Fagin’s missing the liquor of Wakefield
Friday’s New Year party given by The Stage in the Theatre Royal, Drury Lane, was not graced by the star of the resident show, Rowan Atkinson. But then Rowan’s been missing one or two performances lately, I understand, because of problems with his voice.
This is slightly unfortunate given that the weekend saw a big advertising campaign launched with Rowan’s grisly features “reviewing the situation” of the rave notices including the gushing tribute by that well known theatre critic Terry Wogan, who counts the production the finest he has ever seen in the West End.
Friends of mine have recently walked up to the box office and bought tickets, no problem (well, the problem last Wednesday night was that Rowan was “off”), yet some ticket agency is sending out email invitations to an expensive all-in hotel,dinner and show “package” – starting from £185 per head – with the statement that there are no more tickets available at the box office.
This offer is for performances at the end of June, so I do hope Rowan has recovered his voice by then. Not that he sings all that well to start with. It always amazes me how certain “star” performers think they can give six or eight performances a week in a big musical without years of training and experience behind them.
Rowan is probably just out of practice. I’ve said it before and I’ll say it again. You can’t play piano in public unless you play your scales and arpeggios every single day of your life. Other current examples of this dereliction of duty may be seen in the performances of Richard Dreyfuss in Complicit and Mathew Horne in Entertaining Mr Sloane. Acting is a vocation, not a sideline.
Atkinson is in some ways (not many, in my view) a brilliant comic performer, but does he have the acting chops for a big West End role in a huge production and theatre? Look at what happened with Martine McCutcheon in My Fair Lady, another lavish Cameron Mackintosh presentation at this same address.
I am still looking forward to hearing the Eurovision song by Andrew Lloyd Webber and Diane Warren, “It’s My Time.” Like everyone else, I was relieved that Jade has received the viewers’ nod as our ambassador to Moscow, but ALW nearly threw a wobbly when he said he wouldn’t go to Moscow if the “wrong” contestant – the cry-baby twins or the Bromley panto prince Mark — won the vote.
It’s bad enough, I suppose, being stuck with Jodie Prenger in Oliver! (although he’s put a fairly brave face on that) without the public getting it wrong twice in a row.
I missed the show and forgot to record it as I had pressing business in Wakefield, West Yorkshire, on Saturday afternoon. I had to attend a football match where my “second” team, the newly formed FC Halifax Town of the Unibond Division One North (the old Halifax Town was sadly disbanded at the end of last season after 97 years mostly spent in the Football League) cruised to a 4-1 victory over their hosts.
Five hundred “Shaymen” — Town’s home ground is the Shay – swelled the home crowd to a season’s best 570. Half a dozen proud members of the SDS (Shaymen Down South) made a day of it with coffee and pork pies followed by a good lunch session in Harry Boons’ pub where the local Westgate Gold was the pick of several fine ales on offer.
The great thing about small league football is you can move in and out of the ground with ease, find refreshments without risking your neck, and have agreeable conversations with people who are there because they really do enjoy watching football. You can also have a good shout at the ref and be almost certain that he heard you.
And I could have been home in time for Match of the Day. Instead, I went to a dinner party where the other guests, including theatrical fixer and former Oxford Playhouse board member Biddy Hayward and BBC executive Susannah Simons greeted news of my football foray into the wilds of Wakefield with expressions of what I can only describe as astonished indifference. At least I’d brought back a few of Hofman’s unbeatable pork pies to prove that I’d actually gone there.

February 3rd, 2009 at 11:51 am
Dear Sir
A joy to read your blog and to have (some!) of my feelings vindicated.
I have managed to avoid the reality shows and heartily concur with your opinions about training etc.
I went to see Oliver last Weds and the Fagin understudy was excellent as was Nancy.
I suppose I have to admit that without the interest generated by these TV shows (the theatre was packed with families and young people) we would never get such wonderful productions; it was an utter joy to see a really exciting production.
Back in 1982 (good grief!) I was on the Olivier (then SWET) panel and if memory serves correctly two thirds of all theatre was coming from the National and the RSC (then in London) I think we were hard pushed to find 4 nominations for best musical from the entire year.
I also have very strong feelings about the whole ‘ticket agency’ scam. Firstly there seem to be dozens of so-called half price booths conning tourists charging top dollar for what is probably a gallery seat.
Booking fees: I believe Priscilla will charge you a fee even if you buy your ticket from the theatre and that will be per ticket. And is it true that all the stalls and all the circle are the one price? This leaves very little choice of price.
Oh don’t get me going!
Thank you again for your excellent words - you will be pleased to know I have few opinions on the merits of football!
February 3rd, 2009 at 3:40 pm
Have you heard the UK Eurovision song yet, Michael?
February 4th, 2009 at 12:38 pm
Nice blog, but “Well known theatre critic” got me thinking. Terry Wogan might not be a well known theatre critic, but to fill all those seats a big show like this needs to reach beyond regular theatre-goers and appeal to people for whom the phrase “well known theatre critic” is a contradiction in terms.
If he likes it he likes it - and if he’s not in a position to say he preferred the latest Caryl Churchill the night before, then nor will be most of the punters.
I work in theatre marketing and I reckon we should be getting the likes of Wogan along to some of the more serious, fantastical, experimental, brilliant, brutal theatre out there, because they’d love it, and rave about it to millions: to people who rarely look at the theatre reviews.
A couple of years back I took a friend who was an absolute theatre virgin (seriously, NO theatre experience, not even panto as a kid) to see Graeae’s production of Sarah Kane’s Blasted. he loved it, loved the fact that it was unlike any other medium, that it challenged him, that it didn’t patronise him, that there could be theatre that one can “get” and “not get” at the same time.
February 10th, 2009 at 11:36 am
Have you now heard the Eurovision entry?
I wonder how long it took Andrew Lloyd-Webber to write ‘It’s My Time’ and if that included standing up and washing his hands afterwards …
February 10th, 2009 at 11:37 am
Once you go beyond the usual Les Mis, Phantom leading performers’ club for your star it seems you often get voice problems - Michael Crawford acquired a hiatus hernia I remember, and Clarke Peters improved the show enormously when he took over in Witches of E. But 15 million pounds worth of punters (if genuine) can’t be wrong. Why have they booked ahead of the critix? It’s a group show, it has feelgood factor, it has Rowan Atkinson, it had unbuyable TV exposure. Martine M was unreliable (not just her voice?) but my kids were desperate to see her in it; without her they wouldn’t have bothered.
March 24th, 2009 at 6:54 pm
“I went to a dinner party where the other guests, including theatrical fixer and former Oxford Playhouse board member Biddy Hayward…”
I wish you had told me you were going.
I would like to ask her if she could fix for me to be paid for the West End transfer of The Rehearsal.
March 11th, 2010 at 12:52 pm
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