A trio of festive album reviews with If The Fates Allow: A Hadestown Holiday Album, Leslie Odom Jr – The Christmas Album and Michael Ball & Alfie Boe – Together at Christmas
“Oh, my love, we live in troubled days”
No word of a lie, since starting to play Christmas music last week, I’ve listened to If The Fates Allow: A Hadestown Holiday Album everyday, it truly is that joyous. It’s a brilliant twist on the Christmas album that takes a slightly left-field approach to its festive track selection and then thoroughly imbues it all with the irrepressible spirit and way down musicality of Anaïs Mitchell’s soul-raising Hadestown. Led by the gorgeous voices of Yvette Gonzalez-Nacer, Kay Trinidad and Jewelle Blackman, aka The Fates, and featuring the rest of the cast of the show’s Broadway production, the album features original songs from Mitchell, Gonzalez-Nacer and the show’s MD Liam Robinson alongside festive staples and some Marvin Gaye, Leonard Cohen and Sara Bareilles for good measure.
What really makes If The Fates Allow… sing is the way in which the sound of Hadestown is folded into the record – never mind the Ghost of Christmas Past, this collection is haunted by the spirits of Christmas Ancients. Musical motifs from the show shimmer beautifully in unexpected places and it is just spine-tinglingly effective; so too the iconic brass sounds that pepper ‘Thank God It’s Christmas’, an ingenious way of reinterpreting familiar songs through an inimitable musical identity. A cynic might demur at such an exercise in brand extension but they would just be wrong. Just listen to Patrick Page’s profundo on Cohen’s profound ‘Come Healing’ with its harmonious backing, or the ragtime-influenced take on ‘Sleigh Ride’, or the hushed splendour and lyrical incisiveness of Mitchell original ‘Song of the Magi’. Surely destined to become a perennial festive favourite whether you’re way down underground or livin’ it up on top. Continue reading “Christmas album reviews: If The Fates Allow: A Hadestown Holiday Album / Leslie Odom Jr – The Christmas Album / Michael Ball & Alfie Boe – Together at Christmas”
Encouraged by their Curtain Up nominations, I take a quick look at the Broadway cast recordings for Hadestown, Jagged Little Pill and Oklahoma!
“I want you to know, that I am happy for you”
I’m not quite sure why I haven’t got around to reviewing the original Broadway cast recording of Hadestown since I listen to it at least once a week, such is the enduring strength of Anaïs Mitchell’s glorious score. I loved the show so much at the National, that I’d already booked to go and see it again before I got home that evening, and getting to dive deep into this recording is about as close as I’ll get to seeing it again (I doubt it’ll return here any time soon although the West End is crying out for its inventiveness).
Those of us who loved the show in London are blessed that the Broadway transfer retained its key cast. So the intense vitality of Amber Gray, the easy swing of André De Shields, the indie-pop sweetness of Reeve Carney and Eva Noblezada and the gravelly hotness of Patrick Page remain intact. And those tunes! The plaintive cries of ‘Wait for Me’, the slinkiness of ‘When the Chips Are Down’, the incredible prescience of ‘Why We Build The Wall’, the sheer glee of ‘Way Down Hadestown’, it is a winner from start to finish for me. Continue reading “Broadway Album Reviews: Hadestown / Jagged Little Pill / Oklahoma!”
John Gassner Playwriting Award
Charly Evon Simpson, Behind the Sheet
Jeremy Kareken, David Murrell and Gordon Farrell, The Lifespan of a Fact
Donja R. Love, Sugar in Our Wounds
Ming Peiffer, Usual Girls
Jeremy O. Harris, Slave Play
Outstanding Actor in a Musical
Brooks Ashmanskas, The Prom
Reeve Carney, Hadestown
Damon Daunno, Oklahoma!
Santino Fontana, Tootsie
Steven Skybell, Fiddler on the Roof (in Yiddish) Continue reading “Nominations for 2018-2019 Outer Critics Circle Awards”
Way down in Hadestown at the National Theatre is one of the best musicals of the year
“Damned if you don’t. Damned if you do.
Whole damn nation’s watching you”
I loved Hadestown so much that I had booked to see it for a second time before I even got home from the first. Read more about that trip here, including me trying the National’s new smart caption glasses, and read on for a review that focuses properly on Anaïs Mitchell’s brilliant musical here. An adaptation of the tale of Orpheus and Eurydice, developed with director Rachel Chavkin, it riffs on the myth by relocating the action to a dive bar in the Deep South and redefines hell for our capitalist age. And they fill the Olivier with music, such music, that transforms Hadestown into the kind of experience that lingers long in the mind.
Mitchell’s score succeeds so much because it establishes such an identity for itself that it dares you not to be seduced into the world of the gods, or at least New Orleans. At its best, its simply elemental – ‘Way Down Hadestown’ has the kind of tune that sounds like it has always existed and will not quit your brain anytime soon. And as you collect the influences – hints of Jason Robert Brown on ‘All I’ve Ever Known’, the Johnny Cash-esque call and response of ‘Why We Build The Wall’, the straight up musical theatre emotion of ‘Wait For Me”s chorus, to name but a few – you realise a new form of Americana has evolved here. Continue reading “Review: Hadestown, National Theatre”
I try out the new smart caption glasses while watching Hadestown at the National Theatre and am blown away both by the show and the frankly amazing technology
“Eurydice knew how to survive
Orpheus…knew how to live”
The exceedingly kind folk of the National Theatre allowed me to go and see Hadestown a few days after the press night, as I was most keen to have a try of the Smart Caption Glasses which were brought into circulation on Friday. Acclaimed as “a revolutionary new way for people with hearing loss to enjoy performance”, for once the blurb more than lives up to its billing as I found them to be truly innovative and potentially life-changingly good.
