With standout turns from Esther Hannaford and Tamsin Carroll, and some inventive, whimsical choices, the fractured-fairytale musical fails to truly take off
arrived on the scene, the effect was seismic. He challenged and provoked musical theatre into new relevance and startling profundity, crafting shows that asked tougher questions about the nature of life and love. He made musicals that united the head and the heart with sophistication, hyper-lexical intelligence, and daring musicality.
It’s ferociously witty, narratively adventurous, and musically thrilling, filled with wordplay, patter, pathos and care. It requires a command of musicality, precision and tone. It is not a simple work. And in a new production for Belvoir co-produced by the Hayes theatre, the company’s artistic director, Eamon Flack, has taken the reins. Although he’s better known for plays, Flack’s passion for this musical is clear: there’s a clear and loving hand guiding the work.
On a cabaret-style set by Mchael Hankin, with a few carefully judged and whimsical props , the story plays out with gusto and occasional flashes of brilliance: the Witch makes inventive entrances and exits ; the Narrator throws confetti as punctuation; the players weave between and around the two pianos onstage. In new orchestrations for piano by Guy Simpson, it’s like seeing a musical unplugged but still soaring; the melodies are so pure and moving it’s as if they’re new again.
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