This years Christmas musical is a black version of Guys and Dolls
CAN LOVE CHANGE EVERYTHING?
For Sky Masterson and Nathan Detroit, every day is an opportunity to hustle, every dispute can be settled with a roll of the dice, and every dime is theirs for the taking. They live by their wits and the skin of their teeth. Lady Luck is on their side – until one night they both take a chance on love…
In this new production, Frank Loesser’s timeless musical is relocated to Harlem during its renaissance, and celebrates the vivacity of that era in black America. It bursts into seductive life with unforgettable songs including LUCK BE A LADY, SIT DOWN YOU’RE ROCKING THE BOAT and the irresistibly infectious title number – which all come together to create the perfect celebratory night out.
It is an amazing venue, and there have been some truly breathtaking productions there, and the theatre gave me my first job, in its' wonderful first season, but recently they have become doggedly determined to be different, often visually ugly, and thumping home messages with not much subtlety, and messages that are more about the director than the play. I'm still scarred from their Into the woods and their idea of Cinderella's mother as a somewhat muscular gender fluid lady hanging upside from a trapeze in army fatigues. I'm fine with innovation, but where is that feel for Mother in the text or music.
Post by Honoured Guest on Jun 7, 2017 18:26:38 GMT
The new season also has a new stage version of Derek Jarman's 1979 film Jubilee, with original star Toyah now to appear as Toyah Wilcox in the role of Queen Elizabeth. Chris Goode's new version will be set in our present, so doubtless all the posters here will start complaining about everything being changed, as they nostalgically reminisce about the good old days when punk was punk and you could all merrily cram into a sweatbox and spit all over each other all night long.
Post by Honoured Guest on Jun 7, 2017 22:39:16 GMT
It's a co-production with Talawa, the UK's main black theatre company. The Royal Exchange is very good at co-producing with various smaller national companies, (such as Talawa previously and also Told by an Idiot and Graeae, for example), and enabling those companies to work on a larger scale than usual. All these national companies exist because their constituencies are generally overlooked by the "mainstream" companies. They don't only cast from a limited pool - the whole company exists to support the work of theatremakers from their specific community and to address their specific audiences, as well as the general audience, who are neglected by the "mainstream".