Album Reviews: Peter Pan A Musical Adventure / The Confession Room / Marie Christine

This trio of album reviews covers Peter Pan A Musical Adventure, The Confession Room and Marie Christine

“Would I oblige?
I obliged”

Michael John LaChiusa is one of those composers of the new American musical theatre mould, or maybe even beyond, in adopting a dense and complex compositional style that means his work hasn’t always had the credit it deserves. This original Broadway cast recording of his 1999 show Marie Christine feels like a case in point – a Tony-nominated book and score that has rarely been revived, never mind made it to the UK. An adaptation of the Medea story that relocates it to 1890s New Orleans, it is blessed by a stunning central performance from Audra McDonald as a remarkably vicious leading lady. The score is made up of fragmented pieces of music rather than conventional notions of what we would consider a song but its operatic drama hits the mark for me. And I’d love to see it the UK some time soon please… Continue reading “Album Reviews: Peter Pan A Musical Adventure / The Confession Room / Marie Christine”

The Curtain Up Show Album of the Year 2015 nominees

Best Cast Recording
Bend It Like Beckham (Original London Cast Recording)
Cool Rider (Original Studio Recording)
Gypsy (2015 London Cast Recording)
Made in Dagenham (Original London Cast Recording)
Memphis the Musical (Original London Cast Recording)

Best Solo Album
Cynthia Erivo and Oliver Tompsett Sing Scott Alan
Hugh Maynard – Something Inside So Strong
John Owen-Jones – Rise
Tim Prottey-Jones – To Do. To Be.

Album Review: Gypsy (2015 London Cast Recording)

“I had a dream, a wonderful dream”

From the moment Imelda Staunton shook the very foundations of the Chichester Festival Theatre as Mama Rose in Gypsy, it was pretty much a given that a West End transfer of this Jule Styne/Stephen Sondheim show would be on the cards and that this incredible performance would be immortalised in an official cast recording. And it shouldn’t be taken for granted that Staunton is wowing audiences nightly at the Savoy and that we have been blessed with an album, for this is the kind of musical theatre perfection that surely only comes along once in a lifetime. 

Much of the attention rightly falls on Staunton’s astonishingly nuanced portrayal of the ultimate stage mom but it would be a mistake to label this a one-woman show, Jonathan Kent’s production is far too good for that. She is supported by an extremely skilful performance from Lara Pulver as Gypsy Rose Lee, tracing this overlooked sister’s journey to unexpected stardom and listening to the growing confidence ‘Let Me Entertain You (Gypsy Strip)’, her shyness is cast off vocally as well as physically, like a chrysalis revealing the shimmering showgirl beneath. Continue reading “Album Review: Gypsy (2015 London Cast Recording)”

Review: Gypsy, Savoy Theatre

“Ready or not, here comes Mama…”

These days, it’s more of a surprise when the big musicals from Chichester Festival Theatre don’t transfer into London (cf Barnum). And though it took them a wee while to confirm that Jule Styne’s Gypsy would be making a similar leap, after receiving the kind of extraordinary reviews (including from yours truly) that would most likely canonise Imelda Staunton right here and now, there was never really any doubt that this Rose would get her turn again, 40 years after the show was last seen in the West End.

With such a build-up and expectations sky high, Jonathan Kent’s production has a lot to live up to – and you can sense perversely-minded naysayers dying to have their turn – but dare I say it, I think the show has gotten even better. A key aspect to this is that Anthony Ward’s multi-faceted and multi-piece set design fits much better into the Savoy’s proscenium arch, its machinations felt just a little too exposed on Chichester’s thrust though the pay-off is that Nicholas Skilbeck’s supple-sounding orchestra now has to be tucked away.  Continue reading “Review: Gypsy, Savoy Theatre”

Review: Gypsy, Chichester Festival Theatre

“You got nothing to hit but the heights”

Considered to be one of the greatest roles for a woman in the American musical theatre, Mama Rose is the twisted soul at the dark heart of Gypsy yet it is not a show that has travelled much across the ocean. The likes of Patti LuPone, Bernadette Peters and Tyne Daly have all had their turn as Rose but my first and only experience of the show was in Leicester a couple of years back where Caroline O’Connor took on the role for Paul Kerryson’s marvellous production there. This Chichester Festival Theatre revival, surely already destined for the West End, really ups the ante by reuniting Imelda Staunton with director Jonathan Kent (at the request of Sondheim himself according to this interview) after their hugely successful Sweeney Todd here in 2011.

It’s a high bar to set but for me, I think Gypsy exceeds it with some extraordinary work here. Arthur Laurents’ book, suggested by the memoirs of striptease artist Gypsy Rose Lee, follows the path of Mama Rose’s ultimate stage mom as she drags her two daughters through the toil and grind of trying to make it in showbusiness, touring a vaudeville show around the country which stars the fading youthfulness of younger sister Baby June. But times are a-changing and Mama’s sure determined so when audiences start to disappear and June quits to do her own act, older shyer sibling Louise is thrust into the limelight. Only now burlesque is what is selling tickets and we find out just how far Rose is willing to push Louise in order to achieve her ultimate goal, whatever that turns out to be. Continue reading “Review: Gypsy, Chichester Festival Theatre”