“I was wond’ring when you gonna notice me”
Hey Producer! is a collection of musical theatre and cabaret songs by composer Danny Davies, pulling together selections from cabarets, excerpts from musicals he has written and specially composed songs for this CD. It was released in 2012, and as is the way with these albums, a spectacular array of performers have been assembled to deliver this material. From fresher talents like Julie Atherton and Daniel Boys to the more experienced hands of Peter Polycarpou and Rosie Ashe, the combined effect is of an old-school musical theatre vibe that is rather pleasing.
The CD starts with a classic cabaret number, Atherton’s ‘Hey Producer!’ in which a budding star pleads for her chance for a big break, offering up any kind of inducement including her body even though “you’re probably gay” – witty and light and one can imagine it going down a storm somewhere like the Crazy Coqs. We then move into a sequence of impassioned old-school balladry – Patrick Smyth’s ‘Falling Rai’n, Chris Thatcher and Alison Jiear’s ‘One More Night’ and Polycarpou’s ‘Twice the Man’ all stir the soul with noble sentiment, rousing emotion and most significantly, cleanly memorable tunes. Continue reading “CD Review: Hey Producer!”
“Making resolutions we’ll hold on fast”
Abigail may have been the one holding the party in the 70s but on Millenium Eve, it is Jennifer West who is the hostess with the mostess as she invites friends and family over for a dinner party in her swanky Manhattan apartment. But unexpected guests throw her seating plan awry, the booze is flowing just a little too liberally and more importantly, she’s found an incriminating note in her husband’s coat pocket – it is clear this will be a New Year’s Eve to remember… Kevin Hammonds and Charles Miller’s musical When Midnight Strikes first played at the Finborough in 2007 and those stalwart defenders of new British musical theatre Aria Entertainments, along with co-producers Penny Rock Productions, have put on its first revival at Highgate’s Upstairs at the Gatehouse theatre pub.
At a time when the future of the new British musical is bemoaned, it is a wonder that this score isn’t better known. Miller marries a pop sensibility to the rigours of a book musical and has produced something that flows with a vibrancy and urgency through Hammonds’ story, hooking us in with swirling balladry (there’s at least two songs that could become cabaret standards), perky comedic numbers, and a genuine sense of the storytelling power of this form. ‘Shut Up’ is a marvellously frank song which sees various characters voice their inner thoughts about the inanity of making small talk with random fellow partygoers; I Never combines the raucous revelations of a drinking game with candid insights into the emotional lives of those playing, Continue reading “Review: When Midnight Strikes, Upstairs at the Gatehouse”
“Who has an affair with someone who isn’t good in bed?!”
The Thing About Men is a US musical comedy about the unexpected bromance that develops between Sebastian and Tom when the latter moves into the former’s New York apartment. Unexpected, because Sebastian, a would-be bohemian artist, is having an affair with Lucy, who is married to advertising executive Tom but tired of his philandering ways. When Tom finally twigs that his wife has been having some fun as well, he moves out and somehow manoeuvres his way into identifying Sebastian, adopting the name Milo and moving in with him. But his plans for sabotage are derailed when the process of getting to know each other turns into the beginnings of a much-needed male friendship.
Billed as a musical comedy affair, Joe DiPietro’s book is based on a German film Men by Doris Dörrie and along with Jimmy Roberts songs’, makes for an enjoyable evening in the intimate surroundings of the Landor Theatre. It may be warmly funny rather than laugh-out-loud hilarious and pleasantly tuneful rather than instantly catchy (on first listen at least) and there’s a definite randomness to much of the story, but the creative team assembled by director Andrew Keates play very much to the venue’s strengths to elevate the production into something more than the sum of its parts. Continue reading “Review: The Thing About Men, Landor”