An album review of Joel Harper-Jackson’s So What Happens Now? and inspired by Marry Me A Little last night, I explore Makerman and Rob Houchen
“I don’t care if it hurts
I wanna have control”
Released just as the second lockdown kicked in, Joel Harper-Hackson’s debut album has ended up with a painfully apposite title – So What Happens Now?. I first spotted Harper-Jackson a few years as a standout in a middling new musical and have enjoyed following his career since then, not least in the Hope Mill’s gorgeous production of Little Women. Interestingly, this album largely eschews the world of musical theatre for the world of popular music, albeit reimagined through the wonderfully moody arrangements of Greg Morton.
Piano, guitar and cello thus come to the fore to underscore mournful takes on ‘Jolene’ and ‘The Man That Got Away’, the quavering vocal at the beginning of ‘Another Suitcade in Another Hall’ really refocuses the song’s emotion, and the shivering sparseness of ‘Wicked Game’ hits harder than usual, especially once the dramatic stakes are raised. Unexpectedly effective though is the duet on ‘Tragedy’ with Jodie Steele which utterly reinterprets the rueful acceptance of the song in a way which makes complete sense. ‘Creep’ with Lauren Byrne is pretty damn good too. If ever there was an album to cry-listen to whilst looking through a rainy November window and eating a packet of biscuits, this is that album and this is that moment. Highly recommended. Continue reading “Album Review: Joel Harper-Jackson – So What Happens Now? / Makerman – Grove Hill / Rob Houchen”
Rob Houchen and Celinde Schoenmaker star in a beautifully sung, beautifully filmed digital version of Sondheim’s revue Marry Me A Little for the Barn Theatre
“What can you do on a Saturday night alone?”
The ever-enterprising Barn Theatre in Cirencester are getting particularly good at making lemonade out of lockdown lemons and so it is little surprise to see that their production of Marry Me A Little, which had its run curtailed by the imposition of Lockdown #2: Electric Boogaloo, is now available to stream for a limited period, thus exponentially increasing its reach.
Recorded over its final performances by Ben Collins, the work of editor Ben Evans (with Collins co-editing and also with sound editor Harry Smith) shouldn’t be underestimated. They have done a remarkable job in translating Kirk Jameson’s directorial vision onto screen, the film is as slickly professional as you could hope to dream of, with just enough texture in there to remind you it is live theatre. Continue reading “Review: Marry Me A Little”
Following an online concert that took place earlier this year, Kings of Broadway will entertain live audiences this December. The musical celebration will take place at the Palace Theatre on 9th December, just a week after the upcoming England lockdown is said to end.
Over 30 performers will come together for the concert, celebrating music of Jule Styne, Jerry Herman and Stephen Sondheim. Styne wrote the music for Gypsy and Funny Girl, with Hello, Dolly! by Jerry Herman and Company by Sondheim. Continue reading “News: Kings of Broadway live concert announced”
Episode Two of The Theatre Channel takes its Halloween theme and has a ball with it, with brilliant performances from the likes of Linzi Hateley, Jordan Shaw, Bradley Jaden and Sophie Isaacs
“It’s a matter of time before London belongs to us”
After a highly successful debut, Episode 2 of The Theatre Channel arrives and things have gone a bit Strictly with a theme week. Natch it is Hallowe’en that acts as a linking thread between the performances here but unlike Strictly, it is pleasingly effective as the production design (by Gregor Donnelly) gets to play with a more cohesive visual language across the show (credit too to director Bill Deamer and DP Ben Hewis), and the song selection gets to go a bit dark and dramatic.
That’s not to say that there’s not a variety of tone here. As befits this holiday, there’s a healthy dose of camp as a CGI-enhanced Ria Jones casts her spell over Into the Woods’ ‘Last Midnight’ and the camp drama of Frank Wildhorn’s ‘Life After Life’ from Dracula the Musical is well served by the relatively straight bat and sensational voices of Bradley Jaden and Sophie Isaacs. The same goes for Josh Piterman’s dangerously seductive take on ‘The Confrontation’ from Jekyll and Hyde. Continue reading “Review: The Theatre Channel – Episode Two”
A canny choice of material means you’re as likely to find Selena Gomez as showtunes on Laura Benanti’s excellent debut studio album Laura Benanti
“I wish there was something I could do to make you smile again”
Tony Award-winner Laura Benanti has long been a performer I’ve loved, I’m always a sucker for such a legit soprano, so it was a bit of a surprise to clock that Laura Benanti is actually her debut studio album. Over the years she’s been a part of some top cast recordings and released a cracking live set, but with this release, she has created a marvellous album that feels equally at home in the cabaret club as it does reclining at home on your chaise longue with a Manhattan in hand.
