“To do nothing is the hardest job of all”
It’s taken a little time to getting round to watching all of The Crown because, in a first for me, I found it impossible to binge-watch the show. Even with Netflix kindly providing offline downloads just at the point where I had a lot of travelling to do, Peter Morgan’s drama was lots of fun to watch but rarely captured the buzzy energy that has accompanied much online programming. Because it many ways it isn’t like much of Netflix’s previous output, it really is an encroachment into BBC Sunday night and as such, I felt it worked best spread out in almost weekly installments.
That’s partly down to the nature of the subject material, we’re not likely to get many surprises in a detailed retelling of the history of the House of Windsor. But it is also due to Morgan’s writing which tends a little to the formulaic, especially in the middle part of the series, which is when my interest was most in danger of waning. The opening two episodes started brightly but once the shock of becoming monarch was over, the rhythm became very much one of someone close to the queen has an issue and she has to weigh personal desires against public duty, the latter always winning out. Continue reading “TV Review: The Crown, Series 1”
“Oh God I cannot stand this cow
But let’s act happy for now”
As with Forbidden Broadway, your enjoyment of Jest End relies heavily on a considerable familiarity with the theatrical landscape that it is poking fun at – the productions, the performers, the producers, the private in-jokes that make it tough to recommend for the uninitiated. Garry Lake’s musical revue premiered in 2007 and through a number of productions, updated each time, has adapted familiar showtunes and used them to parody the frolics and foibles of the West End and beyond.
So ‘Defying Gravity’ from Wicked becomes ‘Rely On Me The Lead’, Matilda’s ‘The Smell of Rebellion’ turns into ‘Jest End of Rebellion’, ‘Memphis Lives In Me’ from Memphis becomes ‘My Fans Believe In Me’ etc etc. And issues like celebrity casting, ticket prices and the business practices of certain West End (and off-West End) impresarios are raked over the coals, but always with a twinkle in the eye even in the satire’s sharpest barbs. Continue reading “Review: Jest End, Waterloo East Theatre”
“Why do whores only sing in musicals?”
Showcasing the work of a lyricist is a different prospect from that of a composer, something that is immediately apparent from glancing at the cover and booklet of Love, Lies & Lyrics – The Words of Lesley Ross, the latest new musical theatre CD emerge from the nurturing cocoon of SimG Records. This album features music from 4 different writers, taken from over a dozen musicals, with the now customary array of West End stars – over 30 in number here – so it can’t help but be highly eclectic as a collection, in something of a similar vein to Robert Gould’s collection from last year.
The diversity of this approach certainly has its benefits, especially as man of the songs are around the 2 minute mark, as it means the album can bounce around wryly comic observation songs like ‘Pick A Ticket!’ and ‘Him in 23B’ to the more heartfelt but still story-led balladry of Nigel Richards’ ‘And In My Heart’ and Annalene Beechey’s ‘Song for Someone’. If I had to pick, Madalena Alberto’s plaintive lullaby ‘I Will Be There’ is the highlight of the record – its gorgeously delicate emotion coming from a perfect confection of lyric, music and performance. Continue reading “Album Review: Love, Lies & Lyrics – The Words of Lesley Ross”