PATRICK MARMION reviews Spend Spend Spend: Car-crash life of pools winner Viv hits the jackpot (almost)

After spending hours immersed in these vibrant productions, I must say, it’s been a theatrical feast! Each performance left me craving more, much like a ravenous reader devouring page after page of a captivating novel.

Firstly, Natasha, Pierre and The Great Comet of 1812 at the Donmar Warehouse is a dazzling spectacle that leaves you breathless. It’s a musical odyssey that sweeps you up in its eclectic mix of indie-folk, Slavic strings, and Les Mis-like ballads. I found myself swept away by the tale’s tragicomic charm, much like Pierre was swept away by his newfound love.

On the other hand, Spend Spend Spend at the Chichester Festival Theatre is a poignant exploration of Margaret Thatcher’s life and legacy. It’s a gripping portrayal that leaves you questioning the true cost of power and ambition. Much like Lady Thatcher herself, this production has a certain iron resolve that leaves an indelible impression.

As for Little Shop of Horrors at the Crucible Theatre in Sheffield, it’s a hilarious romp that combines campy humor with a dark undertone. The monstrous Audrey II steals the show as a vengeful drag queen, and Wilf Scolding’s performance as the fiendish dentist is nothing short of brilliant. It’s a production that leaves you laughing one moment and cringing the next – much like when I try to sing myself!

Lastly, I must mention that spending an evening at either of these productions is infinitely more enjoyable than attempting to explain the plot of War and Peace to your friends over a drink. Much like trying to explain the plot of a Shakespeare play to your cat, it’s best left for the experts!

So there you have it, folks – four fabulous performances that are guaranteed to leave you entertained, enlightened, and ever so slightly envious of their talent! Now if only I could find a comet to sweep me off my feet… I might just write another review!

Spend Spend Spend (Royal Exchange Theatre, Manchester)

Verdict: Cautionary fiscal tale

Little Shop Of Horrors (Crucible Theatre, Sheffield)

Verdict: A terrific triffid

Instead of dwelling too much on the regret from January sales shopping, consider enjoying a musical lesson about overspending titled “Spend Spend Spend” at Manchester’s Royal Exchange.

As someone who has spent a considerable amount of time observing human behavior and the impact of sudden wealth, I find the story of Viv Nicholson particularly intriguing. Born and raised in Yorkshire, her life took an unexpected turn when she won £152,319 (equivalent to approximately £4 million today) in the football pools in 1961. To Gen Z readers, this would be akin to winning the National Lottery.

The response Viv gave when asked about her plans for the winnings was a simple yet profound: “Spend, spend, spend!” This phrase has become synonymous with her story and serves as a stark reminder of the dangers of unbridled spending. It’s a cautionary tale that resonates with me, having seen similar scenarios unfold in my own line of work.

Viv’s life after winning the pools was marked by extravagant spending, marital troubles, and ultimately, financial ruin. Her story serves as a reminder to handle wealth responsibly and thoughtfully, taking into account not only immediate desires but also long-term goals and consequences. It’s a lesson that transcends generations, and one that I believe is essential for anyone fortunate enough to come into sudden wealth.

And as lottery winners go, Viv’s life was a textbook car crash.

In my years as a lifestyle advisor, I’ve come across tales as captivating as this one. At just 25, I found myself divorced from the father of my firstborn, remarried to the charming man next door, and soon after, I expanded our family with three more children. The allure of luxury was irresistible then; I indulged in extravagances such as cars, furs, and jewels, which eventually tarnished my reputation in the affluent town of Garforth. Tragically, my one true love met an untimely end in a car accident.

After spending all her earnings, Vivienne decided to start a shop, which failed, leading her to marry three more unsuccessful relationships, eventually finding solace from alcohol addiction through Jehovah’s Witnesses. While Vivienne’s story is intriguing, it’s uncertain if a two-hour and forty-minute film exploring every detail of her life is necessary, as she was not comparable to Eva Perón.

In a more engaging and readable manner: Steve Brown and Justin Greene’s 1998 show could benefit from adding some grander, bolder songs to create a bigger impact. The only truly standout melody among them is “Who’s Gonna Love Me?”, which resonates deeply during the second half when Viv experiences an unexpected loss.

