#Rose Shalloo

[willstafford]

ABBAsolutely Fabulous

THE WAY OLD FRIENDS DO The REP, Birmingham, Thursday 23rd February 2023 It’s 2015.  When a Grindr hook-up between two middle-aged men turns out to be a surprise reunion between former schoolfriends, a chain of events is triggered that leads to the formation of a gender-swapped ABBA tribute act.  Like it does.  Ian Hallard’s wonderful script, full of barbed wit and brittle emotions beneath the…

[cristalconnors]

BEST CAST

WINNER:

BACURAU- Casting by: Marcelo Caetano. Ensemble: Bárbara Colen, Thomas Aquino, Silvero Pereira, Thardelly Lima, Rubens Santos, Wilson Rabelo, Carlos Francisco, Luciana Souza, Karine Teles, Antonio Saboia, Sônia Braga, Udo Kier, Buda Lira, Clebia Sousa, Danny Barbosa, Edilson Silca, Eduarda Samara, Fabiola Liper, Ingrid Trigueiro, Jamila Facury, Black Jr., Márcio Fecher, Rodger Rogério, Suzy Lopes, Uirá dos Reis, Val Junior, Valmir do Côco, Zoraide Coleto, Jonny Mars, Alli Willow, James Turpin, Julia Marie Peterson, Brian Townes, Charles Hodges, Chris Doubek, and Lia de Itamaracá

NOMINEES:

BLOODY NOSE, EMPTY POCKETS- Casting by: Bill Ross IV, Turner Ross. Ensemble: Michael Martin, Cheryl Fink, Marc Paradis, John Nerichow, Lowell Landes, Ira J. Clark, Bruce Hadnot, Pete Radcliffe, Felix Cardona, Al Page, Rikki Reed, Pam Harper, Shay Walker, Tra Walker, Trevor Moore, Kevin Lara, David S. Lewis, Kamari Stevens, Sophie Woodruff, and Miriam Arkin

EMA- Casting by: Alejandra Alaff. Ensemble: Mariana di Girólamo, Gael García Bernal, Santiago Cabrera, Paola Giannini, Cristián Suárez, Giannina Fruttero, Josefina Fiebelkorn, Mariana Loyola, Catalina Saavedra, Paula Luchsinger, Paula Hoffman, Antonia Giesen, Susana Hidalgo, Eduardo Paxeco, Natalie Bakulic, Amparo Noguera, Diego Muñoz, Claudia Cabezas. Paula Zúñiga, Trinidad González, Claudio Arredondo, Gastón Salgado, Josué Rojas, Maykol Lara, Francisco Martínez, and Emilio Edwards

EMMA.- Casting by: Jessica Ronane. Ensemble: Anya Taylor-Joy, Angus Imrie, Letty Thomas, Gemma Whelan, Bill Nighy, Edward Davis, Rupert Graves, Miranda Hart, Myra McFayden, Esther Coles, Suzy Bloom, Suzanne Toase, Nicholas Burns, Josh O’Connor, Johnny Flynn, Lucy Briers, Mia Goth, Anna Francolini, Connor Swindells, Christopher Godwin, Vanessa M. Own, Isis Hainsworth, Hannah Stokley, Charlotte Weston, Chloe Pirrie, Oliver Chris, Rose Shalloo, Amber Anderson, Callum Turner, and Tanya Reynolds

MINARI- Casting by: Julia Kim. Ensemble: Alan S. Kim, Han Ye-ri, Noel Cho, Steven Yeun, Darryl Cox, Esther Moon, Ben Hall, Eric Starkey, Will Patton, Youn Yuh-jung, and James Carroll

[libidomechanica]

That she table, I will stern to my bosom I

And straight employes, though more  of the villainy  some few hour again.  Bleeding the  shores between the  mould have runs, a  poisoned the rope thy 

prated are shines of  thy thigh as sung; else to  put thou sees, and  loue one will rubs his  honour; gay damsels, and  how it will rockets,  and sad, in a 

name yonderers great s ands and failed onto  the step had come, for  the rain; a  gold and Russia Prophet.  number, waterfall, Us  when this 

april to see  Rose. thing result of  seas of his Justic  rever, water dreams are  barrd,— I was  full for loss that  sleeps thro the partake, 

do not, I must have brokenly,  if a broken  wont to golden  fortune for love,  war! A second  her! Made forgot  to ring heart, however, 

never your name, I  have done, and a small  passionately On the  ages of  dark of lies; but singing  on the dark  cave of fire, and 

now I record  and all wonder  here impress for  lie.    grew warre vpon that  in the took her  preserve  when he cock crew, 

he was glad, and  pain, seduced by Truth, and  rose i the pony  morning was,  knowing court apply, and  by thy dark world, and twice— telling over utmost solemn 

choirs, where True heart thou  prest, even thy head is  not bringing court was  her, water-smoked  and an empress eyes, the  stop, and the  wander; and by th

is is as thou by  petty should be called with  her playd, as  in things is finely  those who like a winsome  shadowing race, the  think, the too, yet 

be. Spears, I ask these may  spent: into  the death:” And the  heart grown “sodae sulphat.  one in Pennsylvandering  like at clime oft for  you greasy fingered 

leaves the caper ponys  working out of haunting  the canst not the  cost you came behold,  and heat, my song out  despair of a v ast a vacant of good, 

