I’m loving this deep dive that the Guardian is doing into Tristram Kenton’s archive, this time taking a turn into the many Open Air Theatre productions he has been witness to. Highly recommended:
Photos: Tristram Kenton
This trio of musical theatre album reviews features Sleeping Beauty the Musical, 9 to 5 the Musical – West End Cast Recording and Girlfriends (London Musical Theatre Orchestra)
“When life seems uphill, remember you’re still ascending”
A bit of googling about Joel Harper-Jackson (what, you don’t do it too…?) came up with this studio cast recording of Sleeping Beauty the Musical. A musical adaptation of the fairytale with book and lyrics by Ian Curran and music by Simon Hanson and Peter Vint, it is a rather amiable treatment of the story and a perfectly serviceable set of tunes. Truth be told, this isn’t a score to really set the world alight but then not everything has to, especially when allied to as classic a tale as this. Harper-Jackson and Maria Coyne both impress as the central couple of Prince Perrault and Princess Aurora whose growing relationship is the cornerstone of the show and ultimately quite affecting here. Continue reading “Album Reviews: Sleeping Beauty the Musical / 9 to 5 the Musical / Girlfriends”
“Secretly they was overjoyed”
Rachel Kavanaugh’s glorious take on The Sound of Music two years ago for the Open Air Theatre in Regent’s Park was a wonderful thing indeed so it is little surprise to see her welcomed back to this venue to tackle another Golden Age classic, this time Seven Brides for Seven Brothers. It’s a canny decision as her familiarity with the space shows, utterly unafraid to use its full width and depth for unexpected arrivals, slow reveals and thrilling chase sequences and of course, the coup de théâtre that is the pinnacle of Peter McKintosh’s design which is a real piece of old-fashioned theatre magic.
Kavanaugh also makes small but pointed attempts to address the dubious gender politics of the show, without ever sacrificing the spirit of fun that should always characterise such classic musical theatre. So from the first moment Adam and Milly clap eyes on each other, there’s no doubting that the erotic charge between them is mutual, her lustful glances perhaps even more overt than his. And the strength of Laura Pitt-Pulford’s performance is that she never lets us forget she’s a woman making her own choices, even if its just making the best of a bad lot. It’s not a perfect reconciliation of the issues but it feels enough for her, for now. Continue reading “Review: Seven Brides for Seven Brothers, Open Air Theatre”
“These modern productions are all very well…”
Taking your seat in the Palladium to see the musical theatre behemoth that is Cats – now 33 years old and receiving a 12 week revival here in one of Andrew Lloyd Webber’s own theatres – is an act of strangely calculated nostalgia. Famed for being one of the longest-running shows both on Broadway and the West End, its feline frolics remain entirely evocative of the 80s and as it reunites the original creative team – director Trevor Nunn, choreographer Gillian Lynne, designer John Napier – that should come as little surprise.
For those unfamiliar with the show, it was actually a feat of some daring. A through-sung, through-danced piece with no real narrative, save that taken from T.S.Eliot’s book of whimsical poetry, Old Possum’s Book of Practical Cats. In essence, we meet the key characters of a tribe of cats who have gathered in a junkyard for a special night where one of them will be selected to be reborn into a new life in cat Heaven (or more accurately, be part of a rather dodgy bit of stagecraft, almost as naff as those cats’ eyes at the beginning).
Continue reading “Review: Cats, London Palladium”