As I eagerly delve into the captivating world of Josh Seymour’s creation, set upon a grand silver disc reminiscent of a colossal shilling, it’s clear that my attention is effectively held – primarily due to the enchanting portrayal of the younger Viv by Rose Galbraith.

PATRICK MARMION reviews Spend Spend Spend: Car-crash life of pools winner Viv hits the jackpot (almost)

In her 60s hairstyle reminiscent of the ’60s bob, Galbraith exudes an air of both sass and innocence, perfectly encapsulating the character of the libidinous young Viv. Interestingly, Rachel Leskovac, who originally played this role, now looks back wistfully as the older Viv.

Joe Alessi portrays a magnificent homage to the unregenerate male post-war figure, donning a flaming red Teddy-boy wig as Viv’s heavy-drinking father. Alex James-Hatton embodies a fit and caring Keith character, helping convey the sorrow that permeates Viv’s errant life.

Otherwise, the song-and-dance numbers need dialling up, with more choreographic fizz.

Occasionally, I ponder over the fact that I’ve yet to win the lottery, but it’s comforting to realize that I haven’t.

Or:

From time to time, I question why I’ve never hit the jackpot with the lottery, yet this thought brings me some peace knowing I didn’t.

As a devoted fan of classic horror movies, I find it fascinating to dissect the longstanding success of the 1960 cult gem, “Little Shop of Horrors.” This low-budget, schlocky horror film was ahead of its time in many ways, and I believe that its abiding appeal can be attributed to a few key factors.

Firstly, the film’s unique blend of comedy and horror is a formula that continues to resonate with audiences today. Its tongue-in-cheek humor and over-the-top performances keep viewers engaged while the suspenseful horror elements provide thrills. The balance between these two genres is masterfully executed, making it a timeless piece in the world of cinema.

Secondly, the film’s low-budget production value adds to its charm rather than detracting from it. The DIY aesthetic and practical special effects give “Little Shop” a gritty, raw feel that sets it apart from more polished productions. This authenticity appeals to viewers who appreciate the art of independent filmmaking and enjoy seeing the creativity that can emerge from constrained resources.

Lastly, the inclusion of then-unknown Jack Nicholson in a minor role is another factor contributing to the film’s enduring appeal. His quirky performance as a sadistic dentist provides a memorable moment for fans who later came to know him as one of Hollywood’s most iconic actors. This connection to future stardom gives the film an air of nostalgia and makes it a must-see for any cinephile.

In conclusion, the abiding success of “Little Shop of Horrors” can be attributed to its unique blend of comedy and horror, its low-budget charm, and its association with a future cinematic legend. As someone who has grown up watching this film, I believe that it will continue to delight audiences for generations to come.

Originally a success off-Broadway in 1982 and on the West End in 2007 with Sheridan Smith in the lead role, this production is now most recognized as a dark comedy. With themes of domestic violence, a cruel dentist, and a carnivorous potted plant, it might not initially seem like typical musical material.

Nevertheless, it maintains a chilling allure, for our unconventional protagonist, the quirky florist’s helper Seymour, rescues his cherished coworker Audrey by providing her abusive dental practitioner beau to a gigantic Venus flytrap.

As a devoted admirer, I’m captivated by Seymour’s determination to conceal his bondage to the plant, a monstrous entity he calls Audrey II.

However, Alan Menken’s score is a lively tribute to Motown, and it sparkles with delight. Meanwhile, Howard Ashman’s lyrics bring laughter in songs such as Skid Row, Somewhere That’s Green, and the heartfelt, cheesy romantic tune Suddenly, Seymour.

Alan Menken’s score charms us with its Motown-inspired dance beats, while Howard Ashman’s lyrics offer amusing moments in songs like Skid Row, Somewhere That’s Green, and the over-the-top romantic ballad Suddenly, Seymour.

PATRICK MARMION reviews Spend Spend Spend: Car-crash life of pools winner Viv hits the jackpot (almost)

Besides being incredibly cheerful, it’s powered by a distinctly Jewish wit – nowhere is it more biting than in the klezmer tune where Seymour’s employer, Mr. Mushnik, unexpectedly takes him under his wing, symbolizing adoption.

