A trio of quick London cast recordings – The Secret Diary of Adrian Mole Aged 13 ¾, Heathers and Calendar Girls
“For a greasy little nobody, you do have good bone structure”
I was delighted to see a belated West End transfer for this lovely new musical by Jake Brunger and Pippa Cleary. I’ve loved every step of its journey and The Secret Diary of Adrian Mole Aged 13 ¾ (Original London Cast Recording) proves the perfect accompaniment as it captures so much of the energy of this most British of tales and sparky performances from the likes of John Hopkins and the luminous Kelly Price.
I didn’t however make it to Heathers, it just not appealing to me at all. With Heathers (Original West End Cast Recording), the opportunity to listen to this high school musical is now ours but I have to say, its charms elude me. There’s a fatal mismatch between the darkness of the source material (it really is a brutal film) and the breeziness of Laurence O’Keefe and Kevin Murphy’s pop-rock score that not even the quality of Carrie Hope Fletcher, Jodie Steele, Sophie Isaacs and Jamie Muscato’s strong performances can overcome.
And I thought I’d pay another visit to Yorkshire for Calendar Girls (Original London Recording) to see whether it stands the test of time. It proved an amiable if short-lived presence in the West End and listening to it again, I’d argue that there’s a gentleness to it that doesn’t quite linger long enough. Gary Barlow’s tunes are undeniably pretty but ultimately, they don’t really call out to be listened to over and again.
“You may be 13 but you’re still an adolescent boy”
After premiering at the Curve Theatre in 2015, Pippa Cleary and Jake Brunger’s musical adaptation of Sue Townsend’s tale of Leicester’s most famous teenager has undergone its own version of puberty, re-emerging at the Menier Chocolate Factory for the summer. And those growing pains seem to have been worth it as The Secret Diary of Adrian Mole Aged 13 ¾ has matured beautifully, a powerful example of how musicals need to be allowed to develop, resulting in this case in a fantastic new British musical.
Luke Sheppard’s production certainly benefits from the intimacy of the South London venue but where it now excels is in its emotional intensity. The scenes between Adrian (played by Ilan Galkoff at this performance) and his mother Pauline, an achingly superb Kelly Price, are just heart-breaking, as he struggles to realise just how far her women’s lib-inspired independence will take her from him. I was reminded that reading this book was in fact was one of the main ways I learned about divorce and that scarce comprehension is captured perfectly here. Continue reading “Review: The Secret Diary of Adrian Mole Aged 13 ¾, Menier Chocolate Factory”
“He brought me ice-cream”
It’s a little unfortunate for this 1994 London Cast Recording of She Loves Me, that I came to it after having fallen hard for the charms of the Broadway production that was livestreamed and whose cast recording I’ve already had the pleasure of reviewing. For it can’t help but be overshadowed by it, not just in terms of whether its ‘better’ or not but also in the more ephemeral sense that that was version that changed my mind about the show after a lacklustre fringe production had turned me off.
The main joy here comes from a stellar performance from Ruthie Henshall as the headstrong but heartsore Amalia Balash, a role for which she won the Best Actress in a Musical Olivier Award, the kind of old-school soprano role that is all-too-sadly rarely found these days. The sweet emotion of ‘Vanilla Ice Cream’, the tender heart of ‘Dear Friend’, but particularly the comedy and vocal acrobatics of ‘Where’s My Shoe?’, you can see how there’s a powerful match between singer and role. Continue reading “Album Review: She Loves Me (1994 London Cast Recording)”
“We had such hopes…”
To celebrate its 25th anniversary, The Phantom of the Opera decamped to the Royal Albert Hall for 3 performances, the highlights of which were spliced together to give a full CD/DVD release package which contains as full a rendering of the entire score as it currently available. Maybe it was a rush job though as the sound quality on this CD really isn’t good enough for it to be genuinely recommendable, even for a live recording.
I also had mixed feelings about the production itself. I just can’t get on with Sierra Boggess’ voice, her soprano voice always erring to the too shrill for my liking and the vibrato she employs has all the subtlety of a jackhammer. Christine isn’t the strongest-written of roles at the best of times and Boggess just feels too emotionally vapid to be the inspiration of such all-conquering adoration as she is served with in this story. Continue reading “Album Review: The Phantom of the Opera at the Royal Albert Hall”
“Beyond this door, surprises in store”
Third time lucky for me and the great glass elevator! The first time I saw Charlie and the Chocolate Factory at the Theatre Royal Drury Lane, the climactic lift effect wasn’t ready, the second time it broke down before it even really started so if nothing else, it was great to finally get to see the sequence as it was intended. My main reason for revisiting the show though was the cast change, with favourites like Josefina Gabrielle and Richard Dempsey joining the company and Alex Jennings stepping into the role of Willy Wonka, replacing Douglas Hodge.
And rather unexpectedly, I absolutely loved it. It was a show I had previously liked rather than truly enjoyed but it really seems to have settled into its skin now, subtle alterations helping with the pace (although I am sad to see the animated prologue having been removed) and a generally sharper feel to the whole proceeding. For me though, the best aspect was Jennings’ reinterpretation of Wonka, a completely new take on the character that works brilliantly and feeds into the fabric of David Greig’s book, based on Roald Dahl’s writings of course, in a more instinctive and convincing manner. Continue reading “Re-review: Charlie and the Chocolate Factory, Theatre Royal Drury Lane”
Starting off at the Menier Chocolate Factory and transferring to the West End at the Duke of York’s, Little Shop of Horrors now has its third home in London at the Ambassadors and I have finally gotten round to seeing it. And boy am I glad that I did.
It is a very sweetly composed story, straddling that not-so-well-trodden boundary between sci-fi and romance. Seymour, a down-on-his-luck orphan just scraping by in grim urban Skid Row, finds a special plant which happens to appear during a solar eclipse and suddenly everything in his life starts to improve. The flower shop where he works becomes more successful, he sees a way to rescue the girl he loves from afar from a violent relationship, but as always, there’s a downside to all of this and in this case, it is that the plant is a living, carnivorous one with a particular yen for human blood. Continue reading “Review: Little Shop of Horrors, Ambassadors”