“You are not still, you are not still Thérèse”
There are times when listening to cast recordings can sometimes feel like a chore, and others when they are a glorious reminder of shows gone by. For me, hearing the utterly gorgeous waterfall of voices on ‘You Are Not Still Thérèse’ from Craig Adams’ Thérèse Raquin is very much in the latter category, one of those moments of musical theatre perfection that work as music, as drama, as theatre, as pure art.
Adams and Nona Shepphard’s adaptation of Zola’s novel played at the Finborough in 2014 and then transferred to the larger Park in one of those really sensible moments theatreland sometimes has. Musically complex and dramatically interesting as a radical interpretation of the book, it delved deep into Thérèse’s psychology and aided by a stunning performance from Julie Atherton, worked beautifully. Continue reading “Album Review: Thérèse Raquin (2014 Original London Cast)”
“Those on the outside clamouring to get in, those on the inside dying to get out”
The story of Edith Ewing Bouvier Beale and her daughter Edith Bouvier Beale was immortalised in a 1975 documentary called Grey Gardens. As part of the American aristocracy, insofar as their connections with the Kennedys (their niece/cousin Jackie would become Jacqueline Kennedy Onassis), they held a certain fascination but the discovery that they were living together in squalor, their fortune squandered and their East Hampton mansion overrun with cats, made them appallingly compelling subjects and consequently elevated them to cult status.
That it took someone ‘til 2006 to turn it into a musical feels like a surprise, but Doug Wright’s book, Scott Frankel’s music and Michael Korie’s lyrics are more thoughtfully considered than one might expect – reflected in the success of its Tony-winning Broadway transfer from Off-Broadway – and so it’s only fitting that it is now added to director Thom Southerland’s roster of musical theatre hits at the Southwark Playhouse. Continue reading “Review: Grey Gardens, Southwark Playhouse”
2016 is nearly upon and for once, I’ve hardly anything booked for the coming year and what I do have tickets for, I’m hardly that inspired by (the Garrick season has been ruined by the awfulness of the rear stalls seats, and I only got Harry Potter and the Cursed Child tickets due to FOMO). Not for the first time, I’m intending to see less theatre next year but I do have my eyes on a good few productions in the West End, fringe and beyond. Continue reading “20 shows to look forward to in 2016”
“They are drawn by the inescapable promptings of their flesh!”
A well-deserved transfer for this hit Finborough musical although coming a few months after that original run, the production has had to be recast a bit along with being reconceived for the larger space of the Park Theatre. On a personal note, whilst I loved being able to listen to the pleasingly textured score once again, it was also interesting to come back to the show with a much greater knowledge of the story, having recently seen both a play and a film of Thérèse Raquin, thus enabling me to compare and contrast adaptations.
This version hedges its bets from the beginning by describing itself as a “radical adaptation” by Nona Shepphard but what is interesting is that Shepphard is the only one who tries to replicate something of Thérèse’s interior life, which is so richly portrayed in the novel, by using a chorus of three river women. It works both dramatically and musically, creating additional layers to the vocals and these hints of Greek tragedy with its chorus passing commentary is used effectively elsewhere, most notably in reporting the news of Camille’s tragic ‘accident’.
Continue reading “Re-review: Thérèse Raquin, Park Theatre”
“Blood and nerves…blood and nerves”
Rather oddly, I’ve already seen the first half of Craig Adams and Nona Shepphard’s powerful new musical Thérèse Raquin. It was featured as part of the Vibrant play readings festival in 2012 with the promise that the rest of the show would follow swiftly and sure enough, the full production has now materialised in the intimacy of this West London venue (supplemented once again with a drinking venue beneath).
Musically, it is a beautifully rich and pleasingly intricate piece. Adams’ score has near-operatic quality, a denseness of recitative that conjures up worlds of feeling more effectively than traditional song-writing could ever do. It can be challenging at times, especially on first listen, but there’s something exciting about the scope of ambition here, a determination to tread a singular path that bodes well for British musical theatre writing. Continue reading “Review: Thérèse Raquin, Finborough Theatre”
A Very West End Christmas
A rather special project, A Very West End Christmas has gathered up a group of nearly 50 musical theatre performers to record an EP of 5 Christmas classics for a number of charitable causes – Great Ormond Street’s Giggin’ for Good, West End Fests for CRY UK and The Band Aid Charitable Trust. It’s a steal at £3.95 for the EP and with some seriously great talent onboard, assembled by co-producers Kris Rawlinson and Darren Bell, it’s a mostly very good listen.
The strongest numbers are, a little perversely, actually the ones which don’t feature the full choir. Michael Xavier croons perfectly through ‘The Christmas Song’ (although it is sad that there is no accompanying video of him roasting his chestnuts…), Chloe Hart and Jeremy Hart have lots of fun in a swinging ‘Baby It’s Cold Outside’, and there’s an interesting arrangement of’ O Holy Night’ featuring Sabrina Aloueche, Jodie Jacobs and Katie Payne (though that song will always belong to Hannah Waddingham for me). Continue reading “Christmas music 2013”