Tuesday, 23 February 2010
Prior to the show I managed to have a chat with Frans parents Mel and Steve as they came into the theatre right behind us they were really nice as you would expect. They had been there all week and after having seen the show the first night they went back every night. Hearing this made me even more excited to see the show, as they were so enthusiastic about it.
The show was something else, the costumes were fabulous and although some o
After the show I saw Fran's parents again, and Fran came down to say hello and was a delight as always, and we had a nice chat and she obliged with a some photos. Fran was sad that the production had come to an end as she had had an amazing time and the weeks run had just flown past.
I'm so glad I didn't miss the opportunity to go and see this show, and if Fran ever gets the chance to reprise this role and you get the opportunity to go and see it it's a real must she really does steal the show with her solo of which you can see clips of on the Culture Box link a couple of posts below.
I apologise mainly to Fran and her family for the quality of the following photo, but as they are aware my Mum had her distance lenses in and couldn't see what she was doing with the camera.
Monday, 22 February 2010
Review: A LITTLE NIGHT MUSIC, Theatre du Chatelet, Paris, February 20, 2010
Monday, February 22, 2010; Posted: 05:02 PM - by Robert Gould
It is not often that a production of a vintage piece of musical theatre overshadows the original production but that is precisely what happened during a magical new staging of the Stephen Sondheim/Hugh Wheeler musical A Little Night Music at the Theatre du Chatelet in Paris last week. The musical was originally directed on Broadway in 1973 by the legendary Hal Prince and has been frequently staged at venues all over the world since then (most recently at the Menier Chocolate Factory, the Garrick Theatre and now on Broadway, directed by Trevor Nunn). But this incarnation, directed by Lee Blakely, is the most beautiful and stunning version of the show I have ever seen.
The plot of the show (set in Sweden at the turn of the 20th century) concerns lawyer Fredeik Egerman, who - frustrated in his marriage to a 17-year-old bride, still a virgin after 11 months of marriage - seeks out his old flame, actress Desiree Armfeldt, who is in the throes of a complicated relationship with a womanising Dragoon, Count Carl-Magnus, who is himself married to the long-suffering Charlotte. Other characters, including Fredrik's son, Desiree's daughter and Anne's maid, Petra, are woven into the fabric of this clever tapestry of lovers and fools. And the proceedings are insightfully observed by Desiree's mother, Madame Armfeldt, who explains that the night will smile three times - for the young, for the fools and for the old.
Full of some of Sondheim's wittiest and most poignant lyrics, which sit on top of the Grand Master of musical theatre's most ravishing score, A Little Night Music has always been one of his most crowd-pleasing and successful musicals. But this Parisian outing allowed the piece to shine brighter than ever. Lee Blakely masterfully orchestrated his actors and scenery to create a perfectly seamless progression of dramatic action, which - aided by Andrew George's choreography, Jo van Schuppen's beautiful costumes and Jenny Cane's stunning lighting - exploded into a magnificent spectacle that delighted both the eyes and ears of the audience.
And the cast were simply magnificent, singing quite beautifully throughout. In particular, Deanne Meek delivered Countess Charlotte's barbed one-liners with great comic timing, Greta Scacchi glistened with class as Desiree and performed the show's iconic song (Send In The Clowns) with the perfect balance of subtlety and pathos - while Leslie Caron's Madame Armfeldt owned the stage for every second she was on it. But, even in this great company, Francesca Jackson - whose performance as Petra was a sheer delight throughout - came close to stealing the show with her sensational rendition of the penultimate musical number, The Miller's Son.
A Little Night Music is based on the Ingmar Bergman classic film, Smiles Of A Summer Night. The smiles were particularly broad in Paris last week.
Thursday, 18 February 2010
Here are three further reviews of A Little Night Music, I have pulled out some small sections from each of the reviews and pasted the link to the full review is below each one if you wish to read the full review.
Rebecca Bottone quicksilver, stunning Francesca Jackson, Nicholas Garrett, Deane Meek, Leon Lopez, David Curry as they are all amazing singers like run-of Lebeslieder Quintet.
Francesca Jackson stops the show with one of Sondheim’s greatest numbers, the maid Petra’s The Miller’s Son,
Special mention to Francesca Jackson (Petra, the maid of Egerman) and Nicholas Garrett (Count Malcolm, until some ridiculous elements of the uniform) for their vocal prowess. With the complicity of the Philharmonic Orchestra of Radio France, Jonathan Stockhammer reveals the great beauties of this "Little Night Music."
Philippe Venturini, Les Echos
Les Echos Review
Wednesday, 17 February 2010
Here is another review yet again Fran has received some well deserved praise....
the rest of the cast is equally up to par, notably Nicolas Garret as Desirée's pompous lover, Deanne Meek as his long-suffering wife and Francesca Jackson-a true Broadway belter-as the effervescent maid Petra.
Fran has been praised again for her performance as Petra by the Financial Times.
(From Left; Rebecca Bottone, Lambert Wilson and Francesca Jacson)
It is not all plain sailing with the cast, where some sing better than they can act and vice versa, highlighted here by Nicholas Garrett's Carl-Magnus and Deanne Meek's Charlotte, who can do both, magnificently. Francesca Jackson belts out a barnstorming performance as Petra the maid and David Curry copes well with Henrik's pole-vaulting tessitura.For the full articles please see attached links;
Press Associtation Review
Tuesday, 16 February 2010
Le journal du Beau & du Bien-être
Fran has been singled out for her talented portrail in this production.
