Just two weeks ago, I was at Richmond Theatre watching the stage version of The King’s Speech (read my review here). So when I got an invitation to see the press night of the West End version, I was in two minds whether to see it again. I chose to accept partly to cheer on my friend Adam Lilley, who is in the ensemble.
I’m glad I did, though, because seeing the play again helped me clarify a few things.
The King’s Speech, Wyndham’s Theatre3Scott Matthewman2012-03-29 10:59:04Just two weeks ago, I was at Richmond Theatre watching the stage version of The King’s Speech (read my review here). So when I got an invitation to se…
Apologies for my blog silence in recent weeks/months. At fault is a combination of being busy at work, wssting too much time on Twitter, leading a rather dull and uneventful life and being too damned lazy. Will try harder in all cases.
Anyway, to kick off an attempted revival of this blog, a delayed – and very short – review of The King’s Speech, which I attended at Richmond Theatre last week in an event organised by the theatre and Twespians.
I suppose that, in a play about a man who struggles with a stammer, it’s kind of appropriate that this play consists of several short, frustrating scenes that the playwright (and the audience) has to struggle through before getting to periods of lucidity.
Or maybe it’s just that, after the unproduced play was adapted into a successful, Oscar-winning film, the producers decided to prioritise brand recognition over script quality.
Review: The King’s Speech2Scott Matthewman2012-03-12 17:52:55Apologies for my blog silence in recent weeks/months. At fault is a combination of being busy at work, wssting too much time on Twitter, leading a rat…
Whenever a new musical comes to the West End, there’s always a bit of a buzz about a possible cast recording. Different productions take wildly different views: Love Never Dies put its cast recording on sale so far in advance that it was more of a concept album than a record of the eventual stage production, in any of its reworked forms. Legally Blonde the Musical waited until there was obvious demand for a West End version in addition to the original Broadway recording, while Stiles and Drewe’s magnificent music for Betty Blue Eyes may eventually be available next month (although a sampler CD was issued with the Evening Standard newspaper as part of the show’s initial publicity drive). And while Ghost the Musical, which holds its press night tomorrow, hasn’t officially released its cast recording yet, it’s currently available to listen in a streamed form on the show’s Facebook page.