Open Air Theatre, Regents Park

The story of a Jewish family trying to reconcile tradition and the modern world and their settlement being driven out of Russia at the turn of the 20th century has become one of the most successful musicals of all time. The music by Jerry Bock and Joseph Stein and book by Sheldon Harnick appeal to all nationalities through the last sixty years. Inevitably the shadow of past productions, particularly those involving the great Topol as Tevye, hangs over any new one. The 5 and 4 star reviews by the London theatre critics were united in saying that Jordan Fein‘s open air interpretation is a triumphant reinvention that looks both forward and backward. Tom Scutt‘s set was seen as a winner in itself, silencing any jokes about Fiddler On The Roof being staged at the only large London theatre without a roof. Adam Dannheiser was widely praised for his toned down version of Tevye. Indeed, the whole cast including the actual fiddler received plaudits.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

Calling the show ‘Absolutely terrific’, Sarah Crompton at WhatsOnStage (5★) wrote, ‘The quality of Jordan Fein’s wonderful, emotional production is that it perfectly holds the balance of Fiddler on the Roof, neither tilting towards saccharine nor bitterness, towards schmaltz or politics.’ She was equally impressed by the cast: ‘At the heart of all this is the quiet underplaying and resonant voice of Dannheisser, who turns Tevye not into a Topol-style caricature but into a wry, ironic man, buffeted by events he cannot control, yet always finding it possible to assert love. He is matched by Laura Pulver’s Golde, full of emotion she doesn’t often express, but finding tenderness in gesture and stillness.’

Marianka Swain for The Telegraph (5★) called it ‘a masterclass in balancing innovation with tradition.’ She said, ‘in a stripped-back but exquisitely crafted production, Fein gets to the very soul of the work.’ She noted, ‘Fein’s staging is also beautifully attuned to the park’s natural magic. The shiver-inducing coup de théâtre is the sun actually setting during the bittersweet song Sunrise, Sunset. The bleaker second half then takes place in the dark of night.’

The Observer’s Susannah Clapp (5★) noted, ‘its painful progression can suggest any group of people struggling with internal change, under threat from authorities, bullied into movement. It’s hard to imagine a production that would do so more powerfully than Jordan Fein’s. His is also the best use of the Open Air theatre I have seen for ages.’ Among the many aspects of the production liked by Mark Lawson in The Guardian (5★) were the way ‘Fein foregrounds comedy, setting the piece in the tradition of deflective Jewish humour’, and ‘Adam Dannheisser perfectly times the one-liners … but also conveys the character’s deep faith’.

David Benedict for The Stage (5★) was impressed by ‘Fein’s arrestingly intelligent second-act directorial decisions (which) deepen and darken the action and make the show richer and stronger than any recent London revivals.’ Cindy Marcolina at Broadway World (5★) called it ‘Charming, heart-rending, and utterly gorgeous’.

Gary Naylor on TheArtsDesk (5★) handed out plaudits to the star: ‘Adam Dannheiser…brings charisma to burn to the role’; to the director: ‘maintains a breakneck pace (I cannot recall time passing so swiftly in the stalls) and uses the unique qualities of his stage beautifully’; and to everyone involved.

Tim Bano for Time Out (4★) called it ‘a production about reinventing a classic musical through small gestures and symbols, rather than radical high concepts’. He praised ‘using the sun almost like a design element. It’s all gorgeous evening sunshine for the earlier, happier parts of the story, but the haunting wedding tune ‘Sunrise, Sunset’ is designed to kick in just as the light fades, and then the bleaker second half takes place under black skies.’

Suzy Feay for The Financial Times (4★) wrote ‘Adam Dannheisser brings huge warmth but dials down the bombast as this timid man in a big man’s body’.

