Tituss Burgess - Indecisive Warrior @ Phoenix Arts Club

I love an intimate venue, and there was no better place for the incredible Tituss Burgess to bring his cabaret style show. Supported by an excellent 3 piece band and guest performers, Burgess demonstrated why his vocal talent is sought after, and importantly why he is regularly cast in what many would consider against type roles.

Spanning rock, pop, jazz, musical theatre, and beyond, Tituss is captivating. A magnetic performer, it is hard to take your eyes off him. The structure of the evening provided opportunity for Tituss to engage with the audience both in performance, and without that artifice. While the singing was incredible, what really stuck with me was the informal Q&A that started the second act. Tituss’ vulnerability and honesty in answering questions from the audience was incredible, and really lasting.

I can’t wait to see what he does next - hopefully on the West End if he achieves his goal of moving here.

What (is) a Woman @ Arcola Theatre

Billed as a one woman play with music, this show veers much further into Musical Theatre than I expected, although the songs can’t be claimed to advance the plot. That’s not the fault of the songs, but rather a narrative that is unclear. It jumps around in time and place - fine - but nothing really happens. It is simultaneously not a meditation on any one topic, or exploration into the postdramatic.

It is unfortunate, because all of the individuals creating the work are clearly very skilled at what they do — the underscoring from live bassist and keyboard are exceptional, the lighting design clever (if not altogether aligned with the action), the performer highly skilled as a singer and dancer, the choreographer creating intricacy. . . but somehow none of these elements mesh together into a cohesive moment or succession of moments.

I might be biased, but it felt as through there was an absence of a dramaturgical hand in the writing, which carried through to the production.

Guys and Dolls @ Bridge Theatre

Sometimes you see a production, and it embodies all the things you have wanted for a play. (okay, maybe that’s just me). I have adored this musical since childhood, and have yearned to have others see how dynamic and engaging it has the capacity to be. Nicholas Hytner did it.

Staged in a dual fashion, with traditional seating in the round, but also an immersive floor option, the production quite literally creates the dynamic and bustling world of New York City. The stage is in pieces which reconfigure, moving up and down through hydraulics and what I can only imagine is the most complex stage management cue sheet known to human kind. What was truly incredible was that despite the movements, and complete awareness of the mechanics of the production, from the immersive floor space we were still able to be completely swept away in the story.

I am tempted to go again and sit in the traditional seats, to see what the moving and shifting looks like from the outside.

With all of this you’d be forgiven for thinking that it was simply technical prowess on display. Quite the opposite; every performance, and every step of choreography was pitch perfect. Brilliant re-imaginings of the classic and well loved songs, choreography which simultaneously felt of the period but wholeheartedly modern. Simply superb.

Please go to this. It is what musicals should be in 2023.

Book of Mormon @ Prince of Wales Theatre (West End)

Why are there so many plays where mormons feature prominently? It seems almost bizarre that a religion making up less than 2% of the US population (even less worldwide), which is openly anti gay and until not as long ago as you’d hope, was openly anti-anyone who wasn’t white, holds such a sway on the imagination. Perhaps it is the inherent theatricality of its origin story. Don’t get me wrong, when you dig a little A LOT of origin stories about A LOT of things we believe get theatrical - so this isn’t a slight at mormonism or any religion. Just an observation.

Anyway, we went to see this as a 19th birthday gift to my daughter at her insistence. The parallel that the mormon youth head out on their pilgrimages at 19 was not a coincidence. The current West End cast are all exceptional performers, and the production is all the slick shiny perfection you’d expect for that ticket price. What was uncanny was that it felt less funny than when you hear the recording; certainly the first act got fewer laughs from the crowd than I’d have expected. Perhaps because the songs from that act are quite widely known? The jokes are certainly more broad than those we get in the second act, and land a lot more uncomfortably. They don’t quite punch down, but laterally perhaps? Either way, it is an uncomfortable 2.5 hours at times, despite the performers efforts and comic timing. Do they feel the discomfort, too?

It all just feels so shiny. Being me, I allowed my mind to wander to what a Theatre of Failure interpretation of this show might be. I’ll leave you with that.

review. #kanderandebb by Ryan G. Hinds @ Toronto Fringe

Ryan G. Hinds is an absolute delight. His one-man homage to iconic musical theatre writers Kander and Ebb (of Chicago, Cabaret, Kiss of the Spider Woman...you know, all the good musicals) is a 60 minute tour de force. Hinds is magnetic as he shares personal stories of a life obsessed with and then living the dream of performing musical theatre. The show is fun and silly while also being serious musical theatre performance. Hinds really showed his skill, when after noticing in the first song the mic wasn't working, he adapted quickly, vamping with jokes while the tech team ran a corded mic cable, then picked up as if NOTHING had happened. You would have sworn the show was always performed mic-in-hand.

The show has been to a few festivals now. If it comes to your city, I can guarantee there isn't a better way to spend an hour. 

review. Josephine @ Winnipeg Fringe

Tymisha Harris is an outstanding performer. From the first moment we see her in a tight spotlight behind an old-style microphone, you know that you're in for a treat. Through the play, Harris embodies Jazz legend and activist Josephine Baker, telling us the story of her life, including some frank analysis of the misogyny and racism she encountered, but doing it all through the charm with which a true trailblazer reflects on her life. "these things happen" she quips, and it is true. 

The production uses the full stage of MTC to great effect, making use of the lighting grid to paint some delightful spaces, and even coming out for a little audience engagement, which had a great effect. 

My only quibble is with the script itself; running just over an hour, I felt it could have used a little dramaturgy to trim to the point of the story, and feel a bit less like a Wikipedia entry about Baker's life. The source material is great, and the performer is outstanding; it is just a few tweaks to the text from my perspective. 

It sold out on opening, so make sure to get there early if you want to buy tickets, it will keep selling out.