“Oh yes it’s not that I want to stay.
It’s just that I don’t want to go”
My heart jumped for joy when the Union Theatre announced their revival of Salad Days as the Julian Slade and Dorothy Reynolds classic is probably one of my favourite musicals (and following on from their production of The Hired Man too, another of my absolute faves). I loved being being able to revisit the evergreen perkiness of the show onstage and it also reminded me that I hadn’t gotten round to listening to this cast recording in a while.
My love for Salad Days started upon seeing Tête à Tête’s production of the show at the old Riverside Studios in 2010 which was such a success (eventually) that it returned in subsequent years and it is from that 2012/3 reprise that this live recording was made (which sadly means no Sam Harrison or Rebecca Caine) but it does capture so very much of what worked so well in Bill Bankes-Jones’ production and under Anthony Ingle’s musical direction. Continue reading “Album Review: Salad Days (2013 Live London Cast Recording)”
“There is joy in the air so begone with dull care”
There’s always something of a delicious pleasure in being able to revisit much loved productions and so it proved with Tête à Tête’s production of Salad Days which proved to be a slow-burning but considerable success at the Riverside Studios two winters ago. The Julian Slade and Dorothy Reynolds penned musical is a true old-school English classic, highly tuneful (even if you don’t know any of the songs before you go in, I guarantee you’ll be able to hum at least of three of them as you leave) and somewhat barmy in its daffy plotting which takes one of the most unexpected turns I think I’ve ever seen in a show.
But what makes it soar into musical theatre heaven is the entirely straight bat with which Bill Bankes-Jones directs the whole affair. There’s not a drop of cynicism to be found in this Hammersmith studio, from the cheery earnestness of Timothy and Jane, its leading couple who leave university to find love through a magic piano (I did say it was daffy) to Quinny Sacks’ wonderfully effervescent (and inclusive) choreography to the joy of hearing such a large ensemble singing entirely unmiked. It is simply just joyous. Continue reading “Review: Salad Days, Riverside Studios”
“When I was still a school girl, standing just about yay high, I saw the face of Jesus in a coconut cream pie.”
I have to admit to being a little sceptical when I first heard that Sister Act the Musical would be touring the UK. Its run in the West End was relatively well-received (not least by me, twice) but the show itself lacked a certain something to match up to the star quality of its cast, so I was pleased to hear both that this touring production was a reworked version and some excellent word-of-mouth in advance of its arrival at the New Wimbledon.
And it was good word indeed as I really enjoyed the show third time around. An adaptation of the film of the same name in which Delores van Cartier, a nightclub singer, has to enter a witness protection programme which places her in a threatened Philadelphia convent much to her chagrin. But disguised as Sister Mary Clarence and appointed to the head of the dodgy choir which she soon whips into shape, she effects remarkable change on those around her which in turn raises their profile, jeopardising the whole undercover operation and everyone’s safety on the very day the Pope is coming to hear them sing. Continue reading “Review: Sister Act the Musical, New Wimbledon Theatre”
“It’s true I’ve been led an amazing dance,
but why should I ever complain?
If I could be given a second chance,
I’d live it all over again”
One of the greatest pleasures of writing this blog has been being able to really champion the shows that really move me, the ones that I heartily recommend to everyone in my phonebook the moment I come out of the theatre and so it was in early December with this delightful musical. The ‘little show that could’, Salad Days has risen from fairly quiet beginnings to becoming one of the hottest tickets in town and their last few weeks have been playing to packed houses. Whether it was the snowy weather in December, or the length of time it took to persuade critics to visit Hammersmith I don’t know, but the press reviews took a long time to emerge and trickled out slowly from late December onwards. What impact this had I don’t know, but this has been, from my point of view, a genuinely huge word-of-mouth success which I think is testament to just how good a show it is.
It really is so very well put-together in all aspects: the book is genuinely funny which helps of course and delivered so cleanly and earnestly by all concerned, the songs are catchy and tuneful and the structure of the show with its plentiful brief reprises lends an air of familiarity with the music even on first listen, the costumes feel authentic and the design pitched just right. And as commented before, Tête-à-Tête’s casting has been spot-on in gathering an ensemble capable of singing beautifully, un-miked into the large auditorium whilst executing Quinny Sacks’ inspired choreography. Every single aspect of this production from the entrance to the breakfast eating sequence, the people walking through the park, the club scenes and Mark Inscoe’s interval patter, feels carefully thought through and perfectly judged. Continue reading “Re-review: Salad Days, Riverside Studios”
“We mustn’t say these are our happiest days, but our happiest days so far”
Despite leading with the tagline of ‘one of Britain’s best loved musicals’, I must admit to never having heard of Salad Days before this Riverside Studios and Tête à Tête production. Composed by Julian Slade and with book and lyrics by him and Dorothy Reynolds, it was apparently the longest-running musical in the West End until My Fair Lady so quite how it has passed me by until now I do not know, but I am ever so grateful that its cheery optimism is now in my life .
Set in 1954, Timothy and Jane have both just graduated from university and are facing pressure from their respective parents for him to find suitable employment through one of his influential uncles and for her to find an appropriately advantageous marriage. But anxious to make their own way in the world, they decide to get engaged to each other and to accept the first job that comes along, which just happens to be…looking after a mobile piano that when played, makes people dance uncontrollably. Predictably, the government in the form of the Minister of Pleasure and Pastime want to get their hands on this instrument of social disruption but in their efforts, the piano disappears and then events take an even more wonderfully insane turn. Continue reading “Review: Salad Days, Riverside Studios”