Neil Fisher writing for The Times (4★) was not entirely convinced by the star: ‘The paterfamilias of this story can be stoic, wry, fierce, anguished, uproarious, pious. The appealing Adam Dannheisser goes for something between all these things — not entirely convincingly.‘ But he had no doubt about the production: ‘Consider Jerry Bock, Joseph Stein and Sheldon Harnick’s masterpiece revved up rather than revamped. Underneath a mighty canopy of wheat — a dramatic set by Tom Scutt that shows us both the deep roots of this Jewish community and its fragility — Fein’s production is a fast-paced, ensemble-driven night.’ He pointed out, ‘perhaps Fein’s greatest work is to balance the joy with the pain’.

Aliya Al-Hassan at LondonTheatre (4★) said ‘(Fein) manages to bolster all the joy, humour and sense of community, then brings us back down to earth as the insidious creep of antisemitism destroys the integral fabric of this society. ‘The Standard‘s Nick Curtis (4★) called it, ‘a liberating, exuberant and humane production where the great songs – Tradition; If I Were a Rich Man; Sunrise, Sunset – touch you to the core. It also feels sadly contemporary without even trying.’ Fiona Mountford for i-news (4★) called it ‘a musical triumph’.

The Express‘s Stefan Kyriazis (4★) liked so much about the show: For starters, he loved the set: ‘I felt like I was dreaming.’ He observed, ‘The ensemble are strong, the musicians (tucked at the back of the set and costumed like villagers) wonderful and the dancers are a joy.’ As for the production: ‘Set against Tom Scutt’s magnificent stage and costume designs, director Jordan Fein beautifully treads the tightrope of respecting and celebrating the 1964 show while sensitively adding some modern nuances’. The ending, he reported, ‘is pure, powerful theatre’. His only reservation seemed to be about the star: ‘Adam Dannheisser has a rich singing voice and brings warmth and easy wit to Tevye’s innate charm. I just didn’t quite feel the sense of a weary towering figure struggling to keep himself and his family afloat.’

Jane Prinsley at The Jewish Chronicle (4★) was not alone in thinking ‘this production is Golde’s, with Olivier-award-winning Lara Pulver’s sharp and knowing performance’. She was impressed that ‘Innovations never distract from the narrative, and the play’s relevance today speaks to its enduring power.’

Critics’ Average Rating 4.4★

Value rating 66 (Value rating is the Average Critic Rating divided by the typical ticket price.)

Fiddler On The Roof can be seen at the Open Air Theatre until 28 September 2024. Click here to buy tickets direct from the Open Air Theatre

If you’ve seen Fiddler On The Roof at the Open Air Theatre, please add your review and rating below

Lyric Hammersmith

Fangirls is a musical by Yve Blake that originated in Australia. It concentrates on the experience of a 14 year old female fan of a boy band. It seemed those critics who best remembered what it was like to be a young fan loved it the most but all of them quite liked it. The original Australian director Paige Rattray is in charge of its UK premiere.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

‘For two hours and 30 minutes, you feel like a teenager again,’ enthused Olivia Rook for LondonTheatre (5★), praising it as ‘a celebration of young female expression’. Jessie Thompson at The Independent (5★) was another reviewer who revisited her teenage years: ‘although Blake succinctly targets the cynical capitalist exploitation of teenage girls, this celebration of vulnerability, bravery and self-acceptance will win you over for something more. Fangirls doesn’t just evoke the untamed inner life of being a teen, it reclaims it – making you wistful for when you felt things so deeply that they actually hurt.’

Charlotte Vickers at WhatsOnStage (5★) said, ‘Rattray’s direction … is impeccable, moving us between humour and the deadly serious on a knife edge’ and added, ‘All of the songs are really strong’. Katie Kirkpatrick at BroadwayWorld (5★) was a fan:  ‘Fangirls has everything that you could want from modern musical theatre: it’s a visual spectacle, full of talented performers, catchy songs, impressive dance numbers, and an exciting story. It’s the definition of a feel-good night out at the theatre.’

