The Curtain Up Show Album of the Year 2017 nominees

Best UK Cast Recording
42nd Street – 2017 London Cast Recording
Bat Out Of Hell The Musical – Original Cast Recording
Dreamgirls – Original London Cast Recording
Everybody’s Talking About Jamie – Original Concept Recording
Girl From The North Country – Original London West End Cast Recording
The Wind in the Willows – Cast Recording

Best American Cast Recording
Anastasia – Original Broadway Cast Recording
Come From Away – Original Broadway Cast Recording
Dear Evan Hansen – Original Broadway Cast Recording
Hello, Dolly! – New Broadway Cast Recording
Spongebob Squarepants – Original Cast Recording
Sunday in the Park with George – 2017 Broadway Cast Recording

Best Solo Album/Non Cast Recording
Collabro – Home
Leading Ladies – Songs From The Stage
Marisha Wallace – Soul Holiday
Patti LuPone – Don’t Monkey With Broadway
Rachel Tucker – On The Road
Sheridan Smith – Sheridan

Album Review: Big the Musical (2016 Original UK Cast Recording)

“When we must cross over
Who knows what we’ll find”

A 90s musical of an 80s film – nostalgia has a lot to answer for but it was to Maltby Jr and Shires’ 1996 adaptation of the Tom Hanks-starring film that producers turned for their big Christmas musical at Bord Gais Energy Theatre in Dublin. Morgan Young’s production also had a short run at the Theatre Royal Plymouth and with the creation of this UK cast recording, you wonder whether further plans were in the pipeline for the show.

I’m not holding my breath though, as it doesn’t really sound like that much of a winner. Shire’s score is painfully dated, Maltby’s lyrics provide little spark and as a whole, Big the Musical just sounds a bit twee, a bit inconsequential. There’s little sense at all of the songs driving the narrative, they’re more an inoffensive, intermittent distraction, taking way too long to inch over to even just to ‘pleasant’ on the scale. Continue reading “Album Review: Big the Musical (2016 Original UK Cast Recording)”

Album Review: The Wind in the Willows (2017 Original London Cast Recording)

“Although we’re armed with many prickles
They’re no match for large vehicles”

The Wind in the Willows took quite the critical battering when it opened at the Palladium last month and whilst it may not be the greatest show in the world, it does feel to have been a rather harsh treatment (I quite liked it for what it was). I’m not entirely sure what critics thought they were going to get from this revival of Kenneth Grahame’s classic story but it was clearly a darn shot edgier than anything Julian Fellowes and composing duo Stiles and Drewe were ever going to create.

Listening to the Original London Cast Recording which has now been released, you very much get a sense of the gently bucolic charm that they were aiming for and which, by and large, they achieve. Their strengths lie in the grand musicality of the ensemble numbers that pepper the score at its key moments. The cumulative choral power of ‘Spring’, the irrepressible energy of ‘We’re Taking Over The Hall’, the thrill of the fun-loving finale – this what they do so well. Continue reading “Album Review: The Wind in the Willows (2017 Original London Cast Recording)”

Review: The Wind in the Willows, London Palladium

“Poop, poop”

Arriving at the London Palladium just in time for the summer holidays, new family musical The Wind in the Willows (seen on tour late last year) is a respectfully traditional treatment of the Kenneth Grahame classic with which so many are familiar. And with kings of musical theatre nostalgia Stiles & Drewe on composing duties, Rachel Kavanaugh’s production is clearly the kind of show that wants you to wistfully remember childhoods past.

Julian Fellowes’ book undulates gently rather than creating any particularly dramatic waves – Rat and Mole’s growing friendship is quietly but effectively done, Toad is characterised as a Boris Johnson-like would-be-lovable-rogue, and the biggest ripples of the first half come in the introduction of various creatures of the forest – like an Andrews Sisters-esque trio of sonorous swallows and an enormously cute family of hedgehogs. Continue reading “Review: The Wind in the Willows, London Palladium”

Review: End of the Rainbow, Churchill Bromley

“I’m Judy Garland, now pay me some respect”

The enduring legacy of Judy Garland may be considered the preserve of gay men of a certain age but but what Peter Quilter’s End of the Rainbow, a play with songs rather than an all-out musical, reminds us is that hers was a tragedy in which all of our increasingly celebrity-obsessed society is complicit. The play is set in the months leading up to her death in 1969, as desperate to pay off her debtors, her new young fiancé and manager Mickey Deans signed her up for a five week run of cabaret shows at The Talk of the Town though as became clear to see, Garland’s struggles made it a very difficult time.

