Auburn Jam Music are delighted to be releasing ‘You Will Be Found’ by #CheerUpCharlie & West End Friends, a fundraising charity single in aid of youth charity The Diana Award, on Sunday 15 November to tie in with the start of National Anti-Bullying Week (16-20 November).
The star-studded single is led by ten-year-old Charlie Kristensen from Wokingham, whose experience of being bullied started the viral #CheerUpCharlie campaign. Charlie is joined on the song by numerous stage and screen stars including Wendi Peters, Layton Williams and Michael Xavier, with Iain Armitage, Michael Ball, Rufus Hound, and Faye Tozer amongst many famous faces reading their supportive messages on the song’s video. The single is available to pre-save now on iTunes, Deezer, Spotify and Tidal at https://ditto.fm/you-will-be-found. Continue reading “News: You Will Be Found by #CheerUpCharlie & West End Friends to be released on 15th November”
Elton John gets in on the self-produced musical biopic game, meaning Rocketman is gonna take a long long time to get anywhere near the truth
“People don’t pay to see Reginald Dwight…
they pay to see *Elton John*!”
I always find there being something a little suspect about the subject of a biopic being intimately involved behind the scenes, that sense that you’re only being permitted to see a carefully curated version of this particular story (cf Tina the Musical, On Your Feet onstage; Bohemian Rhapsody most recently on film). And Rocketman ultimately proves no exception, with Elton John executive producing and husband David Furnish getting a producer credit, and Wikipedia thus offering up a substantial list of deviations from what actually happened.
You might argue that as the film, written by Lee Hall and directed by Dexter Fletcher, isn’t a documentary, it doesn’t need to concern itself with an absolute fidelity to historical record. But I just find it fascinating this need to embellish, so much being smuggled under the umbrella of ‘creative license’ that can’t always be explained away with the ‘needs’ of filmmaking. Things as fundamental as changing the inspiration for Reg Dwight’s stage name from his mentor Long John Baldry to John Lennon, or claiming that ‘Daniel’ and ‘I Guess That’s Why They Call It the Blues’ were the songs he auditioned for with Dick James when neither had been written yet. At what point does that creative license start being straight-up dishonesty? Continue reading “Film Review: Rocketman (2019)”
Get your roller-skates on and over to the Southwark Playhouse for a croking revival of Kander & Ebb’s The Rink with a stonkingly good Caroline O’Connor
“Noisy boys, long and lean.
Giggles of girls in the mezzanine”
All sorts of thoughts pass through your mind as you watch The Rink, at least they do if you’re me. Wouldn’t Gemma Sutton be perfect casting in the lead of the inevitable Lindsay Lohan: The Musical; does Jason Winter have the longest legs in musical theatre; does Caroline O’Connor have any trace of a Lancashire accent at all; didn’t Kander and Ebb write fricking fantastic songs for women; and does an ability to roller-skate in a musical make you a quadruple threat?
That’s not to say I was distracted whilst sweltering in the Southwark Playhouse during this preview on Saturday, but rather that my mind was entirely stimulated (not least when Winter does some kind of windmill move on the floor…?). The Rink is one of those musicals that history hasn’t treated too kindly, despite a premiere that starred Chita Rivera and Liza Minnelli but with Adam Lenson’s expert hand at the tiller, this is a revival to treasure. Continue reading “Review: The Rink, Southwark Playhouse”
“What did you expect?”
After a hugely successful run at the Old Vic, Girl From The North Country transfers to the Noël Coward with the majority of its cast and all of its melancholy soul intact. Seeing Sheila Atim transform ‘Tight Connection To My Heart’ into the most heartfelt of laments was one of my highlights of 2017 and seeing it once again made me feel like it could easily be one of the highlights of 2018 as well.
Her performance is symptomatic of what makes this show so fantastic. The secret weapon in Conor McPherson’s production is the arrangement of the Bob Dylan songs by Simon Hale, an interpretative masterstroke which weaves the music into the very fabric of these people’s lives. (Though whether that makes this a musical remains anyone’s guess.)
Continue reading “Re-review: Girl From The North Country, Noël Coward”
“What a happy time we’ll spend”
I’m pretty sure that if you could distil the warmth of Emma Williams’ voice, it would be the basis for the cure to the world’s ills. There are few singers who have that kind of effect on people and it is a travesty that isn’t better known to the world at large. Part of that is a consequence to her admirable devotion to new musical theatre writing which means that her projects haven’t always quite broken through to the mainstream but to those in the know, she’s a real champion of British musical theatre.
Which is a long-winded but deserved introduction to the Original London Cast Recording of Chitty Chitty Bang Bang, the production in which she made her debut as an 18 year old in 2002. The Sherman Brothers’ film has long turned into an enduring classic and its score here, enhanced by new numbers for the stage, remains a thing of unalloyed joy. The delicacy of lullabies like ‘Hushabye Mountain’ and ‘Doll On A Music Box’ are just beautiful and in the hands of Williams and Michael Ball, they shimmer gorgeously. Continue reading “Album Review: Chitty Chitty Bang Bang (2002 Original London Cast Recording)”
“Beyond this door, surprises in store”
Third time lucky for me and the great glass elevator! The first time I saw Charlie and the Chocolate Factory at the Theatre Royal Drury Lane, the climactic lift effect wasn’t ready, the second time it broke down before it even really started so if nothing else, it was great to finally get to see the sequence as it was intended. My main reason for revisiting the show though was the cast change, with favourites like Josefina Gabrielle and Richard Dempsey joining the company and Alex Jennings stepping into the role of Willy Wonka, replacing Douglas Hodge.
