Visits to the West End Theatre


Company, Guilguid Theatre, Shaftesbury Av.,     (matinee - 3rd Jan, 2019)


We don't usually book our theatre tickets more than a few days in advance, but in mid December, 2018 we noticed that there a special West End Theatre New Year sale, and so we booked two discounted matinee dress circle tickets (40 each) to see Company, a Stephen Sondheim musical on Thursday, 3rd January, 2019. This was on at the Guilguid Theatre on Shaftesbury Avenue - for us, exit the tube at Leicester Square, walk towards Piccadilly Circus, turn right up Rupert Street, and the Guilguid Theatre faces you on Shaftesbury Avenue. The theatre was absolutely packed but we had good seats (F15, F16) and had a perfect view of the stage.

Company is set in New York, and tells the story of Bobbi, an articulate, good looking, feisty lass. It is her 35th birthday, and all Bobbi's friends seem to be married, but Bobbi is still single, and this seems to be a problem causing everyone, Bobbi included much anguish, and soul searching. Bobbi maybe thinks too much, and asks herself profound questions - should I be married, am I happy, am I better off single, have I met the right one, and let him go, etc, etc, etc. It is as if she is on an analyst's couch and sharing her thoughts with us. Apparently Stephen Sondheim wrote the musical originally for a male Bobby, and now it has been redone from a female left on the shelf / racked with self doubt point of view. I thought it worked very well. I don't think Sondheim could write a duff musical if he tried. It was witty, snappy, smart and was very well staged. We had a series of scenes set within boxes that moved left to right or down into the floor. You go out of the door at the side of a box depicting Bobbi's main room, into the neighbouring room, a bedroom, or into a space which turns into park, and so on. I thought it was very cleverly staged. All the characters had masses of lines to learn, and some of the songs were very fast almost tongue twisters. Bobbi was on the stage most of the time, and was played excellently by Rosalie Craig, but all the cast were very good. However in spite of all the words and introspection the story did not really advance much, and at the end we still had the same Bobbi in the same place, and still wondering about marriage.

In short, it's well staged, and excellently performed, but it's not much of a story. No beginning, middle, and an end. I liked the music, but didn't exit the theatre whistling anything. So to be fair to the presentation and cast, I would give it 4 stars, if I were a journalist writing a published review, but if you asked me how much I enjoyed it personally, I am afraid I would only give it 3 stars.






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Waitress, Adelphi Theatre, The Strand,     (matinee - 7th Mar, 2019)


Financially the day did not start very well, and we had to pay 9 instead of the usual 4.90 to park in the Harlow Town Station car park. Normally we get there about 9:25 am, park, but wait until 09:30 before inserting our money into one of the many car park ticket machines for an off peak charge. Now they had installed number plate recognition and all the old ticket machines were covered over. We had been logged as entering before 09:30, and so we were charged peak rate. Even if we had entered after 09:30 the fee would still be a hefty 7. Worse was to come. We had bought two theatre tickets on the "Official London Theatre Tickets" website, but when we got to the theatre we found we had been overcharged. We paid 48 for each ticket but the face value was only 39.50. I had thought I had first checked the prices on the direct Adelphi Theatre website, but obviously not.

The Adelphi Theatre is about two thirds of the way along The Strand, on the left hand side as you walk away from Trafalgar Square. We had two seats, N24 and N25, in the second last row of the Dress Circle. Luckily, although the theatre was busy, there were empty seats in the row directly in front of us, otherwise I don't think we would have had a very good view. We were just too far back.

"Waitress" is a story about Jenna, a waitress and expert pie maker who dreams of a way to escape her small town and her rocky marriage. If she wins a pie making contest in the neighbouring county, she will get enough money to flee, and perhaps start her own pie shop. She pours her heart into her pies, and gives them strange names. I thought the show started a bit slowly with a strange song about pie making, and I hoped there was going to be more to the show than a few songs about pies. Happily the story did improve when we met some more of the cast, and learned that Jenna was married to an abusive husband who took and drank all her wages. Worse, Jenna was pregnant. Whilst not overjoyed at this, she did not want an abortion. As an American, she went to her gynaecologist for a check up, to find that she had retired, and had been replaced by an attractive man - Dr Pomatter. Instantly Jenna and Dr Pomatter start an intense love affair, although both are married, and both know it is wrong. But their feelings for each other are intense, and genuine. So I was caught up in the story, and very interested to see how it would end, and somehow we did get a happy ending, although not the obvious one of boy meets girl and they live happily ever after.

There were some great characters in the story, and a lot of really good humour. Jenna was one of three waitresses at Joe's Pie Diner" - the others were her best friends Becky and Dawn. Dawn was shy and had never had a steady boy friend, but somehow she meets Ogie, a real backwoods yokel who fancied himself as a poet. Ever smiling Ogie was played brilliantly by Jack MacBrayer, and was very, very funny. David Hunter was very good as Dr Pomatter, but the star of the show was undoubtedly Katharine MacPhee as Jenna. She had first come to fame in American Idol - series 5, and played Jenna on Broadway . She was a good actress blessed with an excellent voice - with all the power of a diva when required. I was very impressed. The show made much of the fact that it was a ground breaking, all female creative team, and promoted "sisterhood". Most of the audience were women, and there were expected cheers when Jenna triumphed over her abusive husband and got success without the need for any man.

