“I wanna play my own kinda song
With no one to tell me its wrong”
Jake Brunger and Pippa Cleary’s musical Prodigy was commissioned and developed by the National Youth Music Theatre and received its premiere last summer, inconveniently whilst I was on holiday, and so I’m glad to say that an Original Cast Recording has now been released in cahoots with the good folk of Auburn Jam Records. It was a busy year for Brunger and Cleary as their musical of The Secret Diary of Adrian Mole Aged 13 ¾ also opened in Leicester and even more so when you discover how Prodigy was developed.
Set behind the scenes of a barely fictional reality TV show to find Britain’s best upcoming classical musician, we delve into the lives of the five young finalists in all their teenage awkwardness, social stuntedness and parental pressure. And drawing on the talents of the NYMT available to them, the writers tailored the material to actor-musician roles, allowing the leads to play off their skills and not just them, more than half of the cast of 27 play some kind of actor-musician part, not bad for a bunch of 11-23 year olds. Continue reading “Album Review: Prodigy (Original Cast Recording)”
“What would you say to your son?”
Howard Goodall’s The Hired Man probably has to be one of my favourite musicals, British or otherwise, so going to see any production of it is something of a no-brainer, especially in a year that marks the centenary of the beginning of the First World War that plays such a strong part here. But performed by the National Youth Music Theatre of Great Britain, this one has the added bonus of featuring people who we are bound to be seeing on our stages for years to come, emerging as an astonishingly accomplished piece of work, not least in the lead performances of Amara Okereke and Dominic Harrison.
Bolstering the sterling efforts of the cast though is some superb creative work under Nikolai Foster’s hands. Matthew Wright’s design really opens up the stage most effectively, allowing for his beautiful set to evoke the unforgiving terrain of the turn-of-the-century English countryside; Nick Winston’s choreography reflects a similar muscularity that felt utterly true; and Sarah Travis’ musical direction is just inspired, marshalling the voices of her 30+-strong company to spine-tingling effect and also employing actor-musicianship to add real texture to the music. Continue reading “Review: The Hired Man, NYMT at St James Theatre”