The lockdown hasn’t featured enough Backstreet Boys so far so here’s the & Juliet company doing their best to right this wrong
Doing lockdown, our way ?
— & Juliet (@julietmusical) May 1, 2020
Doing lockdown, our way ?
— & Juliet (@julietmusical) May 1, 2020
Best UK Cast Recording
& Juliet – Original London Cast Recording
Company – 2018 London Cast Recording
Follies – 2018 National Theatre Cast Recording
Heathers (Original West End Cast Recording)
The Secret Diary of Adrian Mole Aged 13 ¾ – 2019 Original London Cast
Tina – The Tina Turner Musical Original Cast Recording
Best American Cast Recording
Beetlejuice (Original Broadway Cast Recording)
Hadestown (Original Broadway Cast Recording)
Jagged Little Pill (Original Broadway Cast Recording)
Moulin Rouge (Original Broadway Cast Recording)
Oklahoma! (2019 Broadway Cast Recording)
Tootsie (Original Broadway Cast Recording)
“You hear my voice, your hear that sound
Like thunder, gonna shake the ground”
What if Juliet didn’t die? And what if the writer and producer of some of the most iconic pop music of the last two decades (think Britney, Backstreet Boys, Céline, Katy Perry, Robyn, Kelly Clarkson, P!nk just to name a few) decided to lend his back catalogue of songs to a new musical dedicated to her? The result is & Juliet, a slice of energetic and hugely entertaining musical theatre that explodes with joy at the Shaftesbury Theatre.
David West Read’s smartly self-aware book employs a metatheatrical twist as we open with William Shakespeare and Anne Hathaway having a barney about the ending to his latest play Romeo and Juliet and she persuades him to give her a bash at writing a new one with him. Thus we pick up in Verona where Juliet reclaims ‘…Baby One More Time’ from Darius and declares her intention to flee to Paris with her best gal pals and flirt with some foreign guys. But as William and Anne tinker with their plotting, the fractures in their own relationship come to the fore, causing some major new plot twists. Continue reading “Review: & Juliet, Shaftesbury Theatre”
“Pretty, pretty please, don’t you ever ever feel
Like you’re less than f**kin’ perfect
When it comes to jukebox musicals, cast recordings can be a little hit and miss, depending on how the albums thrive (or otherwise) divorced from their theatrical contexts. Fortunately with & Juliet, a show I absolutely adored, the result is definitely more hit than miss. Having seen the show, it is a fantastic counterpart to my memories and every time I listen to it, it spurs me to look at ticket availability and ask myself how many times is enough…
The vibrancy of the production translates surprisingly well onto disc. The raucous energy of ‘Blow’ is one giant party, you’ll never hear ‘It’s My Life’ the same way again and the mash-up of ‘Problem’ and ‘Can’t Feel My Face’ remains an absolute standout, anchored by Miriam Teak-Lee’s confident delivery and Jordan Luke Gage’s pop freshness. Teak-Lee really is superb throughout, power and passion invested in every song, treating Max Martin’s with the artistic integrity it thoroughly deserves. Continue reading “Album Review: & Juliet (Original London Cast Recording)”
“Pam Shortt’s broken both her legs, and I wanna dance with you”
It is fascinating to be able to follow the development of a show, particularly one that has morphed as much as Strictly Ballroom the Musical. I saw it at the West Yorkshire Playhouse the winter before last, where it didn’t quite set my world on fire, so I was intrigued to hear that its arrival in the West End at the Piccadilly would be accompanied by quite the overhaul, still directed and choreographed by Drew McOnie.
The major change to this adaptation of Baz Luhrmann’s 1992 cult hit movie comes with the introduction of bandleader Wally Strand, played by Will Young, an MC figure and human jukebox who takes on the vast majority of the evening’s singing. And as we skip from Grace Jones to Billy Idol, via Bowie, Whitney and Cyndi, it’s a real pleasure to hear him sing Marius De Vries’ brilliant new arrangements. Continue reading “Review: Strictly Ballroom the Musical, Piccadilly”
Meaning there wasn’t much to discover anew on second viewing (my review from last year).
Still worth a shot if you’ve not seen it though.
“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)”
“A hundred thousand things to see”
Say Aladdin to most people across the world, and Disney would hope that the first thing that comes to mind is their 1992 animated film. In the UK though, the title is indelibly linked to pantomime and so it feels a little incongruous to have a major musical production of it opening in the middle of June. And whilst Casey Nicholaw’s production hasn’t stimped in any conceivable way when it comes to the look of the show (striking design from Bob Crowley), there’s still a faintly hollow ring to the whole proceeding.
A big hit on Broadway, Aladdin has been pretty much replicated and transplanted into the Prince Edward. Which is good in terms of the undeniable quality of the Disney brand – the family-friendly ethos, the slickness of the design, the unexpected self-referential dips into other Disney musicals. And in the knowing performance of American Trevor Dion Nicholas as the Genie, there’s a respectful homage to the character that Robin Williams brought to life so memorably on screen, which still carves its own identity too. Continue reading “Review: Aladdin, Prince Edward Theatre”
“Queen of Angels is not your grandma’s church anymore. God help your grandmother if it were.”
It was quite the unexpected pleasure returning to this soundtrack. My abiding memories of Sister Act the Musical were of initial disappointment that it wasn’t a retread of the film (one of my all-time favourites doncha know), the randomness of Whoopi Goldberg jetting in for a week of shows and the subsequent tour being rather good (if a little spoiled by the women behind me not shutting up for a minute). But listening to Alan Menken’s score, I was amazed how much of it I was able to easily recall – I may have seen the show 3 times but the last trip was back in 2012.
And how. From the raucous girl-group energy of openers ‘Take Me To Heaven’ and ‘Fabulous, Baby!’ to the (only slightly) more sedate musical offerings of the nuns’ choir in ‘Raise Your Voice’ and ‘Bless Our Show’, there’s a roof-raising joyousness to many of the songs that brings larger groups of the cast together. And leading from the front, the glorious Patina Miller is a full-throated pleasure to listen to as the divine Deloris, her voice soaring like a heavenly host but also capable of tenderness as in the stirring simplicity of the title track. Continue reading “Album Review: Sister Act the musical (Original London Cast Recording)”
“You have to live in this world”
The lure of falling down the rabbit hole is one which has kept adaptations of Lewis Carroll’s Alice in Wonderland appearing on a regular basis on screens and stages and the Manchester International Festival is no exception, commissioning this musical treatment with the National Theatre and Paris’ Théâtre du Châtelet. Composer Damon Albarn (no stranger to the MIF after Monkey and Dr Dee) and writer Moira Buffini’s thoroughly modern version – stylised wonder dot land – certainly has a unique take on the story but has the feeling of something of a work-in-progress perhaps, no bad thing as longer runs in London and Paris will follow this brief engagement at the Palace Theatre.
Here, wonder.land is an online world, a virtual reality where people can escape the drudgery of their own lives or pretend to be someone completely different, for a little while at least. 12-year-old Aly is one such person, trying to hide from the bullies at school and the unhappiness at home by becoming Alice, her all-conquering avatar or online identity who accepts a mysterious quest as part of joining wonder.land. And in her journeying, she comes across variations on many of the characters we’ve come to know but viewed through a different prism, many of them being the avatars of other players, balefully reflecting their own insecurities. Continue reading “Review: wonder.land, Palace Theatre”