I guess I was not the target audience for this show, but the music was great, the singing and dancing great, the production fast and slick and bright and well choreographed. In short it was a very good show that I really enjoyed. I would probably give it four stars.






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Come From Away, Phoenix Theatre, Charing Cross Road,     (matinee - 10th Apr, 2019)


After our previous experience when last we visited the West End theatre in March, 2019 - we bought discounted tickets that were no such thing - this time we went straight to the theatre website, and bought two 40 tickets at face value for a total cost of 83.65. I thought extra charges for paying by credit card were outlawed, but apparently not. We had decided to try "Come From Away", knowing just a little about the story, and perhaps not really fancying it as a suitable subject for a fun musical. The show was on at The Phoenix Theatre - get off the tube at Leicester Square, walk up Charing Cross Road away from Trafalgar Square, and the theatre is on the right, opposite Foyles and just after Cambridge Circus. We have been to this theatre a few times before, and were in quite good seats G19 and G20 in the Dress Circle. When we booked a few days in advance, there were plenty of available seats, but then it was announced that "Come From Away" had won several Olivier Awards, including best new musical, and so on the day the theatre was packed, and there was even standing at the back of the dress circle.

Write ups had described the play as a "joyous new musical telling the incredible real life story of 7,000 air passengers from all over the world who were grounded in Canada during the wake of 9/11, and the small Newfoundland community that dropped everything and invited these "come from aways" into their lives". I was not sure that what happened just after 9/11 was a suitable subject for a fun West End musical, but happily all was OK. The subject was handled well, and it really was an inspiring story of a rural community on a small island rising to the occasion, wanting to help in every way after the terrible 9/11 attack. American air space was shut down, and a lot of mid atlantic flights were forced to land at Gander airport in Newfoundland. This was a large airport built when translantic flights had to land there to refuel. Nowadays planes can fly a lot further, and mid flight refueling is not required. In short, Newfoundland was now a sleepy airport with only a few flights a day. Now there were about 40 planes coming in fast - all to be parked somewhere, and eventually passengers, including pregnant ladies, babies - people of all creeds, nationalities and religions - all had to be watered, and fed and taken care of. The population of Newfoundland more than doubled in a few hours.

There was very little in the way of scenery or bright costumes. The stage was mostly bare, with tables set up as if in a cafe. A small orchestra was split in two, and on stage at the back left and the back right. I was impressed when the lady violinist left the orchestra to join the actors on stage to dance and play a jig, and then melt back into the orchestra. Mostly the cafe chairs were moved into various groupings - so when placed in two's in a long line, we were inside an aircraft - everyone facing forwards, but a female captain facing backwards and making an announcement. All in all it was done very cleverly. The local Gander mayor was star organiser - when he articulated what was needed, the locals just donated free of charge - mobile phones, use of the internet, school halls, showers, recreation, etc, etc, etc. We met several of the stranded passengers - a lonely man and a lonely women thrown together, a mother worried that she could not contact her firefighter son in New York, some muslim passengers now regarded with suspicion, some Jewish passengers unable to eat non Kohsher food, etc. The music was good, the singing was good, there was a lot of humour that was not in any way out of place, but respect was paid when not all was joy and happiness for everyone.

I thought the subject was handled very well, and that it was a good show, well worth seeing. Although I would give it only 3.5 stars, the audience there gave it a standing ovation, and it was Olivier award winning. I guess I am in the minority - most reviews will give it five stars. The shows I give 5 stars are usually big West End productions with brilliant dancing, choreography, hit songs, and star diva voices. Here that was not appropriate - I think they got it just right, and it will be a great hit.






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Man of La Mancha, Coliseum Theatre, St.Martin's Lane,     (matinee - 5th Jun, 2019)


It's about a couple of months since we were last at the theatre, and, anxious to go again, we clicked a little too quickly on a discount deal to see Man of La Mancha at the Coliseum Theatre. We had checked that it was a musical, noticed it's cast included Nicholas Lindhurst, and plunged in. Only later did I start to half remember that I had might have read some bad reviews about this show. The critics didn't like the show, and gave it only 2 stars. Anyway, we had paid so we had to go. Sadly the critics were right.

The Coliseum Theatre is at the very end of St Martin's Lane, near Trafalgar Square. We got a good deal on the seats from the Love Theatre web site - and two good dress circle seats (E12, E13) at 32.50 each. We had a perfect view of the stage. There was a big and good orchestra, and the cast were more than OK. The two leads were Kelsey Grammer and Danielle De Niese who both acted and sang well. Nicholas Lindhurst didn't have a lot to do, but did it well enough. But the story of a play within a play was absolute rubbish, the first half especially was very slow, with the second half not much better, there were too many words, and not enough songs and action. It all needed livening up. The cast did their best.