And rather unexpectedly, I absolutely loved it. It was a show I had previously liked rather than truly enjoyed but it really seems to have settled into its skin now, subtle alterations helping with the pace (although I am sad to see the animated prologue having been removed) and a generally sharper feel to the whole proceeding. For me though, the best aspect was Jennings’ reinterpretation of Wonka, a completely new take on the character that works brilliantly and feeds into the fabric of David Greig’s book, based on Roald Dahl’s writings of course, in a more instinctive and convincing manner. Continue reading “Re-review: Charlie and the Chocolate Factory, Theatre Royal Drury Lane”
“That’s my Charlie, that’s my son”
At a time when big new musicals have been dropping like flies, the mere fact that Charlie and the Chocolate Factory is still open is something of an achievement, never mind its actual enduring success. And with a major cast change soon to take place (featuring the likes of Alex Jennings and Josefina Gabrielle, just to make sure that I have no choice but to return), it seemed as good a time as any to give the soundtrack a listen.
I’ve seen the show a couple of times now and even in the couple of months between those viewings, it was clear that my original thought, that Marc Shaiman’s score might possess longevity that wasn’t initially obvious, wasn’t too far off the mark. The tunes worm their way into your head under the cover of the cuckoo in the nest that is the late-arriving ‘Pure Imagination’ which predictably is what most people will leave the Theatre Royal Drury Lane humming. Continue reading “Album Review: Charlie and the Chocolate Factory Original London Cast Recording”
“So we’ve lost a few children along the way, we’ve all learned something though”
One of the hottest tickets of the year is a golden one. London gets its second major adaptation of a Roald Dahl story into a big budget piece of musical theatre as the long-awaited Charlie and the Chocolate Factory finally opens its gates at the Theatre Royal Drury Lane. And taking his cue from Willy Wonka, director Sam Mendes has mixed it with love and made it taste good, displaying, along with designer Mark Thompson, just as much wit and invention as the candyman himself in bringing this world to such entertaining life on the stage.
David Greig’s book remains largely faithful to Dahl’s novel, but expanding the poverty-stricken domestic set-up of Charlie Bucket and his extended family as the young boy dreams of finding one of five elusive passes into Wonka’s mysterious factory. As the tickets are found one by one in a series of vividly realised tableaux, his hopes recede but the presence of a shadowy tramp-like figure ensures that there’s soon a golden twinkle in Charlie’s eye and a life-changing journey can begin. Continue reading “Re-review: Charlie and the Chocolate Factory, Theatre Royal Drury Lane”
“It’s the a-choc-alypse…no, it’s choc-mageddon”
What to do when a golden ticket is actually thrust into one’s hand?! A late invitation to a very early preview of new big budget musical Charlie and the Chocolate Factory meant a hurried trip to the newly refurbished Theatre Royal Drury Lane to see what has to be one of the most highly anticipated productions of the year with Sam Mendes directing, Peter Darling choreographing and Douglas Hodge taking on the role of Willy Wonka. Given the huge success of fellow Roald Dahl adaptation Matilda, the stakes on this multi-million production are substantial and a month long preview period is testament to how much the team want to test the show before opening night.
Where Charlie might suffer, unlike Matilda, is in the enduring memory of the iconic film version from 1971. When Hodge appears at the door of his factory, you can sense the sigh of relief as he looks ‘right’, as in definitely inspired by Gene Wilder’s take on the character; when the doors open on the Chocolate room, there’s a slight sense of disappointment which is perhaps inevitable as the logistics of creating a chocolate waterfall and river come up hard against what appears to be a giant curly-wurly (hopefully there’s more to be done here). Continue reading “Review: Charlie and the Chocolate Factory, Theatre Royal Drury Lane”
“An Ogre always hides, an Ogre’s fate is known, an Ogre always stays in the dark and all alone”
I hadn’t originally intended to go to Shrek The Musical, certainly not this early in the run, never having seen the films and having a somewhat mixed reaction to the lead casting. The Nigels, Lindsay and Harman, intrigued me but Amanda Holden (I’ve never seen Britain’s Got Talent either) and Richard Blackwood did not appeal. But when an offer appeared on the show’s Facebook page, for £40 tickets at the front of the Upper Circle at a ridiculously cheap price of £15, I snapped up a pair as a birthday treat.
A big-budget production of the show had a relatively short run of just over a year on Broadway but a much-revised version went out on tour across North America last year and it is a copy of this scaled-down production that is now previewing in the Theatre Royal Drury Lane, directed by Rob Ashford and Jason Moore. It has a book and lyrics by David Lindsay-Abaire (also writer of the harrowing Rabbit Hole – talk about diversity!) and music by Jeanine Tesori, and according to my lovely companion for the evening, it cleaves very closely indeed to the first film in the franchise, right down to the same jokes being repeated. This is a review of an early preview, indeed there’s about a month of preview performances, so do bear that in mind as I have. Continue reading “Review: Shrek The Musical, Theatre Royal Drury Lane”