I’m always hoping that there will be a new musical to add to the pantheon of stars, but I’m not sure how I feel about Little House on the Prairie. I guess in some ways it will come down to the music, won’t it? At least for once it’s a plot and character driven production instead of something with lots of special effects (not that I don’t enjoy that but it certainly isn’t what makes Oklahoma great), and I think something with a strings-based orchestra could be really nice. Hmm … wonder if I can get a copy of the soundtrack? Since it’s being produced in Minnesota, I expect this might be a bit of a trick.
Posts Tagged ‘new musicals’
Tonight my uncle, my husband and I went to see Marguerite – the Musical at the Theatre Royal Haymarket. The reasons we went to see this show were simple: it was brand new (world premiere in London less than a month ago) and it was a musical. When it seems like 90% of what we’re seeing on stage in London is now either a revival, an American import, or some limp fish composed of pop songs with a thin through-line, this made it rather a standout. It was also not Gone With the Wind, which for some reason I could never imagine being anything other than cheesy even before the reviews sent it to its early grave (tomorrow, in fact). (Weren’t the Marguerite cast members thanking their lucky stars that they’d put their money on the winning horse!)
It’s actually hard for me to figure out what to say about this show because I didn’t find it thrilling, which is what I’m always hoping for in a musical, but this wasn’t, in fact, what I was expecting. Since the creative cast drew heavily from Les Miserables, a show I’d rank as among the most disappointing things I’ve ever seen on stage, I figured I’d loathe the music, cringe at the singing, and shudder at a banal book. Me, I am a classical musical kind of girl. I consider Oklahoma and Anything Goes the height of the form, and think that Chicago marked the end of the era. The only new musical I’ve really been passionate about is Avenue Q – everything else has mostly just been adequate, or boring, or bad.
As it turns out, the music in Marguerite is actually fairly pleasant. I really listen to the words the cast members are singing, which is especially important in this show, and the lyrics were interesting – they moved the story along without using painfully obvious rhymes to get there. The singers didn’t do that cheesy swooping thing with their voices that I hate, and the ensemble singing (the whole cast but also the trio of Marguerite, Armand and Otto) was quite good. But nothing was interesting enough for me to catch the tune and be humming it after the show, and while Marguerite (Ruthie Henshall) and Armand (Julien Ovenden) had fine voices, I wasn’t wowed by them. (This is not the case for Mr. Ovenden’s biceps, which did have my full attention.)
The story itself is pretty interesting, though not exactly any surprise to someone who’s familiar with La Dame Aux Camellias (or La Traviata, though I felt like this story split pretty far from it). A gorgeous older French woman is being kept by a German general in WWII Paris; she falls for a handsome piano player half her age, a man who makes her feel alive again. (Somehow it was all very Demi and Ashton.) There is, of course, trouble, and the Resistance gets involved. I actually was more interested in the way they wove in the historical fact of people being attacked for being collaborators after the war – and the way many people hid their lack of support for resistance activities afterwards.
I loved the set – it seemed like it was entirely made of glass, a metaphor for “people who live in glass houses,” and the use of projections on the lightly mirrored back walls very effectively created scenes of Paris without being particularly heavy-handed. Armand’s garret was very effectively created with just a bed and a big window, and the transition from scene to scene was seamless. And the costumes were quite good – one of the few times when I wasn’t sitting in my chair complaining about a lack of historical research or inappropriate use of [insert accessory here].
Overall I’d say this is a good musical, nicely set in the jewelbox that is the Theatre Royal Haymarket. For people who like the modern musical style, I think it would be a good night out – it just wasn’t one I was enraptured by, but my uncle and husband thought it was fine (though not outstanding). If you’re debating between this and, say, Jersey Boys or Wicked, I would go for Marguerite in a heartbeat, and even though I personally love Cabaret and Chicago, it would be much better to give a new show a chance. While GWTW deserved its fate, this show deserves much better. That said, will someone please bring Xanadu the Musical to London for me?
(This review is for a performance that took place on Friday, June 13th.)