Auburn Jam Music are delighted to be releasing ‘You Will Be Found’ by #CheerUpCharlie & West End Friends, a fundraising charity single in aid of youth charity The Diana Award, on Sunday 15 November to tie in with the start of National Anti-Bullying Week (16-20 November).
The star-studded single is led by ten-year-old Charlie Kristensen from Wokingham, whose experience of being bullied started the viral #CheerUpCharlie campaign. Charlie is joined on the song by numerous stage and screen stars including Wendi Peters, Layton Williams and Michael Xavier, with Iain Armitage, Michael Ball, Rufus Hound, and Faye Tozer amongst many famous faces reading their supportive messages on the song’s video. The single is available to pre-save now on iTunes, Deezer, Spotify and Tidal at https://ditto.fm/you-will-be-found. Continue reading “News: You Will Be Found by #CheerUpCharlie & West End Friends to be released on 15th November”
“The crowd of doubtin’ Thomases
Was predictin’ that the summer’d never come”
The English National Opera have had great success with their move into semi-staged revivals of classic pieces of musical theatre. Bryn Terfel and Emma Thompson lit up the Coliseum with Sweeney Todd in 2005, Glenn Close received an Olivier Award nomination for last year’s Sunset Boulevard, and so this year, we’re being treated to Richard Rodgers and Oscar Hammerstein II’s 1945 classic Carousel. I say treated…but with singers Alfie Boe and Katherine Jenkins cast as the show’s ill-fated lovers, this production is a bit of a challenge for musical theatre lovers. Read my three star review for Cheap Theatre Tickets here.
Running time: 2 hours 45 minutes (with interval)
Booking until 13th May
“No need to fake it, or make it complicated”
Released earlier this month, Favourite Sins is 4-track EP of musical theatre tracks written by actor/singer/songwriter Alex James Ellison with lyricists Robert Gould (whose work I have previously reviewed here and here) and Jimmy Granstrom. Ellison and Gould are in the midst of developing a new musical tentatively called Texting and Tweeting – the Musical and it is the fruitfulness of this collaboration that has inspired this collection.
It’s an interesting, if mixed, collection that is performed here by some strong musical theatre talent. Kane Oliver Parry and Jodie Steele imbue the chirpy ‘Vanity is your Favourite Sin’ is a real sense of character and Cameron Sharp’s ‘Just Let Me Love You’ is a solid pop-rock tune. My favourite track is short but extremely sweet piano-based balled ‘Sun’, given a gorgeously warm vocal by Emily Tierney, the clear melodic gifts of the composer shining through. Continue reading “EP Review: Favourite Sins”
“No… it can’t be… is it gravity I am feeling?”
It’s been a goodly time coming, just over two years since it opened actually, but the Original Cast Recording of The Light Princess is finally here. Finely crafted by writers Tori Amos and Samuel Adamson with the original cast from the National Theatre production and recorded entirely under studio conditions, this double CD a triumphant achievement. It simultaneously acts as a perfect tribute to a much-loved show (one I saw five times during its too-short run #1, #2, #3, #4, #5), it also advances the score, refining its musicality into a more intense yet accessible experience.
Right from the opening bars of the ‘Prologue: Once Upon A Time’, Katherine Rockhill’s piano playing sounds amazing and is rightfully forefronted here as the cornerstone of Amos’ wide-ranging compositions, the lushness of the strings sound pretty special too. And with Rosalie Craig’s astonishing performance as Althea – the light princess herself – liberated from the constraints of this most physically demanding of roles (both for her and for us too, goggling at the inventiveness with which her floating was essayed), her vocal interpretation deepens into something even more affecting, impossible as it may seem to anyone who saw her amazing work onstage. Continue reading “Album Review: The Light Princess (Original Cast Recording)”
“At the top of the hole sit the privileged few”
And it is mostly the privileged few who’ll get to see this lavish English National Opera production of Sondheim’s oft-revived Sweeney Todd: The Demon Barber of Fleet Street as stalls seats will set you back an eye-watering £95, £125 or £155. Somewhat cheaper seats are available from the upper circle upwards but still…* Lonny Price’s semi-staged production (with its nifty fake-out of a beginning) was first seen in New York in March 2014 but unsurprisingly, given it featured Emma Thompson and Bryn Terfel as Mrs Lovett and the demon barber himself, it declared “there’s no place like London” and has now taken up residence in the Coliseum alongside a cast of nearly 40 musical theatre veterans (and Thompson’s daughter) and a lush-sounding orchestra of 60.
