“There’s still music in the air…”
As Long As I Have Music – the songs of Rob Eyles & Robert Gould is a new album showcasing the new musical theatre writing partnership of composer Eyles and lyricist Gould. Gould has been a prolific writer for some time now, as evidenced on his last CD Words Shared With Friends and whilst Eyles may be a newer composer, the pair have clearly found a rich vein of collaboration. The album features songs from two Eyles & Gould musicals – Stiles + Drewe Award finalist A Pebble for Aaron and The Wonderful Musician, a new musical-in-development based on the Grimm Brothers Fairy Tale, with a smattering of other songs too to complete the collection.
The brace of songs from The Wonderful Musician are both strong – Joe Sterling capturing a beautiful sense of optimistic innocence in the title track and Michael Riseley and Kayleigh McKnight soaring on ‘Perfect Companion’. But it’s the trio of tunes from A Pebble for Aaron that stand out. Kieran Brown’s reflective ‘The Flowers Have Faded’, the raw anger of Keith Ramsay’s ‘I Want You To See You’ and the aching pain of Shaun McCourt’s ‘Losing Him’ are point towards a richly emotional and poignant musical that is touching even in these brief excerpts here. The marriage of longing melody and lyrical meaning works superbly well here. Continue reading “Album Review: As Long As I Have Music – the songs of Rob Eyles & Robert Gould”
“I’m not a man who finds gestures of affection the natural thing to do”
Over the past decade or so, writer and lyricist Robert Gould has worked with a wide range of composers from across the globe and amassed quite the contact list of performer friends, so the progression to recording a collection of his songs feels like a natural one. Words Shared With Friends thus takes in collaborations from the USA to Sweden and Israel, with excerpts from eight different shows and some stand-along songs, and features a roll-call of exciting musical theatre talent including the likes of Laura Pitt-Pulford, Kit Orton, Joe Sterling and Rebecca Trehearn.
The 16 numbers range from impassioned musical theatre to straight up pop-rock songs and through the diversity, it is the British composers who shine most. Sarah Galbraith and Kit Orton duet gorgeously on ‘I Cannot Lose You’, a newly written song from Orton’s own My Land’s Shore; Joe Sterling breezes through the effortlessly perfect pop of ’Reasons’ from the self-penned Roundabout; and Ben Stott captures the bruised fragility of Ben Messenger’s ‘Here It Comes Again’, a ruefully beautiful ballad of self-reflection and resignation. Continue reading “CD Review: Words Shared With Friends”
“Do we ever really know?”
Joe Sterling’s debut album Somewhere In My Mind has lingered in my iTunes folder for ages now and I’ve never quite got round to listening to it. But thanks to the randomness of the shuffle function and the inspired use of Virgin Pendolino in a rhyme, its presence reasserted itself and I gave the collection a listen. With lyricist Robert Gould, Sterling has written a couple of musicals, one of which – Roundabout – is featured heavily here, and he’s gathered an interesting collection of performers to sing their way through his first songbook.
I say interesting because it eschews many of the familiar names who pop up on this type of album and thus showcases a range of talent who may not necessarily be familiar to you or I. Rosa O’Reilly’s gorgeous pop vocal on the plaintive ‘Ships That Pass In The Night’ immediately marks her out as someone I want to know more about, Jonathan Williams find a similar purity in early track ‘Gone’ and Sterling delivers the guitar-led charms of ‘You Could Be The One, They Said’ with a lovely lightness that is persuasive and not a little attractive. Continue reading “CD Review: Somewhere In My Mind – The Songs of Joe Sterling”
“Did you leave him in the egg too long?”
Two years ago, the Tabard Theatre revived Stiles and Drewe’s Just So for their festive show and it is to these composers that they return in 2012 with this production of Honk! A musical adaptation of the classic Hans Christian Andersen fairytale The Ugly Duckling, it follows the fortunes of a duckling, cruelly nicknamed Ugly by all around him save his mother, who looks different to the other ducks in the yard. When he ends up lost, frightened and alone, he is forced to make a personal odyssey but even as he is constantly threatened by a voracious cat and scary big humans, he also finds that there’s a big wide world outside of the barnyard where others are not quite so quick to judge.
The score is one of Stiles and Drewe’s most accomplished and lyrically, it has a deceptive simplicity which allows for layers of interpretation making it an ideal family show. Joe Sterling’s nerdish Ugly goes on a powerful journey of self-discovery – characterised by moving renditions of songs like ‘Different’ and ‘Lost’ – even before his revelatory transformation; Kathryn Rutherford’s compassionate Ida is a beautiful study in maternal determination; and even in the unlikely pairing of a cat and a chicken as flatmates, there’s a lovely message of tolerance, especially when it is performed with such show-stealing verve as by Kate Scott and Lydia Grant. Continue reading “Review: Honk!, Tabard”