Broadway Album Reviews: The New Yorkers / Kiss Me, Kate! / Beetlejuice

I tackle a trio of  Broadway cast recordings in the shape of Cole Porter’s The New Yorkers, Kiss Me, Kate! and Beetlejuice 

“Most gentlemen can’t be profound”

As it only played a handful of performances, the release of Cole Porter’s The New Yorkers (2017 Encores! Cast Recording) is a welcome chance to revisit this rarely seen musical. The recording is certainly aided by the presence of such musical theatre stalwarts as Scarlett Strallen and Tam Mutu (scintillating together on ‘Where Have You Been?’), the revelation for me is jazz singer Cyrille Aimée, who delivers a slinkily devastating rendition of ‘Love for Sale’ that makes it feel like the song was written for her. Continue reading “Broadway Album Reviews: The New Yorkers / Kiss Me, Kate! / Beetlejuice”

Oscar Week Film Review: The Greatest Showman

Defying the critics and showcasing the marvellous Keala Settle, there’s more to like about The Greatest Showman than you might think. Or not.

“The noblest art is that of making others happy”

There’s always something amusing about a piece of art that manages so successfully to flick two fingers at the critics and right now, none more so than The Greatest Showman. In the UK alone, it has achieved a box office consistency near the top of the list unseen since Avatar, the cast recording has been at the top of the album charts for the past two months, and such is its hold on the zeitgeist that it is now holding singalong performances across a range of cinemas.

None of which you would have predicted on its critical reception ahead of its Boxing Day release. It’s not an accurate portrayal of PT Barnum’s life, some said; it doesn’t have enough of a dramatic narrative, others sniffed; still more have derided its complete lack of any post-modern ironic edge, de rigueur for a contemporary musical so they’d have you believe. And there’s merits to all of these points though they do seem to spectacularly miss the point of the film, which is pure entertainment. Continue reading “Oscar Week Film Review: The Greatest Showman”

TV Review: The Good Fight Series 1

“In my experience, whenever somebody says ‘the truth is’ that usually means it’s not”

Lots to love in The Good Fight, not least its very existence as a female-led, POC-heavy US drama, unafraid to tackle the most modern of issues, as its parent show The Good Wife did in its prime. And over the 10 episodes of its first season, it has proved an engaging and entertaining watch in the midst of finding its feet about the kind of show it actually wants to be. (You can read my thoughts about Episodes 1 and 2 here).

The Good Fight tried to achieve a lot – establishing a large new ensemble, delivering enough storyline for three lead characters, paying adequate but not overbearing fan service to Good Wife devotees, and coming up with up-to-the-minute cases-of-the week. And I think we can say it did most this fairly successfully. Christine Baranski’s Diane Lockhart and her statement necklaces remaining a shining beacon of light in our cold, dark world. Continue reading “TV Review: The Good Fight Series 1”

Album Review: She Loves Me (2016 Broadway Cast Recording)

“Thank you, madam. Please call again. Do call again, madam“

Those outside of Broadway were lucky enough to have the opportunity to see She Loves Me last month as it became the first show there to be livestreamed (here’s my review) but if you missed it, never fear as a cast recording has been released which captures much of what made it an absolute pleasure to watch and to listen to. Sheldon Harnick and Jerry Bock’s Fiddler on the Roof may be better known but I’d argue that Roundabout’s revival makes a strong case for this to be the better show.

Orchestrated beautifully by Larry Hochman and played expertly under Paul Gemignani’s musical direction, it’s hard to imagine the show ever having sounded this lovely and fresh. From the thrill of the overture through the entirety of the score which allows pretty much every character to have their moment in the limelight, She Loves Me has a deceptive simplicity that seem disposable but its old-fashioned charms are revealed in all the splendour here, delivered perfectly by an ace cast. Continue reading “Album Review: She Loves Me (2016 Broadway Cast Recording)”

Review: She Loves Me, Studio 54 via BroadwayHD

“They all come here just for the mood”

It’s nice to know that you have good karma, sometimes at least, as I came very close to seeing She Loves Me on my last flying visit to Broadway, opting for Waitress instead at the last minute. So it was most gratifying to hear that She Loves Me was to become the first ever Broadway show to be live-streamed on BroadwayHD, following in the footsteps of the hugely successful NTLive enterprise (and that the show would be available for the following seven days on catch-up, making up for the time difference).

The merits (or otherwise) of live-streaming have long been debated and will likely continue to be so for years to come as circular arguments go round and round. But as long as you accept that no, a recording will never be as good as the live thing and yes, it is an amazing thing to have accessibility increased in this way, it seems to me that everyone is a winner, especially with a show on a limited engagement like She Loves Me, which closes at Studio 54 on 10th July. Speaking of which, you’ve only got until 7th July to catch it on BroadwayHD. Continue reading “Review: She Loves Me, Studio 54 via BroadwayHD”

Barely-a-Review: You Can’t Take It With You, Longacre Theatre

“I know they do rather strange things. But they’re gay and they’re fun and I don’t know there’s a kind of nobility about them”

I had a perfectly good time at George S. Kaufman and Moss Hart’s You Can’t Take It With You – surprisingly so, given its old-fashioned comedic nature and the presence of the destroyer of Shakespeare James Earl Jones. Well why did I book, you might well ask. For Rose Byrne I would tell you (the first series of Damages is one of my utmost favourite pieces of television ever) and she was indeed great. Annoyingly though, I was quite under the weather that evening (apologies to anyone who the in the vicinity of my stifled spluttering – yes, I was that guy) but when on Broadway – for the first time too – what do you do? It’s not as if you can reschedule… And there’s nothing worse than being stuck in an audience of people laughing their heads off when you’re not quite feeling the same. It’s not to say I thought this was a bad show, it just wasn’t really my cup of tea.

Running time: 2 hours 20 minutes (with interval)
Booking until 22nd February