Thompson and Terfel may be the headline names but the real pleasure comes in the luxury casting that surrounds them. Philip Quast and John Owen-Jones bring a richness of vocal to Judge Turpin and Pirelli respectively, Alex Gaumond and Jack North both mine effectively Dickensian depths to Beadle and Toby and there’s something glorious about having the marvellous Rosalie Craig here, even in so relatively minor a role as the Beggar Woman as her quality shines through despite that wig. Matthew Seadon-Young and Katie Hall as Anthony and Johanna are both really impressive too, their voices marrying beautifully as they respond intuitively to the textures of David Charles Obell’s orchestra. Continue reading “Review: Sweeney Todd, London Coliseum”
“When a young girl has as many lines as I do, there’s still hope for dreams”
Though Urinetown’s run at the St James Theatre was very well-received (including here by yours truly), I have to profess to being a little surprised that a West End transfer was announced. The quirky nature of the show didn’t immediately seem to lend itself to one of the larger houses but without any mid-sized theatres in town, there’s no choice but to supersize when in reality, an extended run at the St James would have been ideal. It was sad to see the house so quiet for this midweek matinée and the run has now been shortened by a couple of weeks to allow My Night With Reg to move in so perhaps it was too hard a sell but Jamie Lloyd’s production certainly has much going for it. A few thoughts follow.
It’s nice to see a company supporting its own rather than parachuting in a ‘name’ for the sake of ticket sales and so Richard Fleeshman is replaced as the show’s hero Bobby Strong by Matthew Seadon-Young who has been there from the beginning. And likewise Julie Jupp and Alasdair Buchan will be stepping up to step into the shoes of Jenna Russell and Marc Elliott when they leave at the end of November – it’s a natural and brilliant progression route and it something that should definitely be encouraged. (Naturally the show isn’t immune to economic realities and so it is Phill Jupitus who will be coming in for Simon Paisley Day, an interesting choice but as I’ve never seen him on stage one I’m a little unsure about.) Continue reading “Re-review: Urinetown, Apollo Theatre”
Rebecca Caine, Gina Beck + Annalene Beechey – Sing For Your Supper
Continue reading “Saturday afternoon music treats”
“See these tears flow, this H2O”
There’s not really much more to say than to bid a fond farewell to this most beloved of shows. Despite the fierce love it engendered in its devoted fans, I personally don’t think a transfer would have necessarily worked so well. There’s something wonderfully neat about The Light Princess’ life at the Lyttelton, the length and nature of its run in rep meaning that Rosalie Craig was able to make every single performance – an impressive feat even before one touches on the extraordinary demands of the lead role. And getting to see the final show, with a large group of people who had been equally (if not more) touched by the work – and that includes the extraordinary cast and company, I don’t think I’ve ever seen so much visible emotion at the end of a run – was a genuine privilege.
Since the show shone so brightly, yet so briefly, it has left the kind of indelible impression that will be impossible to shift. I saw it five times in total – you can read about visits one, two, three and four – and each time, it surprised me, its densely complex nature revealing something new each time with different musical motifs becoming prominent, the various themes shifting in emphasis, the texture of the show almost malleable in its changeability. So now we have to wait for the soundtrack and dream of once upon a once a, once upon a time.
“What you have done, has brightened the world”
A review of the fourth time I went to see The Light Princess at the National?
What I will say though, is that it was my first time seeing it from the circle and it really did give a different perspective to some of the more expansive scenes in the Wilderness, the illusion of flowing water much more effective. And Althea’s floating also felt different from afar, the magnificent facial hair less of a distraction from further away… Just one more trip booked now before it ends 🙁