Supporting the COVID-19 Emergency Relief Fund Featuring over 150 performers and musicians, reunited from across the world to present a truly unique, memorable and breath-taking performance of ‘All That Jazz’ from the legendary Kander and Ebb musical Chicago. Bringing together former Broadway, West End and International Tour company members, ‘All That Jazz’ provides plenty of razzle dazzle, featuring award winning stars that played the roles of Velma Kelly, Roxie Hard and Billy Flynn including Ute Lemper, Sally Ann Triplett, Debbie Kurup, Bonnie Langford, Sue Kelvin, Ian Kelsey, Michael Greco, David Hasselhoff, Annette McLaughlin, Gaby Roslin, and many more.
“This is always such a rush”
Some musicals are slow-burners. They may not hit you with their full force on first viewing but rather repay revisits and repeated listens to cast recordings to unfurl the depth of their appeal. So it was for me with Legally Blonde, and also with Ghost the Musical – a show I saw twice in the West End and again on its 2013 tour, liking it more and more each time.
And a large part of that was the way in which Glen Ballard and Dave Stewart’s pop/rock-based score took its time to sidle its way into my affections, not necessarily the kind of music that would appeal to me but ultimately proving irresistible in its finest moments. And it is remarkably diverse too, pulling in from a wide musical palette whilst stamping out its own identity as something refreshingly different from your typical musical theatre score. Continue reading “Album Review: Ghost The Musical (Original Cast Recording 2011)”
“Eä, Arda, Ainulindalë.
Aratar, Maiar, Rána, Nénar”
Believe it or not, there was a time when I lived in London and I only saw a handful of shows a month, actually making considered decisions about what I wanted to see. And I have to say the musical of Lord of the Rings did not make the cut (obvs I wasn’t aware of who Rosalie Craig was at that point, or else I would have gone!). The show lasted just over a year at the Theatre Royal Drury Lane and probably lost a shit-ton of money (it allegedly cost £12 million to make) but we do have a cast recording to remember it by.
And what a rather odd-sounding show it is, little surprise really when you consider that producer Kevin Wallace brought on three different composers to complement the book and lyrics by Matthew Warchus and Shaun McKenna. So Bollywood supremo A. R. Rahman, Finnish folk group Värttinä and Lloyd Webber-wannabe Christopher Nightingale all contributed to an altogether epic score, but one which sprawls in an unwieldly manner as these three strands struggle to cohere into an effective whole. Continue reading “Album Review: Lord of the Rings (2008 Original London Production)”
“Perhaps the greatest risk any of us will ever take is to be seen as we really are”
Who knew what the world needed was a live-action version of Cinderella directed by Kenneth Branagh. It oughtn’t be as good as it is but somehow the fusion of Disney magic and folktale wonder comes together most effectively, thoroughly traditional in its outlook yet somehow still feeling fresh. Chris Weitz’s screenplay is based on Charles Perrault’s Cendrillon but both he and Branagh take lots of inspiration from the Disney version of the story too and the resulting confection is really rather bibbity-bobbity-beguiling.
There’s a cleverness too about what it does in spinning new details like giving us a reason that her step-family don’t recognise her at the ball and weaving much humour into the magic spells that get her to said ball. Ella herself is well pitched by Lily James, not quite too perfect to be true but still hugely appealing. It’s no wonder Richard Madden’s Prince Charming tumbles instantly for her (and she for him, those breeches…those boots!) and their chemistry is palpable, one can see why Branagh has cast them as Juliet and Romeo in his upcoming theatre residency in London. Continue reading “DVD Review: Cinderella”
“You must admit that Elle Woods should join the chosen few”
Part of the fun of delving back into these soundtracks, so many of which I’ve had for a while, is challenging the preconceptions that I’ve allowed to build up in my mind. Sister Act the musical is the perfect example, mentally I didn’t rate it so hadn’t listened to it for an age but upon taking the time, I discovered it to be better than I remembered. That works both ways though and I’ve long rated the Legally Blonde the Musical soundtrack on this basis, even though it really stems from me having my favourite four tracks from it on my most listened to playlist.
So yes, ‘Omigod You Guys’ and ‘What You Want’ are two brilliant songs and I’ll fight anyone who says otherwise. Their glossy joie de vivre setting the scene perfectly for this camp-as-tits show and book-ended by the highly amusing ‘There, Right There!’ and the emotive title track which segues from its gorgeous ballad treatment into an energetic 11 o’clock number, there are some cracking musical moments in this show and with national-treasure-in-the-making Sheridan Smith at its helm as the determined Elle Woods, how could it be otherwise. Continue reading “Album Review: Legally Blonde (2010 Original London Cast)”
“It was a ball, it was a blast
It was a shame it couldn’t last”
A half-term jaunt down to London for Aunty Jean saw us take in a couple of shows I was happy to revisit. I remain as affectionately inclined towards Dirty Rotten Scoundrels as I ever have done, its traditional bonhomie remains as watchable as ever and there’s just something comfortable about the whole affair which remains hard to resist. Even whilst not being Robert Lindsay’s biggest fan (seriously, is he being paid by the pelvic thrust?!) the shimmering star quality of Kat Kingsley and the affable appeal of Alex Gaumond more than compensate. And the bumbling charms of Ben Fox, the third Chief of Police since the show started – job security in Beaumont-Sur-Mer is clearly not strong 😉 – prove the ideal foil for Bonnie Langford’s knowingly charismatic Muriel.
