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An awesome and ridiculous film that leaves you thrilled beyond the point of your natural endurance
2012
Theatre
The show has suddenly become quite wonderful, and the galvanising factor is the terrific stage debut of Melanie C
Blood Brothers
Music
The British pop music industry may be eating itself but if Muse are the pick of what it can offer the world in 2010 then British music is in rude health indeed
Muse
I was smitten by both Gilberts enormous luxuriant moustache and the intelligence and nuance of this highly entertaining play
I totally recommend Babbo to anyone who is looking for really good and traditional Italian food
Always been a fan but never seen them live. I was ecstatic to be part of this epic event. WOW!
London,
Fiona Mountford's rating
Reader rating
Hoedown: the girls from Oklahoma kick up their heels
Those who remember Oklahoma!, possibly from Trevor Nunn’s cracking production at the National in 1998, as a happy, tune-stuffed tale of thigh-slapping cowhands will have to think again. Director John Doyle certainly gives Rodgers and Hammerstein’s string of show-stopping numbers their due but elsewhere it’s undercurrents galore, as sexual frustration and societal exclusion are flagged up as high as that ol’ elephant’s eye.
“Bleached” is a word that springs to mind initially, and not just because David Farley’s set of draped white sheets looks more Glastonbury campsite than prairie corn field. The grandeur of the piece seems shrunken, with an oddly static cast sitting about on stage when they’re not singing.
The sheer power of those delightful early numbers, The Surrey with the Fringe on Top and Kansas City, keeps everything on track and, gradually, a so-so morning turns into a beautiful afternoon.
There’s depth in Doyle’s characterisation, and particularly fine work from the lively Natalie Casey as Ado Annie, the oversexed “girl who can’t say ‘No’”. It’s not hard to feel that Annie and Will Parker (hard-working Michael Rouse) are going to have a better married time of it than Curly (Michael Xavier) and scowly Laurey (Leila Benn Harris), who unite after some rather shabby treatment of loner farm-hand Jud (Craige Els). Benn Harris has her share of shrill moments but Xavier’s rich voice is a constant treat.
There’s some admirably nimble choreography in the up-tempo numbers, and a haunting take on Agnes de Mille’s legendary “dream ballet”, as Laurey ends the first half in a mire of indecision. One particularly poignant sequence here sees the billowing train of Laurey’s imaginary wedding dress swiftly become her shroud.
With a little more joy, all would be peachy in the 46th state of the Union.
In rep until 29 August (01243 781312, www.cft.org.uk).
Details are correct at the time of publication - please check with venue before booking.