It’s a varied selection of tracks to be sure, with musical references from Rufus Wainwright to Rosemary Clooney, Sondheim to Selena Gomez, Julie London to the Jonas Brothers. But remarkably, it all feels so beautifully, smoothly cohesive, a collection truly united by the interpretative skill of a genuinely engaged and engaging performer. Continue reading “Album Review: Laura Benanti – Laura Benanti”
Reviews of a trio of excellent albums: Marie Oppert – Enchantée, Kim David Smith Live at Joe’s Pub and Siobhan Dillon – One Voice, all recommended
I do love me a soprano and discovering a new one feels like as good a way to spend lockdown as any. Marie Oppert is a French singer and actress whose debut, at age 17, came in a major concert version of a little-known show called Les Parapluies de Cherbourg… From those Michel Legrand-sanctioned days, she has established a notable career and now releases her first solo album Enchantée. Back by the luscious sound of the Orchestre National de Lille and conductor Nicholas Skilbeck, this collection sees Oppert explore a bilingual songbook that stretches from the boulevards of Paris to Broadway.
The result is something rather glorious. The sumptuous treatment of the likes of ‘The Light in the Piazza’ and ‘I Could Have Danced All Night’ are near ecstatic, ‘Children Will Listen’ in French brings a new dynamism to a familiar piece, and characterful duets with Melissa Orrico and Natalie Dessay, whom she charmingly terms her “two Franco-American ‘fairy godmothers”, both impress. The irrepressible energy of 1938 track ‘Y’a d’la joie’ is an absolute standout and an interpretation of Billy Elliott’s ‘Electricity’ has no right to be as effective as it is here. Sod’s law though, Oppert is playing in London next month but bloody Covid restrictions means I can only go by buying a table for two. Continue reading “Album reviews: Marie Oppert – Enchantée / Kim David Smith Live at Joe’s Pub / Siobhan Dillon – One Voice”
Britain’s Got Talent judge Amanda Holden releases her debut album Songs From My Heart, full of musical theatre treats and Sheridan Smith
“You pulled me in and together we’re lost in a dream”
I’ve never actually seen an episode of Britain’s Got Talent so the rise of Amanda Holden to “undoubtedly one of Britain’s best loved entertainers” is one that has largely passed me by. That’s not to denigrate a career that has impressively straddled many media though and with the release of her debut album Songs From My Heart, it is clear that she hasn’t finished adding strings to her bow.
The album sees her delve mainly into the world of musical theatre (I did see her in Shrek the Musical back in 2011) and it is an endeavour in which she acquits herself well. Holden has a lovely clear voice but more impressively, an interpretative style that is blessedly free of unnecessary riffs and that pervasive need that many have to make the material ‘their own’. Continue reading “Album Review: Amanda Holden – Songs From My Heart”
Featuring the likes of Jenna Russell, Matt Henry and Carrie Hope Fletcher, Episode 1 of The Theatre Channel is a roaring success
“Believe me, my admiration for you hasn’t died”
As big question marks remain over if and when theatre doors will start opening again, the move to online delivery of musical theatre has taken an interesting turn with the arrival of The Theatre Channel. It is officially described as a web series but it is basically a musical theatre version of classic Top of the Pops online, ie heaven!
Set on location in (and on top of) The Theatre Café, the first episode was a slick half hour of cracking entertainment that really gladdened the heart. Director Bill Deamer offers a slice of real variety across its six numbers but also maintains a high level of quality, right down to the witty timing of the snippets of choreography he introduces via the inhouse ensemble. Continue reading “Review: The Theatre Channel – Episode One”
We’re beginning to see the fruits of some more of the lockdown programming that has seen theatres across England respond in a variety of impressive ways
Nottingham Playhouse’s Unlocked Festival continues to rocket up the must-see list as it announces more details. Their local writing commission has ended up with two winners – Wayward Thread’s Hand Me Down and Lapelle’s Factory’s Shuck, both of which will now receive work-in-progress performances as part of the festival.
Casting has also been announced for James Graham’s Bubble, which will star the marvellous Pearl Mackie and the equally marvellous Jessica Raine. They join the likes of Mark Gatiss and Jade Anouka reading ghost stories on
Halloween, new work from Naomi Obeng and a concert starring Rosalie Craig, Sandra Marvin and Jodie Prenger. Continue reading “News: October UK theatre news update”