a musical sung quite so superbly from start to finish by every single member of the company.

It’s not often you see people openly weeping in their seats; the power of the emotions that this show creates is electric. This surely must have “transfer” written all the way through it like a stick of rock. You just have to see it. It’s a no-brainer. Book now!