The Wizard of Oz at The London Palladium

I was finally off to see the Wizard, the new production of ‘The Wizard of Oz’ at The Palladium. ‘Wicked’ has been dominating the London stage for long enough, it’s about time the original story marked its territory. I was unsure before arriving what to expect, I had read mixed reviews and with the stigma of Lloyd Webber, I was prepared for disappointment.

Having auditioned for Dorothy on the TV programme myself I was very eager to see the winning girl, Danielle Hope, in what is her professional West End debut. Even though she has just completed a three month intensive musical theatre course, no amount of training can adequately prepare a young girl for performing with a live dog, and this she does with ease and charm; she seems completely unfazed. She avoids the gushy sentimentality that comes with a part like Dorothy - she has a strong voice with just the right amount of vulnerability and an expression of hope in her eyes. I couldn’t fault her. This production also welcomes Michael Crawford back to the stage. Known best as the ‘original Phantom’ he is at home in this Lloyd Webber extravaganza.

No expense is spared with spectacular special effects at every turn. I was overwhelmed by the sparkling revolving set, the glorious costumes and the convincing cyclone film as the dear little Kansas cottage gets swept into oblivion. Each manoeuvre is executed to perfection, including incredible stunts hovering over the audience. Set and Costume designer Robert Jones is inspired with his crafty ideas and imaginative visions.

Along with the familiar classics, three new songs have been added in to fill out the show. Lloyd Webber and Rice have composed these additions and they are surprisingly acceptable, I assumed they would stick out like a sore thumb. The new numbers remind me of Wicked, unlike the original Harold Arlen songs in the Wizard of Oz, these have less repetition and move away from the innocent quality of the show. Hannah Waddingham is brilliant as the pointy nosed cruel witch, and even has her own song and dance, in which she does a bizarre Cheryl Cole like routine. Dorothy’s three loyal friends are well cast too, Paul Keating as the dippy scarecrow, Edward Baker-Duly playing a fantastic tap dancing tin man and David Ganly as the overtly camp lion.

It’s a real shame that the advertising for the return of this popular show is so kitsch. I was misled by the gaudy posters, and I’m sure many more will be put off from seeing the show altogether. Those that do chance it and go along will be glad they did; even those determined anti-Lloyd Webberites cannot deny this is an all round brilliant production.

Booking until 17 September 2011, book here.

The Last Five Years at The Tabard

I always enjoy visiting the Tabard Theatre in Turnham Green, Chiswick. It is small, easy to get to, and conveniently close to my house. This season they are staging ‘The Last Five Years’ by bright young composer, Jason Robert Brown. The production stars Wizard of Oz wannabe Lauren Samuels and Christopher Pym as the energetic young couple.

Jason Robert Brown’s music fuses different contemporary and pop styles with chirpy, clever, theatrical lyrics. I have always admired his music, in particular the revue ‘Songs for a New World’, and so was very excited about seeing this production. The musical requires a decent band, and this the Tabard has, full of life and soul, they seemed to be having a great time playing along. Musical Direction comes from competent Lee Freeman, who is obviously as passionate about Robert Brown’s music as the rest of us.

As one Dorothy clicks her heels at the Palladium, in the new Wizard of Oz, another hopeful from the TV show sings her heart out on the Tabard’s modest little stage. And with an intimate audience of about seventy this is certainly a whole other land of showbiz. I have previously seen Samuels in Grease, The Musical and was satisfied by her performance there, but in ‘The Last Five Years’ she transforms from a standard musical theatre lead to a real star, singing and acting to a very high standard. Performing alongside her, Pym isn’t as impressive, though does have a few sparkling moments.

The story in a nutshell: Cathy (Samuels) and Jamie (Pym)'s tumultuous five year relationship has sadly now reached its end. Both sides are retraced by the pair individually: Jamie remembers the relationship from the cautionary start to the bitter end, whereas Cathy travels back in time from the end of their marriage through to when they first met. For the best part of the show both characters are singing to a memory or ghostlike resemblance of their partner, they are strange and lonely roles. Cathy and Jamie meet in the middle of the show for their marriage, share a kiss then depart back to their own worlds. At one point another girl is shown in Cathy’s bed, representing the affair Jamie had, it is spooky and quite chilling to watch, but apart from that it is only these two actors on stage for the whole performance.

Both Samuels and Pym are like excitable teenagers, bouncing around naively. Cathy faces rejection as an aspiring actress, while Jamie’s ambitions to be a writer are slowly and successfully realised. Samuels sings ‘When you come home to me’ brilliantly and with a humorous twist she captures the audience’s imagination completely. Pym seems to struggle vocally, especially at the start, and compensates by over-acting. Though once he is properly warmed up he becomes more enjoyable to watch.

The Tabard has appropriately staged this American love story just over the Valentine period – now that’s what I call clever scheduling! This is a rare chance to see this brilliant, little performed show; ‘The Last Five Years’ continues until 5 March, book here.