Without wishing to open a whole can of worms about access and diversity within the critical community, it has to be said that as a (deaf) reviewer, I never get to go to captioned performances. If and when they’re scheduled, the timetables just don’t allow for it, so – as in most of my daily life – I make do. I hear what I hear and guess the rest. So the idea of this facility becoming available was one I was most keen to investigate at the earliest opportunity. Continue reading “Review: Hadestown, via smart caption glasses at the National Theatre”
“Why would the devil be interested in you?”
And so the penny drops, John Logan’s Penny Dreadful comes to an end after 3 highly atmospheric seasons of gothic drama, anchored by a sensational performance from Eva Green that ought to have been way more recognised that it was. It’s taken me a little while to get round to watching the series after writing about the first episode so apologies for that, but sometimes, life (and summer holidays) just get in the way. Beware, spoilers will abound.
In some ways, the ending of Season 2 acted as a finale that really worked, the key characters left shell-shocked by what had befallen them and scattered across the globe, as manifested in a gloriously down-beat last half-hour of Episode 10. And so the main challenge of Season 3 was to find a way to reconnect their stories in a way that was at least thematically interesting, if not necessarily the most dramatically satisfying. Continue reading “TV Review: Penny Dreadful Season 3”
“We are bound on a wheel on pain”
The first series of Penny Dreadful may not have been perfect but I really rather liked it and was glad to hear a second season had been commissioned. And when I discovered the triple whammy of Helen McCrory and Simon Russell Beale being promoted to series regulars, Billie Piper’s distracting Oirish brogue being excised and Patti LuPone appearing as a guest star, I was in heaven. Saving up the 10 episodes to binge-watch on holiday also worked well for me, ain’t technology grand!
Having established its world of gothic Victoriana, John Logan’s writing picks up some of the strands of the first series’ finale – the consequences of sometime-werewolf Ethan’s bloodbath being chased up by a tenacious policeman and Victor Frankenstein’s newest creation inspiring an unlikely love triangle. But it succeeds most by re-introducing McCrory’s Evelyn Poole as a series-long villain as the head of a witches coven and maker of some of the creepiest puppet dolls you have ever seen – it’s no secret I love her but this really is a career highlight for this most superb of actresses. Continue reading “TV Review: Penny Dreadful Season 2”
“Do you believe that there is a demi-monde?”
It is hard to credit that the first series of Penny Dreadful managed to encompass something as sublime as Eva Green’s magisterial lead performance as the haunted Vanessa Ives as well as one of the worst accents ever committed to celluloid (or whatever it is these days) in the form of Billie Piper’s Northern Irish brogue which, without due care, could well ignite some Troubles of its own. The transatlantic Showtime/Sky Atlantic co-production aired this summer and was conceived and written by John Logan and with an executive producer credit for Sam Mendes, it is no surprise that it is a quality product, albeit not without its issues.
Penny dreadfuls were a British 19th-century invention, sensationalist fiction with often lurid subject matter, and Logan has drawn on these alongside more well-known tales from the time from authors such as Mary Shelley, Bram Stoker and Oscar Wilde. So the show is set in 1891 London in a world heavy with the supernatural where noted explorer Sir Malcolm Murray is searching for his kidnapped daughter Mina. He is assisted by a motley crew – Green’s prepossessed Vanessa, Josh Hartnett’s sharp-shooting Ethan, Danny Sapani’s enigmatic Sembene, Harry Treadaway’s tortured Victor – but they soon find that (to borrow a phrase), the night is dark and full of terrors (and unexpected gayness).
I won’t say much more about the story as it is full of clever little reveals within the overarching narrative and I loved these ah-ha moments, Logan balances them well against his primary storytelling and the general feel of Gothic horror is maintained brilliantly. As with anything to do with the supernatural, it is more effective in suggesting what lies in the shadows (thus the séance of episode 2 is way creepier than the possession of episode 7) but that said, the make-up and effects are highly superior and the composition of Xani Giminez’s cinematography is just beautiful as the Dublin locations are utilised to their full advantage.
Continue reading “DVD Review: Penny Dreadful (Series 1)”
“Behold the wronged Duchess of Milan, Prospera”
Julie Taymor’s film of The Tempest sank from view rather quickly on its original release, despite having the eye-catching coup of Helen Mirren taking on the lead role – renamed here Prospera. It wasn’t the best of times for Taymor at the beginning of 2011, riding a rather torrid time over the debacle of the much-delayed Spiderman musical, and perhaps people didn’t take this work as seriously as they might have done otherwise. Her previous Shakespeare adaptation – the fierce Titus – was a film I found endlessly intriguing and so I was actually quite keen to see this and thus frustrated when I realised I would have to wait for the DVD to be released.
Was it worth the wait…well, I’m not sure it was to be honest. The casting of Mirren is inspired and the text carries the little tinkering it needs to accommodate the gender switch very well – she’s the Duchess of Milan whose husband is murdered and title usurped by brother Antonio – and there’s an interesting shift in emphasis of the parenting relationship, the testing of Ferdinand feels more rooted in ensuring he’s an ideal suitor for Felicity Jones’ willowy Miranda. And Mirren speaks the verse with an intense passion, a burning fervour of injustice never far away but underscored with a measure of warmth. Continue reading “DVD Review: The Tempest (Julie Taymor)”