Two new music releases – Renée Fleming tackles Broadway classics in style, and The Quentin Dentin Show releases its cast recording
“Life is what you want it to be”
No matter what you think of Renée Fleming, you can’t accuse her of resting on her laurels. At this point in her career, she could well be taking the easy route but this decade alone has seen her tackle Broadway (most recently receiving a Tony nomination for Carousel) for the first time and release an album that featured interpretations of three Björk songs. Her newest release cleaves closer to musical theatre though, and Broadway is available now from Decca Classics. Continue reading “Album Reviews: Renée Fleming – Broadway & The Quentin Dentin Show”
“If successful, you can go for the upgrade”
I was rather seduced by The Quentin Dentin Show’s charms when I saw it last year – riding post-Edinburgh enthusiasm, this sci-fi musical slotted into the late-night berth at the Above the Arts studio perfectly. Buoyed by that success, producer Hannah Elsy and writer/composer Henry Carpenter brought on a new co-book writer – Tom Crowley – to further expand the show for this new run at the Tristan Bates Theatre.
It’s an interesting development as the increased running time now carries with it an interval and I’m not entirely convinced that the show carries this off. The Quentin Dentin Show is always amiable, the glint in its eye feels cheeky even as it approaches something darker in tone and so the ‘drama’ imposed by the cut to black feels a little artificial. It gives the opportunity to go and get another drink sure, but its hard not to feel that the energy flow would be better maintained. Continue reading “Review: The Quentin Dentin Show, Tristan Bates”
“Kissing is better than acorns”
It seems like Peter Pan had the right idea. For in new musical Lost Boy, those that left Neverland and started to grow up end up variously as gay trapeze artists, opium addicts, Parisian showgirls, miserable bankers, wannabe Jungians and prostitutes. The concept of growing up is at the heart of Phil Willmott’s new show which largely takes place in the dreamworld of Captain George Llewelyn Davies, one of the boys who inspired JM Barrie to write one of the most iconic pieces of children’s fiction but whose shadow is hard to escape.
A few years on from the writing of Peter Pan, Llewelyn Davies finds himself preparing for battle on the eve of the First World War, emotionally unprepared for military leadership yet societally conditioned with a gung-ho war mentality. And as he closes his eyes for a moment, he dreams of being Peter Pan, all grown up in London with Wendy, Tinker Bell, Tootles and the rest but now they’re no longer in Neverland, the dilemmas they face are those of humdrum normality, that is until war is declared. Continue reading “Review: Lost Boy, Finborough Theatre”