And we also made a more-timely-than-we-realised trip to Amelia Bullmore’s Di and Viv and Rose which posted closing notices pretty much as we left the matinée. It feels a real shame as it is such a sprightly production of a sparkling play which certainly deserved better audiences but for whatever reason, it just didn’t connect. I’ve written more about the show on my three previous visits (link here) but I’d definitely recommend trying to catch it before it closes, not least for some of the most joyous dancing onstage (which forms the perfect counterbalance to My Night With Reg) and Jenna Russell’s glorious performance as the hugely-generous-of-spirit Rose.
Dirty Rotten Scoundrels
Running time: 2 hours 30 minutes (with interval)
Booking until 7th March
Di and Viv and Rose
Running time: 2 hours 35 minutes (with interval)
Booking until 14th March
“It’s important to be artful”
Celebrating recent cast changes, both intentional (Bonnie Langford and Gary Wilmot in for Samantha Bond and John Marquez) and unexpected (Alex Gaumond hastily replacing Rufus Hound), Dirty Rotten Scoundrels is approaching its one year anniversary in the West End with a renewed energy. And with the changing strengths of its leading players, it also feels like quite a different show, one which is well worth (re)visiting.
My original review can be read here and much of it still holds true. This isn’t the show to reinvent the musical form but nor is it trying to, rather it is a treat of the old-school variety as David Yazbek’s bouncy music and lyrics carries along Jeffrey Lane’s conman-based book on a ray of retro Riviera-infused sunshine. A wink to the audience here, meta-theatrical jokes there, a whole deal of hamminess from Robert Lindsay everywhere, this is a show that knows exactly what it is and revels in it. Continue reading “Re-review: Dirty Rotten Scoundrels, Savoy Theatre”
“He sang my name and it rang out just like some major chord.
If music be the food of love, he ate my Smorgasbord.”
Things didn’t start off well. Applauding an actor’s arrival onstage is something I can’t ever imagine finding ok and when that actor is Robert Lindsay, well, it felt even more inexplicable. But then I never watched My Family so my main points of reference for him have been Onassis and The Lion in Winter, a dubious pair of plays indeed. Nor have I seen the film of Dirty Rotten Scoundrels, the musical adaptation of which sees him return to the stage, here at the Savoy after well-received out of town tryouts, so there was more than a little apprehension mixed in with my anticipation.
But any doubts were soon allayed by the effervescent energy of an old-school but fresh-feeling production by Jerry Mitchell. First seen on Broadway in 2004, Jeffrey Lane’s book and David Yazbek’s music and lyrics sits happily in the sun-kissed French Riviera where con men are two a penny. And in Beaumont-sur-Mer, the two are Lawrence Jamieson, the reigning king of the con, and Freddy Benson, the brash upstart who would take his crown. First they compete for tricks, scamming whoever they can for whatever they can, and then they unite to form a double act with, hopefully, double the profits as they identify the lucrative mark of US heiress Christine Colgate. Continue reading “Review: Dirty Rotten Scoundrels, Savoy Theatre”
“Do you still remember, how we used to be…”
Producer Judy Craymer reinvigorated a whole new theatrical genre when she masterminded the ABBA jukebox hit Mamma Mia! to huge box-office success, and so proved the natural choice to steer a show featuring the back catalogue of the Spice Girls and a script by Jennifer Saunders into the West End. The resulting show – Viva Forever – is a story of a young woman who is forced to ditch her bandmates in pursuit of her reality show dreams, the mentor who is determined to exploit her in order to secure her own media career and her mother who is on hand to make sure she never forgets who she is. But it is one that doesn’t quite so much fill the Piccadilly Theatre with girl power as a sense of what might have been.
Crucially, the discography isn’t always sufficient for the task in hand of a jukebox musical. Delving into some of the lesser-known works of the Spice Girls isn’t as much as a problem (though front-loading them so is a curious choice as we have to wait a while for a stone-cold hit) as the way in which the lyrical content has to be shoehorned in, resulting in some awkward fits – ‘Say You’ll Be There’ suffers particularly here. But equally, there are moments that do work. The act 1 closer weaves together ‘Goodbye’, ‘Mama’ and ‘Headlines’ in a rather stirringly affecting manner as the three women reach crucial points in their journey; ‘Spice Up Your Life’ becomes a dazzling fiesta of a Spanish street festival; and the titular ‘Viva Forever’ is recast as a tenderly intimate acoustic ballad. Continue reading “Review: Viva Forever, Piccadilly Theatre”
“It’s just relief to suspend my disbelief”
It feels a bit like I’m cursed when it comes to Ghost the Musical. I booked it at the beginning of the year to see the original cast before they went to Broadway and Sharon D Clarke injured herself so I missed her and this time round, eager to see Mark Evans’ acting and musical talent / damn fine abs *delete as appropriate, we arrived at the theatre to find his understudy was on. It is not the end of the world when that happens of course but it is sometimes a disappointment when one is looking forward to seeing a particular person (though it helps that there’s videos like this to fall back on) and as it turned out, when I saw the name of the understudy – Spencer O’Brien – I was actually quite pleased as he is someone I have great residual affection for as he was in the cast of the superlative Salad Days the Christmas before last.
And though my feelings about the show were decidedly mixed when I saw it last – review here – I’d listened to the soundtrack quite a bit since then and discovered that it really is a grower. I really like a good proportion of it and so was quite happy to revisit the show, with the bonus of a new cast and a companion that had not seen it before, and in the end I found that I actually enjoyed it much more. The key for me and the soundtrack helped immensely here, is to think of it as a chamber musical, a small intimate piece essentially for four characters, and let the rest simply glide by in a rush of neon light and slow-motion walking. Continue reading “Re-review: Ghost the musical, Piccadilly Theatre”