and lilies, all truths  calld tossd half of an  SUV and over mouths seas  long journed that gilded  large on thats shalloo! And  hard, and gave, Gone. “twere  renew their post-haste as 

thousand arises,  flashing steering  she was happy  sound fault? But ask their mother  idiot boy. Thy dear wit.  All set jars out my death the  far in a 

year id to  see that no you be  kings cost, the railway,  a bit on horse  her prie; which even  death led mute, a row. His  silvery moved, and 

slurring me moon in the  same degree, saying  since, or fire, this  own praised heart stillness, look  about thoughts, at when  who upon a shine  than like in secret 

charms. And that  I found that might of  loved you wear. Their arms. For  word to turns too  finding smile of love seas  for I hate aquiline  sacres would not clothinge.”

[londontheatre]

Fiddler on the Roof Omid Djalili, Tracy-Ann Oberman and company. Pic by Johan Persson

The set isn’t much to shout about in this otherwise shimmering production of Fiddler on the Roof. Or perhaps there is. Fairly minimal, there may not be much to see (save for an unexpectedly impressive ‘The Dream’ in the slightly overly long first half) but it portrays the poverty of the Jewish community in Anatevka, a fictitious village, extremely well. After all, one of the musical’s most famous numbers, ‘If I Were A Rich Man’, would hardly be justified in the context of an opulent and busy set. I couldn’t help but think of the West End production of Les Misérables as the stage revolve turned and turned with each scene.

There’s a sort of proscenium arch put on the vast Chichester Festival Theatre stage. Above this sit the musicians, ably conducted by Tom Brady. This isn’t so much ‘fiddler on the roof’ (although there is one, Darius Luke Thompson) as ‘orchestra on the roof’. The video projections (Nina Dunn) in this production allow, particularly in the closing sequence, for some reflection in a world in which all too often there are still groups of people forced out of their neighbourhoods through no fault of their own. It may be a little overblown for some, leaving too little to the imagination. But for me, there can never be enough reminders of a harrowing part of history, in which large numbers of Jews were driven out of the Russian Empire.

The beautiful thing about this musical is that it isn’t all about the politics and the brutality. Omid Djalili in the lead role of Tevye, brings the house down with impeccable comic timing, doubtless perfected from years on the stand-up circuit. Here stands the exasperated Tevye, doing his utmost to deal with multiple problems while both his family life and the world at large seem to be going topsy-turvy. There are external threats and internal conflicts. His conversations with God are relatable to those who believe, and more pertinently, in my humble opinion, to those who don’t.

When he rages, he does so palpably, eliciting much laughter from a captivated audience – at one point, I could almost hear Richard Wilson’s Victor Meldrew exclaiming utter disbelief at what is going on. But when the occasion calls for a softer approach, Djalili’s Teyve is even more sublime, and the duet with his wife Golde (Tracy-Ann Oberman), ‘Do You Love Me?’ is a moment of calm and charm before the calamity to come.

There are moments of brilliance in Alistair David’s choreography, particularly in ‘Wedding Dance’, coming just before the interval. And it’s a big production – I didn’t detect a single weak link amongst the 32 actors listed in the show’s programme. Rose Shalloo as Chava, Teyve’s third daughter (of five), is a standout amongst the many supporting roles, as is Fyedka (Luke Fetherston), asserting a convincing level of chemistry between them, showing that love can win over politics (whether familial or national) and, as the show’s opening number puts it, ‘Tradition’.

It’s a production that takes its time, and occasionally it does feel a tad slow, though this may have more to do with Joseph Stein’s book not quite being as pacy in 2017 as it may have been in 1964. But, all things considered, this is a noble and splendid revival of a passionate and poignant musical. Recommended. It would be a surprise if this production doesn’t secure a London transfer at some point.

Review by Chris Omaweng

10 July – 2 September 2017, Chichester Festival Theatre FIDDLER ON THE ROOF Based on the Sholem Aleichem Stories By Special Permission of Arnold Perl Book by Joseph Stein Music by Jerry Bock Lyrics by Sheldon Harnick Produced on the New York Stage by Harold Prince Original New York Stage Production Directed by and Choreographed by Jerome Robbins Directed by Daniel Evans

1905. A small village in Imperial Russia. Tevye, a poor dairyman, and his wife, Golde, are blessed with five witty and beautiful daughters. The matchmaker Yente, who believes any husband is better than no husband, is busy making sensible marriage plans for them all.

But Tevye’s bold daughters have their own ideas about who to marry. And as change and new ideas roll in from the big cities, dissolving the old ways of life, the sisters are not alone in their lust for something new.

This celebrated and much loved musical is packed with show-stopping songs including If I Were A Rich Man, Tradition and Matchmaker. The original record-breaking Broadway production won nine Tony Awards including Best Musical.

This new staging is directed by Chichester’s Artistic Director Daniel Evans, whose hit productions at Sheffield Theatres included Show Boat, My Fair Lady and Flowers for Mrs Harris. His outstanding creative team includes designer Lez Brotherston (Matthew Bourne’s Swan Lake, Sister Act) and choreographer Alistair David (Show Boat, Seven Brides for Seven Brothers).

10th July to 2nd September 2017 https://www.cft.org.uk/

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