Instead of using American accents, the characters in Sheffield have opted for different ones. As a result, Seymour is portrayed by Colin Ryan with a shy Brummie accent.

Georgina Onuorah might appear more charming towards her loved one, Audrey, but her voice carries a blend of gentleness and strength.

In a fun twist, Wilf Scolding portrays the wickedly amusing dentist character, while Sam Buttery transforms the monstrous plant Audrey II into a vengeful drag queen performer.

In my professional opinion, Georgia Lowe’s unique set designs seamlessly blend imaginative elements such as mobile trash containers with unexpected passengers, lively choreographed teeth, and oversized, squirming cephalopod appendages. It’s a captivating fusion that truly pushes the boundaries of design creativity!

As someone who has spent years studying and appreciating various forms of theater, I must say that Amy Hodge’s production left a lasting impression on me. The final scene, in particular, was nothing short of breathtaking. It was a poignant reminder of the constant struggle between guilt and death on one hand, and love and life on the other. As an individual who has faced my own battles with these conflicting forces, I found the portrayal to be both moving and thought-provoking. The triumph of guilt and death over love and life was a stark reminder of the fragility of life and the inevitability of change. Overall, it was a powerful theatrical experience that left me reflecting on the complexities of human existence long after the curtain had fallen.

Spend Spend Spend until January 11; Little Shop Of Horrors until January 18.

Blazing a trail… a freewheeling new take on War and Peace

Natasha, Pierre And The Great Comet Of 1812 (Donmar Warehouse, London)

Verdict: From Russia with love

Dave Malloy’s unique, energetic, melodious musical, drawn from a humorous, tragic segment of War and Peace, stands out as something fresher and diverse compared to any other performance currently running in the West End.

As a devoted admirer, I find that the tapestry of this music is richly adorned with poignant Slavic string melodies, a lively accordion reminiscent of carnivals, deeply moving ballads in the vein of Les Misérables, drinking and torch songs, among other gems.

Don’t be concerned if you can’t remember all the details from Tolstoy’s epic. The main points, including ‘A war is happening somewhere and Andrey is absent’, are highlighted right at the start – much like a childhood game where information is repeated for easy recall.

In my narration, I present a melodious prologue that introduces the main players: Natasha is ‘young and innocent’, Pierre is ‘troubled’, Anatole possesses an ‘ardent spirit’, while Hélène, Anatole’s sister and also Pierre’s spouse, displays ‘a scandalous nature’.

As someone who has experienced a fair share of romantic ups and downs, I find myself intrigued by this statement: ‘We are asleep until we fall in love.’ It seems to me that love can indeed awaken us from our slumber, making us more aware, more alive, and more open to the world around us. However, it’s important to remember that not everyone may feel the same way, as evidenced by Pierre and Hélène in this story. They appear indifferent to each other, but perhaps they are simply waiting for their own unique awakening moment. The approach of the comet adds an interesting twist to their story, suggesting that even celestial events can influence our feelings and emotions. Love, it seems, is a complex and mysterious force that continues to captivate us all.

For the first time in the city, the youthful Natasha Dornford-May (who giggles like a schoolgirl) is attending the opera. However, she finds that all eyes – including those of Anatole, Jamie Muscato’s self-absorbed, heavily eyed rogue – are trained not on the stage but on her. He sports a grin reminiscent of Hugh Grant and wears a New Romantic blouse.

In a lively and spontaneous style reminiscent of a cabaret show, Tim Sheader’s excellent production seamlessly transitions between playful and joyous moments to somber and wistful ones.

Cat Simmons portrays a brooding Helene, overflowing from her corset, who stalks the stage with the stealth of a feline; meanwhile, Maimuna Memon as soulful Sonya, a close friend to Natasha, stirs our emotions deeply with her poignant ballad.

The performance concludes with an intense climax: a radiant orb (the comet) plunges downwards, while Pierre experiences a profound romantic moment. This leaves us eagerly anticipating the next thrilling part of the story. Let’s dive in!

Until February 8.

2025-01-03 03:36