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 Posté le: Dim Juin 16, 2013 5:28 pm Sujet du message: 1ad0kzf5-spun8 |
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musical ReviewCats: The eighties get home – and that’s a very good tled tail light assemblyhingAdd to ...
Title CatsMusic by Andrew Lloyd WebberLyrics by T.S. Eliot, Trevor NunnDirected by Dave CampbellStarring Charles Azulay, Susan Cuthbert, Ma-Anne Dionisio, Cory O’Brien, Martin SamuelCompany Mirvish ProductionsVenue Panasonic TheatreCity TorontoYear 2013Runs Until星期日, 七月 28, 2013Suddenly, it feels like Toronto through the Eighties all over again. Marlene Smith just opened Cats, David Mirvish is bringing Les Miz with the fall – all that’s missing is made for Parachute Club to secrete a whole new album. Mind you, it’s almost a similar. The feisty version of Cats that co-producer Smith unleashed on Tuesday isn’t playing from the majestic Elgin Theatre now, though the 700-seat Panasonic. Basically, the unique mega-musical is not really mega.More To do with this StoryPassion Play: A three-part theatrical event you won’t desire to missThe Giacomo Variations: A clumsy fusion of theatre and opera starring John MalkovichLady Windermere’s Fan a key take a look at the Shaw Festival this summerVideoVideo: Did William Shakespeare say 'about' to be a Canadian?VideoVideo: How Stratford stars start using a vibrator to limber up their singing voicesVideoVideo: Four must-see productions in the Stratford FestivalAnd that’s a good point. For those of us who aren’t Cats fanciers, one of the greatest difficulty the Andrew Lloyd Webber cwomen motorcycle helmetslassic is always that its razzle-dazzle trappings far exceed its modest source material – a jug of amusing children’s poems by T.S. Eliot. Minimize some of the spectacle for one smaller venue, however, together with the musical is exposed for the purpose it's always: a showcase for Lloyd Webber’s facility being composer and, so, for quite a few terrific talent, both fresh and familiar.Smith’s new production, like her landmark one in 1985, boasts an all-Canadian cast. And she and her collaborators have cannily invited bac motorcycle fairing k a portion of the original participants, including performers Susan Cuthbert and Gino Berti – the second now serving as choreographer. They’ve also recruited Ma-Anne Dionisio, star of your first Canadian creation of Miss Saigon, in order that it really seems a throwback to Toronto’s mega-musical heyday.But it’s also proof that,adjustable handles, happily, an all-Canadian ensemble packed with Broadway-class singer-dancers no longer is an issue. There’s a good amount of knock-out vocalizing and – to steal an Eliot phrase – terpsichorean power to be enjoyed with this show, despite the fact that can’t escape the sense that you’re just watching a seriehandle gripss of variety acts strung together over the thinnest of plot threads.We’re inside of a moonlit junkyard, when a cluster of “Jellicle Cats” have gathered to await the judgment of the elder, Old Deuteronomy (Charles Azulay, looking much like Bert Lahr’s Cowardly Lion). Ultimately, sportbike mirrorshe will select which masters reaches ascend for a cat paradise termed as a Heaviside Layer. Meantime, they educate us for their Jellicle ways and introduce us within their Jellicle brethren.Like for example , Cuthbert’s lazy tabby Jennyanydots – lazy, that may be, when she isn’t tap-dancing up a storm. As well as the maddeningly contrary Rum Tum Tugger, played by sexy Martinmotorcycle mufflers Samuel for instance a feline Freddie Mercury. Then there’s the mischievous duo of Mungojerrie (Michael Donald) and Rumpleteazer (Neesa Kenemy), who regale us using antics from the variety of a vaudeville team.The second act is reserved for the top set pieces: the Italian opera spoof, sung with motorcycle engine coverspanache by Cory O’Brien when the ruffian Growltiger; the ode on the indispensable railway cat Skimbleshanks (a frenetically charming Jay T. Schramek); the conjurings of magical Mr. Mistoffelees (a sleekly acrobatic Devon Tullock). And, not surprisingly, there’s Memory , the show-stopping ballad by Grizabella, the long-faded glamour cat, with lyrics cobbled together from Eliot’s much more poetry. It’s delivered here by Dionisio with full-on diva brio. Oddly, though, I recently found her performance less moving than O’Brien’s gentle portrayal of Gus, the palsied old Theatre Cat who recalls his past stage glories.Director Dave Campbell brings some fresh suggestions for his staging,SportBike Levers, rearsetswhile Berti fondly replicates Gillian Lynne’s original kitty choreography. Tim Webb’s production design envisions the junkyard as a possible overflowing landfill, full of lurking backhoe. But for being finicky, not all of his junk items are to cat-scale. And an aim to jazz up the Heaviside Layer finale with holographic effects is simply confusing and silly.Lona Davis’s eight-piece band attacks the score like famished strays goingmotorcycle fairings from a dish of cream. They emphasize Lloyd Webber’s musical versatility. Dawn Rivard’s shaggy wigs and Lisa Magill’s spandex costumes emphasize something – all the glam-metal bands that flourished in addition Cats first hit activity is. We get home in your eighties. |
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