The cast of Mamma Mia joined in on the lockdown fun
“Remember when you used to play Mozart?”
I’ve been lucky enough to see Cassidy Janson in a number of productions over the years and I’ve been a fan from the start, from stepping into Julie Atherton’s not-inconsiderable shoes in Avenue Q onwards, so I was mightily pleased when she was announced as the replacement for Katie Brayben in the lead role in Beautiful – The Carole King Musical. I really enjoyed the show when it opened last year and thought Janson would be a good fit but in finally getting to see her, I couldn’t have imagined how perfect a marriage of performer and material this would be.
As Carole King, one of the most successful songwriters of the last century, she thoroughly imbues the character with an engaging sense of life and vivid musicality that just bursts from the stage. Through a decade of huge change as this ebullient Manhattan teenager becomes a wife and mother as well as writing some of the biggest pop hits around, Janson keeps us thoroughly engaged with Douglas McGrath’s sometimes-a-bit-too-functional book whether acting, singing or acting through song – if she weren’t already a star, I’d say it’s a star-making performance. Continue reading “Re-review: Beautiful – The Carole King Musical, Aldwych”
“You’ll live your life in constant fear
We’ll have to make him disappear”
Cripes. Flames is described as a “suspense-filled musical thriller” but whether intentional or not, it proved to be one of the funniest things I’ve seen this year. Its campy, schlocky vibes are like an episode of Sunset Beach happening before your very eyes and yet played with such seriousness, I’m really not sure that that is what they were aiming for at all. Stephen Dolginoff – whose Thrill Me has recently been revived for a UK tour – once again takes on sole duty for book, music and lyrics to explore murderous mystery but I’m not sure these flames have ignited in the way he might have intended, here at the Waterloo East Theatre.
Stockbroker Edmond died in disgrace a year ago in a fire and fiancée Meredith and best friend Eric are paying their respects at his graveside but they’re haunted by several questions. Did he really commit a terrible crime before dying? If so, where’s the money? Is it ok for Eric to have the hots for his dead best friend’s girl? Why does she take her coat off if it’s a stormy night? And how are those candles meant to be staying alight? Does Eric need his eyes testing? In fact, do they all need their eyes testing – no-one seems to see anyone coming in this cemetery. And just how sharp is that umbrella? Continue reading “Review: Flames, Waterloo East Theatre”
“I don’t really need to look very much further”
As The Bodyguard is soon to close in the West End with a UK tour scheduled for early next year, it seemed as good a choice as any for a Friday night out with the girls and a few bottles of wine. I saw the show when it first opened and recognised it exactly for what it is, uncomplicated blockbuster fun, and so I was happy to revisit. One of the sadder things about the continuation of the run though has been the move to star casting – I didn’t see Beverley Knight so I can’t comment on her performance but the current incumbent of the Rachel Marron role, immortalised by Whitney at the cinema, is X-Factor winner Alexandra Burke, a singer with no theatre experience.
Did it matter? It’s hard to tell in the end – she has the requisite booming voice to deliver the selections from Whitney’s back catalogue that are scattered through the show, although she really cannot resist the misguided inclination to throw in extra licks, riffs and wobbles into every single number, as if to prove a point that no-one is making. And her acting is neither here nor there, falling back on a lot of gesticulation to say what’s she saying and against a male lead part that asks nothing of Tristan Gemmill but to look craggy and an understudy on for sister Nicki (her singing voice strong but whose spoken accent was truly transatlantic, as Welsh as it was American), fitting right in.