Holly O’Mahony for The Stage (4★) found ‘Blake delves into the intense, insecure minds of young female fans, and ultimately serves them justice.’ Calling it ‘fantastic’, Sarah Hemming in The Financial Times (4★) noted that ‘at its core is a sympathy for the disorientation and despair that can cloud teenage years, sometimes seriously.’ She was impressed by a cast ‘peppered with talent’. Isobel Lewis reviewing for the i (4★) called it ‘an impressive, bombastic production’.

Claire Allfree in the Telegraph (3★) told us not to worry about the ‘completely barmy plot’ because ‘what matters here is the punchy hip-hop routines’. She added, ‘Paige Rattray’s neon-lit production,(is) undeniably superbly executed’. The Guardian‘s Arifa Akbar (3★) concluded, ‘the musical goes from what might have been a penetrating exploration of young femininity to an absurdist comedy caper which never quite captures the quietly tortured ache of that first crush.’

The Standard‘s Nick Curtis (3★) said, ‘The dancing is dynamic, the singing largely good, the design a pulsating mix of music-video graphics and deranged close ups projected onto three curved screens. But the veil of kookiness covering a thin, derivative plot really bugged me.’ Clive Davis in The Times (3★) praised ‘the exceptional quality of the performances‘

Critics’ Average Rating 4.0★

FANGIRLS can be seen at the Lyric Hammersmith until 24 August 2024. Click here to buy tickets directly from the theatre

If you’ve seen FANGIRLS at the Lyric Hammersmith, please add your review and rating below

Wyndham’s Theatre

A suburban American family cope with a wife/mother with bipolar disorder in Tom Kitt and Brian Yorkey’s musical Next To Normal. It is becoming almost commonplace for new musicals to take on heavy subject matter and the critics have been complimentary to this one for the way it uses music to convey the woman’s state of mind. The British production started at the Donmar Warehouse and has now transferred to the West End. Some of the critics had more reservations than others about the musical but it was generally agreed that Caissie Levy was exceptionally good in the lead role. Michael Longhurst directs.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

Tom Wicker for Time Out (4★) said, ‘Where this show unambiguously succeeds is in its sympathetic but clear-sighted depiction of a family buckling under buried grief and an impossible present…As Kitt’s attention-grabbing score and Yorkey’s lyrics wheel through differing genres, we get an aural sense of the characters’ messy kaleidoscope of feelings.’

Sam Marlowe in The Stage (4★) called it a ‘harrowing, tough-minded musical,’ saying it ‘rips out your heart and hands it back to you, bruised but overflowing.’ The Standard‘s Nick Curtis (4★) declared it was ‘Wonderfully sung and staged’.

Olivia Rook for London Theatre (4★) said, ‘The ‘musical soars in the hands of such an accomplished and connected cast.’ Abbie Grundy reviewing for Broadway World (4★) described it as ‘a delicate yet gut-punching exploration of mental health and grief’. He said, ‘The cast is as strong vocally as they are within their acting, giving justice to the punchy score.’

Dominic Maxwell in The Times (3★) found it a paradoxical show. He described it as ‘simultaneously sophisticated and plodding‘ and said he ‘found this tale of breakdown and potential recovery went from utterly persuasive to oddly shallow.’

Other reviewers caught it at the Donmar:

Marianka Swain in an earlier review for LondonTheatre (4★) said it ‘really puts you through the wringer in its raw depiction of mental illness and family disconnection. But this courageous and deeply moving piece provides ecstasy as well as agony, light as well as darkness.’ Suzi Feay writing for the Financial Times (4★) said it ‘stirringly depicts a woman’s steeply deteriorating condition and the havoc it wreaks on her family’.

Emma John writing for The Guardian (3★) found the main character Diana was ‘compellingly portrayed by Caissie Levy’. Her main reservation was that ‘the second half still feels overlong, as songs crash into each other without any concomitant plot development’.

Average critics’ rating 3.8★
Value Rating 44 (Value rating is the Average Critic Rating divided by the typical ticket price.)

Next To Normal is at Wyndham’s Theatre until 21 September 2024. Buy tickets directly from the theatre

If you’ve seen Next To Normal at Wyndham’s Theatre, please add your review and rating below