Exploring the world of rock musicals, Episode 3 of The Theatre Channel features Alex Gaumond, Shan Ako, John Owen-Jones, Francesca Jackson, Aisha Jawando and Rob Houchen
“Je cherche le soleil
Au milieu de ma nuit“
First, a confession. The idea of a rock musical generally leaves me cold so the announcement of the theme of the third episode of The Theatre Channel being just that wasn’t one that filled me with too much joy. But the quality of Episode 1 and Episode 2, plus the calibre of talent they’ve been attracting, meant that I was happy to at least give it a whirl.
And if it didn’t make a convert out of me (there’s enough fans of Rent out there already…), there’s plenty to be impressed with. The highlight of the half-hour show for me was the chance to hear the Québécois Alex Gaumond singing ‘Le Monde est Stone’ from Starmania in its original French, the desperation of this soaring ballad transcending any linguistic barrier (though subtitles are provided). Continue reading “Review: The Theatre Channel – Episode Three”
Encouraged by their Curtain Up nominations, I take a quick look at the Broadway cast recordings for Hadestown, Jagged Little Pill and Oklahoma!
“I want you to know, that I am happy for you”
I’m not quite sure why I haven’t got around to reviewing the original Broadway cast recording of Hadestown since I listen to it at least once a week, such is the enduring strength of Anaïs Mitchell’s glorious score. I loved the show so much at the National, that I’d already booked to go and see it again before I got home that evening, and getting to dive deep into this recording is about as close as I’ll get to seeing it again (I doubt it’ll return here any time soon although the West End is crying out for its inventiveness).
Those of us who loved the show in London are blessed that the Broadway transfer retained its key cast. So the intense vitality of Amber Gray, the easy swing of André De Shields, the indie-pop sweetness of Reeve Carney and Eva Noblezada and the gravelly hotness of Patrick Page remain intact. And those tunes! The plaintive cries of ‘Wait for Me’, the slinkiness of ‘When the Chips Are Down’, the incredible prescience of ‘Why We Build The Wall’, the sheer glee of ‘Way Down Hadestown’, it is a winner from start to finish for me. Continue reading “Broadway Album Reviews: Hadestown / Jagged Little Pill / Oklahoma!”
A pair of album reviews from Phantoms past and present – Ramin Karimloo’s latest From Now On and new leading man Josh Piterman’s Josh Piterman
“Will I ever be more than I’ve always been?”
Ramin Karimloo’s recording career has always been an interesting one to track, as he oscillates between the musical theatre in which he has made quite the name and the musical influences that clearly lie closest to his heart. His latest full-length album From Now On encapsulates this perfectly right from the off, using his patented Broadgrass style to illuminate The Greatest Showman’s ‘From Now On’ to glorious effect.
The tracklisting sees him dabble in musicals old and new – he makes a good case for King George in an uplifting ‘You’ll Be Back’ from Hamilton and Dear Evan Hansen’s ‘Waving Through a Window’ builds the already fever-pitch anticipation for its London opening. And they’re matched by a straightforward canter through Rent’s ‘What You Own’ and Hedwig’s achingly good ‘Wicked Little Town’ which balance his interpretative skill with his unmatched vocal strength. Continue reading “Album Reviews: Ramin Karimloo – From Now On / Josh Piterman – Josh Piterman”
“The little dark star in the wind down there”
Though she’s yet to pop her head over this side of the ocean, I’m pretty sure Annaleigh Ashford is an absolute darling. It’s part of the legacy of playing Lauren in Kinky Boots I think, such a lovable part and what I’ve seen and heard of her since has only confirmed that for me. Her acclaimed cabaret performances also won over new audiences, resulted in a live recording of Lost in the Stars: Live at 54 Below being released late last year.
Supported by the superb musicianship of Will Van Dyke and The Whiskey 5, Ashford is an effortlessly delightful performer, whether ripping through the vocal splendour of Dreamgirls‘ ‘One Night Only’ or a Donna Summer medley, nodding to Studio 54’s illustrious past. There’s actually a lot of pop on here, The Everly Brothers’ ‘Love Hurts’, Adele’s ‘Someone Like You’ mixed with Gnarls Barkley’s ‘Crazy’. Continue reading “Album Review: Annaleigh Ashford – Lost in the Stars: Live at 54 Below”
“I don’t think you unworthy
I need a moment to deliberate”
Louise Dearman’s second album saw her pivot away from the world of musical theatre to a collection of her favourite songs off the radio, ranging from The Beatles to Sara Bareilles but tending towards a slightly darker, more dramatic side of pop, even pop/rock as a Skunk Anansie cover also makes it onto the tracklisting. It’s a well put-together collection that clearly delivers what Dearman wants to do in broadening her musical identity, it could however stand to incorporate just a little more variation.
Here Comes The Sun is heavy on the vividly orchestral – Alanis Morissette’s ‘Uninvited’ and Randy Crawford’s ‘One Day I’ll Fly Away’ soar on swoops of strings, Bareilles’ Gravity and Dee C Lee’s See The Day, more recently covered by Girls Aloud, comes in slightly less melodramatically, and uniting them all is the mightily bright voice of Dearman, clear as a bell whether the forceful anger of ‘Squander’, the Skunk Anansie track, the epic in miniature that is Alison Moyet’s ‘This House’ or the gentle gorgeousness of Bareilles’ ‘Gravity’. Across all the songs, Dearman’s talent for telling stories through music also comes across powerfully. Continue reading “Album Review: Louise Dearman – Here Comes The Sun (The Wicked Edition)”
“Do you ever wonder who you’re losing it for”
No word of a lie, the promotional pictures (see below…) that accompanied Matt Doyle’s Uncontrolled album had no impact on my decision to review the album. I’d already tumbled hard for him in Private Romeo, so there. And as he starts off with a tenderly lovely version of Broadway standard ‘You Made Me Love You’, you might think that you’re in for a familiar journey through a collection of musical theatre hits.
You’re soon disabused of that notion with ‘Moment’, a track co-written by Doyle with Joel Huemann which aims squarely for the chart with its stadium-ready chorus and woo-ooo’s and the album’s predominantly filled with original material. He’s unafraid of a personal lyric or three, ‘When I Let You Go’ and ‘8’ feel particularly heartfelt here, and there’s also a sense of Doyle exploring the limits of his song-writing with his collaborators – ‘Fall For Me’ aims for a 50-ish vibe which is highly appealing and ‘Love Uncontrolled’ finds him in somewhere in the soulful part of the 70s.
Continue reading “Album Review: Matt Doyle – Uncontrolled”