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)”
The Menier’s festive musical is always to look forward to and this year’s is no exception – a revival of the classic She Loves Me, based on Miklós László’s play Parfumerie which has been remade more than once as films The Shop Around The Corner, In The Good Old Summertime, and You’ve Got Mail. Recently seen on Broadway in a superlative rendition that was the first ever show to be live-streamed there, Joe Masterhoff’s book pits warring Budapest shop employees Georg Nowack and Amalia Balash against each other, little knowing that they are corresponding anonymously through a lonely hearts column – will they get together in the end? What do you think?
Matthew White’s production is as pretty as a picture, as a music box in fact, Paul Farnsworth’s luxe design emerging as an exceptional piece of work, using four mini revolves to great effect – the shop’s interior looks particularly stunning. And blessed with such cachet, and the strong possibility of a West End transfer, the venue once again attracts a top-notch cast. Mark Umbers and Scarlet Strallen alternately spar and swoon as the main lovers, real life couple Dominic Tighe and Katherine Kingsley play fellow amorous employees Ilona and Kodaly, even relatively minor roles like Ladislav get the likes of Alastair Brookshaw playing them. Continue reading “Review: She Loves Me, Menier Chocolate Factory”
It’s easy to be dismissive about Mamma Mia and all it has wrought in revitalising the jukebox musical as a form but the numbers don’t lie. 17 years and counting in the West End, the 8th longest running show on Broadway (it occupies the same position on the UK ranking at the moment too), a wildly successful film adaptation that became the highest grossing musical ever…it’s impressive stuff.
And listening to the Original Cast Recording from 1999, subsequently re-released with bonus tracks for the 5th anniversary, I’d say it’s fairly easy to see why it has endured so long. For all you may mock Catherine Johnson’s book, which hangs oh so lightly on a varied selection of Benny Andersson and Björn Ulvaeus’ iconic music for ABBA, it actually does interesting things with it, in telling its own story rather relying on the songs themselves (I’m looking at you Jersey Boys…!)
So to say you’re better off listening to ABBA’s greatest hits is to miss the point. As light as the plot may be in its girl-wants-father-to-walk-her-down-the-aisle-but-finds-there’s-three-potential-candidates frothiness but there’s something genuinely tender in hearing ‘Chiquitita’ repurposed for two friends comforting a third, maternal lament ‘Slipping Through My Fingers’ actually sung between mother and daughter, the stag v hens vivacity of ‘Lay All Your Love on Me’.
And yes, they sound different to the originals, of course they do with a full orchestra and chorus to back them up, not to mention the lack of Swedish accents. This recording is a little blessed too in having the film’s soundtrack with its interesting casting choices to easily surpass, but that’s not to take away from the delightful vocals of Louise Plowright, Jenny Galloway, and Siobhán McCarthy as the leading trio, the latter’s Donna a fabulous leading lady from heartbreak to happiness.
Plowright’s cougarish ways enliven ‘Does Your Mother Know’ no end and Galloway’s equally predatory stance toward Nic Colicos’ Bill in ‘Take A Chance on Me’ is a delight. Lisa Stokke’s Sophie, the bride-to-be is charm personified and in keeping with the show’s female-friendly ethos, her intended – Andrew Langtree’s Sky – is somewhat sidelined. For me, ‘Our Last Summer’ has always been one of my favourite ABBA songs and remains so here, ruefully sung by former rocker Harry, an appealing Paul Clarkson, and McCarthy with a gentle loveliness that seems to stand in for the show as a whole.
Having had a near-perfect experience in on the front row at Chichester for Singin’ in the Rain, I didn’t think it could be topped by visiting the London transfer – sometimes I think it is best not to go back. But listening to the cast recording released by the London cast in 2012, I’m kinda wishing that I had. It is a cracking musical whichever way you cut it but this is a brilliant record of a dazzling production that, dare I say it, I listen to just as much as the original film soundtrack.
This CD features 19 tracks, marking a slightly different tracklisting to previous theatrical productions, with most of the reprises included too. Larry Wilcox and Larry Blank’s orchestrations sound just luscious under Robert Scott’s musical direction, making the instrumentals just as vividly vibrant to listen to as the iconic songs we’ve all come to know and love and in Adam Cooper, Scarlett Strallen and Daniel Crossley’s expert hands, they are gloriously great. Continue reading “Album Review: Singin’ in the Rain (2012 London Cast Album)”
Throughout this whirlwind tour of cast recordings, one of the more interesting things has been listening to shows that closed early, or at least relatively so. The Witches of Eastwickmanaged a 15 month run in 2000-1 at the Theatre Royal Drury Lane and then the Prince of Wales in a slightly revised version and I have to say that on the evidence of this original London cast recording, it deserved more.
Dana P Rowe’s score and John Dempsey’s lyrics captures much of the small-town mania of John Updike’s source novel and performed by a crack cast as it is here, it is often thrilling to listen to. Ian McShane may have been cast as the devilish Darryl but it is Joanna Riding, Maria Friedman and Lucie Arnaz as the titular triumvirate whose innate powers are unleashed by the nefarious influence of this charismatic stranger, with troubling results for both themselves and those around them – the harmonies that accompany their joint numbers are just scintillating. Continue reading “Album Review: Witches of Eastwick (Original London Cast Recording)”
“He stinks of drink and urine And thinks he’s so alluring”
One might have hoped that a musical version of William Shakespeare’s The Merry Wives of Windsor by the RSC with a cast that includes Dame Judi Dench, Haydn Gwynne, Simon Callow and a Strallen (natch) would be an enjoyable thing to experience to but on listening to it, it’s clear there is abundant reason I was able to pick up the CD of the live recording for the princely sum of £1 in the RSC shop.
Paul Englishby’s score is an unholy mess of a pick’n’mix bag that someone else has chosen for you – its conflicting styles a dizzying confection that sprawls across the narrative rather than supporting it. Not knowing whether the next song is going to be a tango or a madrigal, take its cues from Big Band or Brecht, or recall Andrew Lloyd Webber or an East London music hall is a most bizarre experience and the cumulative effect is extremely wearying – I have to say it was a real struggle to listen to the whole album in one go. Continue reading “Album Review: Merry Wives the musical (2006 RSC Cast)”