With the press against her, willing her on to ever more scandalous deeds, friends deserting her as her drug dependencies also pushed away four husbands, and a career that was nosediving as a result of all this drama, Deans was banking on this being the comeback of all comebacks. But Quilter shows us through a number of scenes, that the extremities of her behaviour impossibly strained the relationships in her life, even with her devoted Brighton-based pianist Anthony, her body and mind warped by endless years of being a part of the fame game and unable to deal with being chewed up and spat out by the Hollywood machine. Continue reading “Review: End of the Rainbow, Churchill Bromley”

Re-review: Dirty Rotten Scoundrels, Savoy

“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”

Re-review: The Pajama Game, Shaftesbury

“I like a man with spunk
‘You like a man period’”

As is often the way, a canny bit of recasting ensured my need to revisit a show I’d already seen and resolved not to revisit. In this case, it was The Pajama Game, which I caught last year in Chichester when Joanna Riding and Hadley Fraser led Richard Eyre’s productions to great acclaim, which now arrives for a summer at the Shaftesbury Theatre with Michael Xavier taking over from Fraser. I am most fond indeed of Xavier’s work, and as I enjoyed the show in all its strangely charming old-fashioned oddity, going back wasn’t too much of a trial.

My original review is here and there really isn’t much more to add. The show fits in well into the Shaftesbury, even if a little of its expansiveness feels lost in the reconfiguration, but Xavier makes a predictably excellent fit into the company, he really is one of our leading exponents of musical theatre, delivering the goods time after time. Jo Riding emerges unscathed from Stephen Ward to return to a role in which she is wonderfully comfortable to watch but the real star ends up being Alexis Owen-Hobbs’ spunky Gladys. Book soon whilst you still can.

Running time: 2 hours 45 minutes (with interval)
Booking until 13th September

Review: The Invisible Man, Menier Chocolate Factory

“There’s something wrong with this…”

The Invisible Man is the Menier Chocolate Factory’s winter offering this year, following on from a healthy run of transfers including Sweet Charity, A Little Night Music and La Cage aux Folles. The main plot is taken from HG Wells’ story of a strange man swathed in bandages who arrives at a small village pub to take a room. It emerges that he is a scientist and a victim of an experiment gone wrong that has rendered him invisible and is seeking peace and quiet in order to come up with a cure. But the nosy villagers drive him mad and he snaps, seeking world domination instead. It has the makings of a chilling sci-fi story but wrapped up in an Edwardian music hall setting as it is here by Ken Hill, with Pierrot-based clown songs creating a vaudevillian mood as the ‘players’ perform the story as above, but full of a broad nudge-nudge-wink-wink bawdiness.

The music hall framing just seemed like an excuse to shoehorn in a song or two, as if the Menier couldn’t quite put on a Christmas show that didn’t feature singing, but it was a laboured device that grated with me every time it reappeared as it served to further diminish the impact of Wells’ story. Tonally, it remained at this broad, slapstick, pratfall-heavy level throughout which I must admit raised the rare chuckle but mostly left me cold. Because there was no attempt to give the storytelling any depth, I just didn’t care about anything even when the characters were the only people preventing society from collapsing entirely (I think) and with no variety in there, it just gets so damn repetitive: there’s only so much people pretending to be punched and bum tweaks that one can take.

And though Paul Kieve’s illusions were proficiently done for a fringe venue, none of them were so spectacular in the end (though I am not sure what would have actually impressed me) and they also suffered from repetition and a lack of variety. John Gordon Sinclair’s voice was the most effective tool that this production had, along with his eerie presence on the stage (his face not revealed until the bitter end) but even the chilling aspects here were negated by an over-reliance on ostensibly spooky music which quickly grew tiresome.


But when you have quality in your cast, it can’t help but occasionally shine through and there were moments here something more was hinted at. Jo Stone-Fewings as the local aristocrat with hidden depths and Geraldine Fitzgerald as a pipe-smoking Scottish schoolteacher had a great connection together with their burgeoning relationship, Christopher Godwin was nicely droll as a jack-of-all-trades and Maria Friedman’s bawdy hostess was also well-pitched. But there was also hamminess, sometimes just about ok as in Gerard Carey’s camp vicar, but Natalie Casey’s dim maid was a screechy mess which had me cringing and I didn’t react well to Gary Wilmot’s faux bonhomie and his constant breaking of the fourth wall to remind us, as if we could forget, of the music hall setting.

It was a bit of a random decision for me to go to see The Invisible Man. I had tickets for much earlier in the run but managed to offload them to a friend so I could attend another engagement and the feedback that they and others gave led me to think I had dodged a bullet somewhat. But it is easy to have an opinion that isn’t backed up and so in some respects I am glad that I took the time to see this for myself, even if it was to confirm reports of a painfully unfunny turkey.

Running time: 2 hours 20 minutes
Programme cost: £3
Booking until 13th February