The scene was a prison somewhere in Spain allegedly at the time of the inquisition, and a poet (the man from La Mancha) and his man servant were imprisoned. There seemed to be a communal play area for the prisoners where all the action took place, and to save a fellow inmate destroying his manuscripts the poet pleaded his case by puting on a show - the play within a play. In this the poet took the part of a noble knight - Don Quixote - on a mission to do good and acts of bravery. But the question was, was it an act, or was the poet a madman who really believed he was an ancient Spanish knight. And the deeper question was if the world and life itself is futile and mad is it not better to be mad in a mad world ? Danielle De Niese, a prisoner too, was part time a prostitute, part time a cleaner, but to the mad Quixote she was the embodiment of perfect womanhood - all he wanted to do was to serve and honour her. He adored her, told her she was noble in spirit and sadly she started to believe him only to be brought back to reality with a bump. However I can't say I really cared. There was one good song - "I dreamed a dream" sung well by Kelsey Grammer at the end of act 1. I thought Danielle was to sing it again at the end of act 2, but she only under performed a bit of it, and then the chorus came in. A glorious voice with great song would have been worth hearing, but it didn't happen and I was disappointed. It was all a bit of a mess and a confusion, and a disappointment.

Bits of the show were OK, and there were touches of humour, but overall I guess I agree with the critics - 2 stars.






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The Secret Diary of Adrian Mole, aged 13 3/4, Ambassadors Theatre, West Street.     (matinee - 6th July, 2019)


We saw a good review in the Daily Telegraph of "The Secret Diary of Adrian Mole, aged 13 3/4," a new musical that had just opened in the West End at the tiny Ambassador's Theatre, went onto the theatre web site, and booked two matinee seats (J7, J8) for the following Saturday, 7th July 2019. The seats were at the back of the circle at the full price of 35 each. We got there reasonably early at 2:00 pm for the 2:30 pm show, and were awarded with upgrade seats to the third row of the circle, seats C19 and C20. They were excellent seats and we had a perfect view of the stage. To get to the Ambassadors we got off the tube at Leicester Square, walked up Charing Cross Road on the right hand side with Trafalgar Square behind us, saw St Martin's Theatre on a side street and found the Ambassadors Theatre next door on West Street. The Ambassadors theatre is the small theatre with just stalls and a circle. It was here that we saw "  The Mousetrap" which ran for years and years before transferring to St Martin's theatre. Saturday 7th July was the day of a huge Gay Pride parade in London, and Trafalgar Square and the surrounding closed off streets were teeming with people - but away from the area things were reasonably quiet.

The show was based on Sue Townsend's 1982 book of the same name. It's 1st January 1981, and the stage setting is Adrian's bedroom. As he counts down eight New Year Resolutions, and writes up his diary, the cast of about 6 adults and four children erupt on to stage out of doors and cupboards. It's a sort of steady rock type music throughout from a good mini band very high up at the back of the stage. I thought the music was good, the lyrics very clever, and it was all done with great energy by an excellent cast. I sort of remembered the story from reading the book many, many years ago. Adrian is a clueless teenage boy in the 1980s - aged 13 and 3/4. His parents Pauline and George are pretty feckless, and Pauline is easy prey to neighbour Mr Lucas's amorous advances, and so she leaves George and runs off with Mr Lucas leaving Adrian to stay with his dad. His dad's mum, his gran, come round to tidy up, and change the bed sheets, and eventually George picks up "Dirty Doreen" from the chip shop. All of this is background to Adrian's growing pains adolescence. Stage scenery is very cleverly wheeled on, and off into fake cupboards, and the set changes to a classroom where Adrian meets a new girl Pandora, the love of his life, and then we are in the kitchen, etc, etc. It was all done with verve and polish.

In spite of the excellent cast, and the good music and witty lyrics and general humour, and going against all the 5 star reviews, I was not 100% won over by the first half of the show. It all seemed a bit childish. I would give the first half 3 stars. Happily, I thought the second half was much better, more grown up. There were several excellent scenes. Pauline had returned to see Adrian at a TV party as the nation watched the wedding of Charles and Diana, but foolishly she took Mr Lucas with her. There was a powerful singing dual between Adrian's Gran and his mum, the Gran criticising Pauline for leaving Adrian, and Pauline singing what is the point in staying in a broken marriage. Adrian read some of his non rhyming poems, and they performed a sort of alternative nativity play that Adrian had written, where Mary died in childbirth but was resurrected, and then the headmaster appeared on the circle stairs to berate the Adrian script.

In the stage play Adrian succeeded in getting Pandora to be his girlfriend - I thought in the books this was what he could only aspire to. Also Adrian's mum returned to her husband. Did that happen in the book ? The play ended a year after the opening scene with Adrian, now 14 and 3/4 being given a new diary for a new year, and Adrian made a joke about how this could be serial that could run and run.

All in all, and because of the much better second half, I ended up agreeing with the Telegraph's 4 star review.






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