Last night at the Chatelet theater is playing the French premiere of the classic musical comedy in the USA: A Little Night Music by Stephen Sondheim. Virtually unknown in France, this piece, created from the Ingmar Bergman film, Smiles of a Summer Night, is one of the masterpieces of the genre across the Atlantic.
The story is somewhat complex, intersecting paths and amorous desires of 6 characters. Fredrik Egerman and Anne are married but have a significant age difference, Fredrik having a son, Henrik, age of his wife. Fredrik was once the lover of a stage actress, Desiree Armfeldt, which is now the mistress of an officer of dragoons, Carl-Magnus Malcolm, himself married to Charlotte.
What you want, simplicity is the enemy of banter, too much light often affects the parallel love affairs or cross! Around this small circle revolves 4 other characters: Petra (the right of Anne and Fredrik), Frid, butler's daughter, Desiree, Fredrika (!) And finally the mother of Desiree, an old lady who was at the believe, a life full of joy, adventure and lovers prestigious and wealthy who have inherited both the physical means to an honorable life, comfortable and rich, tender and sometimes burning memories. Memories that will used to reveal the games of love and sex to her little girl, taking at the role of guiding part in explaining a beautiful Scandinavian summer night smiles three times: once for the youth, once for fools once and for old age.
To be brief, say that none of our 6 main characters is happy in her love life and sex and all are in search of the Other, the one with which the harmony and pleasure are finally meeting you. Throughout the musical, couples will make or break, tear, reconciliation, and finally pair. Provided that with such a plot, the work is rather risky, for the creator, director and performers. A Little Night Music is a fragile flower to be beautiful, must avoid the pitfalls of vulgarity or excessive prudishness. Stephen Sondheim, who was the lyricist L. Bernstein West Side Story, created the music and dialogues full of finesse, depth and richness, a work of rare and delicate balance, and yet with great strength.
The phenomenal success he has met since its inception in 1973 has welcomed this performance. The staging of this production at the Chatelet is no less happy, Lee Blakeley was able to leverage the work of fine art director Rae Smith, light and rich scholarly Jenny Cane and elegant costumes by Jo van Schuppen. Andrew George sign the choreography that punctuate the piece dances outdated evoking the golden age. All this together creates a happy, served by the brilliant performance of the Philharmonic Orchestra of Radio France conducted by Jonathan Stockhammer.
Remained in place in this beautiful setting, the acting. And the poster is attractive, see: Greta Scacchi, Lambert Wilson and Leslie Caron headlining, supported by real opera singers or music hall, beautiful voice rich and deep. Everyone kept their roles brilliantly, Francesca Jackson standing out of the lot for her interpretation of air from the good (the Miller's son) that we probably all back on Broadway so her song was the perfect example of these voice and the dynamic signing the American musical.
The three headliners are, themselves, not professionals for the year. And answered with a blessing sometimes uneven. Leslie Caron has not always managed to slip into the role of Madame Armfeldt, even with a hole in his text. This is particularly unfortunate that this great lady, with her unique course, did not need that to stay in the firmament of great. His final still caught a lot and I would not tap this great lady who deserves my respect. Lambert Wilson it is much better out. It is very good actor, has a fine powerful baritone voice. He has already played the same work in London.
However, there is no opera singer and has suffered somewhat last night, comparison with Nicholas Garrett (excellent Carl-Magnus!) In the duet "It would have been wonderful." It has some limits in the early part, probably due to nerves. However, he camped a beautiful Fredrik, inhabiting the character and playing the man, nostalgic for his foolish youth gives way to the end to pick up the thread of his life and finally find happiness.
Greta Scacchi ... that mean? Madam, I do not want to offend you and if you're reading this, do not take my remarks as criticism, this is not one. Not sure sing! You do not have a lyric voice, and I do not know if you've just always sung yesterday. And yet, despite this very big handicap, you have camped a great Desiree. Your game, your interpretation was perfect for me. Desiree you were a woman in the twilight of his youth, who sees his illusions were shattered in the room, leaving her injured, lost, disillusioned but still saved, finding happiness with the man she loves without telling him (and without to say!) for so many years. Yes, it's true, you have not sung this beautifully fresh air that is "Send in the Clowns". But you just sang. You were playing fair. I do not know exactly how, but I like the idea that you're leaning on that weakness voice into a force to be a core on which you've built your interpretation. Ms. Scacchi, you were brilliant last night and I hope you feel how the audience (me at least!) Had been touched by your work. Because that's what I love, in the artistic work on stage.
This risk taking. This acceptance of his own limitations. The work of the artist who will rely on both the strengths but also its shortcomings to climb, perhaps with pain or fear, to a level of play that makes a room is just a game, but the fact that a song is just a piece of music but the cry of the heart. I always have great admiration for those artists who can rely on the humanity with what she has beauty and weakness to tell us the world and life. A Little Night Music is a great work, beautiful and fragile as a whisper that the slightest cry extinguish. Yesterday evening, however, the murmur has covered the clamor of our daily vanity to take us, a few hours in a happy and a little magical about the intersection of Mozart and Shakespeare. Thanks to the genius of Stephen Sondheim and smile so beautiful and human Greta Scacchi. Hats off to the artists!