Across its two discs and twenty-three tracks, there’s an awful lot of whimsy to Alexander S Bermange’s latest compilation album Wit and Whimsy and not quite enough wit to sustain it. Bermange is a composer who has had as much success writing comic songs for radio as he has in straight-up musical theatre (the two shows of his that I’ve seen –The Route to Happinessand Thirteen Days – were both part of festivals).
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”
For his first major post-Harry Potter film outing, Daniel Radcliffe went for this adaptation of Susan Hill’s bestseller The Woman In Black, directed by James Watkins. An Edwardian ghost story, widowed father Arthur Kipps’ is tasked with closing up the account of Eel Marsh House, an isolated manor in the fens, but on his arrival he finds the locals unwilling to help, strange goings-on all around him and a haunted house to shake even the most resolute of sceptics.
Skewed angles nod back to Hitchcock, the psychological horror suggests more recent exponents like Amenábar and del Toro, James Watkins is clearly skilled in the art of making people jump but what really works successfully here is the genuine sense of creepiness that imbues much of the film. This is of course most effective in the earlier two-thirds of the film when we’re still hunting for explanations – the long wordless scenes and non-explicit moments of threats have a genuinely disturbing quality – and has there ever been a more unsettling collection of wind-up figures in the world, particularly that rabbit toy. Continue reading “DVD Review: The Woman in Black”
Last year was undoubtedly a great one for Chichester Festival Theatre’s musicals – Singin’ in the Rain and Sweeney Todd both figured very highly in end of year lists and both were granted West End transfers after their sell-out runs. But there’s always a danger in revisiting shows one has loved, there’s no guarantee that the magic will be recaptured again especially in larger theatres. So I’ve currently avoided going back to Singin’ in the Rain in its new home in the Palace (though never say never) and hadn’t thought I’d go back to Sweeney Toddwhich has just started previews at the Adelphi. But when kindly offered a ticket, I couldn’t resist the opportunity to return to the Demon Barber of Fleet Street.
My original review can be read here and in many ways, much of what I said still stands. It’s a highly atmospheric, effective production of Sondheim’s classic revenge tale which lives on its luxury lead casting in a transformed Michael Ball as the titular Todd and an incandescent Imelda Staunton as Mrs Lovett. Staunton truly is epic here, thoroughly attuned to the comedy especially in the one-upmanship of ‘A Little Priest’ but also movingly desperate as her inclinations remain unfulfilled and she is possibly better here than in Chichester. Michael Ball didn’t quite live up to the memory of his performance, missing some of the necessary malevolence, though he still sings the part well. Continue reading “Re-review: Sweeney Todd, Adelphi Theatre”
Though the temptation is strong, and the actuality may well prove so, I don’t think I will be catching quite so much theatre in 2012 as I did last year. I could do with a slightly better balance in my life and also, I want to focus a little more on the things I know I have a stronger chance of enjoying.
“No denying times is hard sir, even harder than the worst pies in London”
This may surprise some people but Sondheim’s Sweeney Todd is actually the same age as me given that I have been 29 for the last 3 years! As one of the few not to receive a major production in London in his 80th birthday year, the 1979 show Sweeney Todd – The Demon Barber of Fleet Street now receives attention from Chichester Festival Theatre with an excellent revival that will surely end up in the West End in due course. Jonathan Kent’s production relocates Hugh Wheeler’s book to the 1930s, playing on the overtones of economic crisis and undertones of emotional fascism, whilst Sondheim’s classic music and lyrics create worlds of emotional intensity. The story centres on Benjamin Barker, a skilled barber falsely charged and sentenced to transportation to Australia by a corrupt judge. Fifteen years later he returns to discover he has lost his wife and child, and so reinvents himself as Sweeney Todd, searching out for ways to be avenged. A chance meeting with former landlady Mrs Lovett sees him set up shop again as a barber in the room above her pie shop and the unlikely pair find a mutually convenient business arrangement as Todd finds it impossible to control his murderous urges and Lovett is in desperate need of cheap fillings for her pies…
Imelda Staunton is ideal casting for Mrs Lovett: younger readers will certainly recognise her as Dolores Umbridge but may not be aware of her outstanding musical theatre credentials which formed a major part of her earlier career, including an Olivier award winning turn as the Baker’s Wife in Into the Woods, also by Sondheim. The comic business of the first half with her discovery of the first body and the later ‘A Little Priest’ is as good as you would dare hope it could be, but where she really excels is in the second half as she delves into the darker side of this woman. The desperation exposed by Todd’s lack of enthusiasm for her seaside dream cuts deep but then as her young charge edges ever closer to the truth of what is going on, the ugly truth rears its head with a frankly terrifying rendition of ‘Not While I’m Around’ – don’t make eye contact with her at the end of the song, it will scar you for life! And Michael Ball as the titular Demon Barber is also terrifically good, he’s undergone quite the makeover and is virtually unrecognisable, looking more like a brownshirt than anything. He captures the laconic cruelty and the glowering menace of a man shorn of his moral framework and his rich voice swoops around Sondheim’s score with consummate ease. Continue reading “Review: Sweeney Todd, Chichester Festival Theatre”
“What matters are the things you leave behind And the echoes love can leave inside your mind And the lights that last from random acts of kindness Kind of simple, kind of not”
First Things Lastcelebrated the release of American musical theatre writer Lance Horne’s debut album at the Garrick Theatre, following two shows in New York earlier this month. The album features a host of highly talented stars from the West End and Broadway, so the concerts have had different line-ups reflecting people’s availability but this concert featured a line-up that read like a who’s who of the cream of British musical theatre and then some. The show was produced by those champions of new musical theatre Speckulation and lived up to expectations as a most stunning showcase for some seriously talented stars and a most engaging writer.
Picking a favourite moment from the event is a bit like my own version of Sophie’s Choice, but I was probably most looking forward to Meow Meow’s performance and she did not fail to deliver. Her song ‘January’, a regretful tale of a lost love, is like a 1960s black and white French film brought fully to life, her silkily sultry vocals perfectly matching the Jacques Brel feel of the song and I now could not be more excited for The Umbrellas of Cherbourg if I tried, it is going to be immense! Continue reading “Review: Lance Horne – First Things Last, Garrick”
“This room is significantly different because you’re in it”
And boy is it different! The first thing that strikes you as you enter the Cottesloe for Earthquakes in Londonis not the light jazz elevator music, but the complete reconfiguration of the auditorium inside. An inverted S-shaped catwalk-stage dominates, with bar stools either side for the audience, two raised letterbox stages at either end and a DJ in the corner.
A new play from the pen of Mike Bartlett (he of Cock and also Bull) and a co-production with Rupert Goold’s Headlong company. With a timeline switching around from 1968 to 2525 (though predominantly in the present day), it deals with the threat of climate change and impending planetary collapse by looking at the impact on a family of three sisters each with their own issues and the same estranged father. Continue reading “Review: Earthquakes in London, National Theatre”