Jesus Christ Superstar takes to the “rock’n’roll” arena. It isn’t good.
“Why waste your breath moaning at the crowd?
Nothing can be done to stop the shouting.”
Amidst the deluge of theatrical content emerging online, it can be quite hard to make decisions about what to actually watch. Andrew Lloyd Webber’s release of the 2012 live arena tour of Jesus Christ Superstar stood out for me as though I did go and see it at the O2, we were seated at the back of the cavernous space and so the opportunity to actually see what happened on the actors’ faces was enough to tempt me. Plus it’s Good Friday…
Pre-dating the Open Air Theatre’s revelatory restaging by three years, Laurence Connor’s restaging of ALW’s 1971 rock opera lays its contemporary allusions thickly (Occupy, Guantánamo, reality TV) but right from the start, you can see how superficial it is. A busy prologue full of kinetic energy references the Occupy movement strongly but as soon as the show proper starts, it’s as if it never happens, you could cut it and never know the difference.
Continue reading “Lockdown theatre review: Jesus Christ Superstar (2012 Arena Tour)”
The Original Cast Recording of Tina – The Tina Turner Musical captures much of what makes the show work so well, not least Adrienne Warren’s sensational lead performance
“Hot whispers in the night
I’m captured by your spell”
As Tina – The Tina Turner Musical opens on Broadway, what better time to take a look at the Original Cast Recording, which is now available worldwide – to stream, download or order the CD, then visit Ghostlight Records here. The show opened in the West End last year and while I may not have loved the book unconditionally, there is no denying the 24 carat gold quality of the score with its selection from Turner’s frankly amazing back catalogue which spans rock’n’roll to rhythm’n’blues to pop to straight up soul.
Rather cannily, the Broadway production has retained the lead from the West End production as Adrienne Warren deservedly took the lion’s share of the plaudits. And it is her personality, allied to that rip-roaring voice, that shines through this cast recording, elevating it from the mere karaoke of way too many other jukebox show cast recordings. Listen to the passion of the moan that opens ‘A Fool in Love’, the hunger of ‘Better Be Good to Me’, the aching tenderness of ‘I Don’t Wanna Fight’ – this is a star-making performance. Continue reading “Album Review: Tina – The Tina Turner Musical Original Cast Recording”
Adrienne Warren absolutely shines in Tina the Musical at the Aldwych Theatre, though the bio-musical form has its limitations here
“It gets bigger baby, and heaven knows”
Mamma Mia has a lot to answer for. The jukebox musical is clearly the legacy project that people are looking to once music stars have retired or disbanded (or not even then, in some cases). But whether they take a fictional route (a la Viva Forever or Son of a Preacher Man) or go bio-musical (a la All Or Nothing), it really isn’t easy to make it work that well.
Newly opened at the Aldwych Theatre, Tina the Musical has the credentials to make you hope it can do just that. Directed by Mamma Mia’s Phyllida Lloyd, written by Olivier winner Katori Hall with Frank Ketelaar and Kees Prins, and with the almighty back catalogue of Tina Turner to call on, there’s a thrilling sense of energy here which is perfectly encapsulated in the star-making performance of a fricking amazing Adrienne Warren. Continue reading “Review: Tina the Musical, Aldwych Theatre”
“I believe that the Garden of Eden was in Jackson County, Missouri”
In terms of first world problems, being constantly distracted by fellow audience member Kate Winslet probably ranks fairly highly but it is symbolic of the utter randomness that can accompany a gala performance. I was lucky enough to attend the opening night of The Book of Mormon which meant that in the haze of A-list to Z-list celebrities, the battle to get into the theatre, the newspaper reviews that had already been published and a thousand and one opinion pieces of one of the cannier marketing campaigns of recent times, it was difficult to separate out just what I really thought of the show itself.
With the show not exactly being the cheapest – premium tickets have now apparently broken the £200 mark for Saturday nights – it hasn’t been easy to find the optimum opportunity to go back (or taken my chances on their lottery). Until now that is, when a rare deal popped into my Twitter feed courtesy of @BargainTheatre and a £40 ticket on the end of row B in the stalls saw me making the trip once again to the Prince of Wales theatre, unencumbered by expectation or excitement and much more able to take in Trey Parker, Robert Lopez and Matt Stone’s show on its own merits. Continue reading “Review: The Book of Mormon, Prince of Wales Theatre”
“Tell the mob who sing your song that they are fools and they are wrong”
Having gone down the road of television casting once again for one of his shows and quite possibly killing off the genre at the same time, Andrew Lloyd-Webber’s much-touted revival of his 1971 rock opera Jesus Christ Superstar will hopefully have the same effect on staging theatrical productions in cavernous arenas like London’s O2. Director Laurence Connor’s concept has been to relocate the loose retelling of Jesus’ last week to a modern-day context, pulling out strong allusions to the Occupy movement, riots, Guantánamo Bay and reality television.
Tim Minchin’s Judas is the undoubted highlight of the show, a stirringly confident rock vocal of fierce conviction that near perfectly captures the essence of what Lloyd-Webber is trying to achieve but elsewhere there is much less strength. Ben Forster’s Jesus mauls Gethsemane almost beyond recognition but fares better elsewhere where his falsetto is more aptly deployed and his angst not so overplayed; Melanie Chisholm’s goth take on Mary Magdalene is anaemically thin and utterly forgettable; Chris Moyles’ highly gimmicky Jerry Springer-esque King Herod – he hosts a show called Hark! with Herod, a rare flash of genuine humour – is thankfully brief; Alex Hanson’s Pilate is a quality performance that stands out from a hard-working ensemble, but too often the wide lens of the show means that their efforts pass by unnoticed. Continue reading “Review: Jesus Christ Superstar, O2 Arena”
“Just a steel town girl on a Saturday night”
I was originally meant to see Flashdance -The Musical at the Shaftesbury Theatre a couple of weeks ago but that first preview was cancelled due to technical difficulties, so when I finally made it to one of the last previews, my heart sank as we waited for the curtain to rise and the announcement came that the start of the afternoon’s show was being delayed due to, you’ve guessed it, technical difficulties! Having been outraged at the merchandising in the foyer (£60 for a special Barbie! £15 for a pair of legwarmers!) I was thus prepared with sharpened knives for what was coming my way. Perhaps my lowered expectations had something to do with then, but I ended up having quite a good time!
Based on the Paramount Pictures film, Flashdance – The Musical has a book by Tom Hedley & Robert Cary, music by Robbie Roth and lyrics by Robbie Roth and Robert Cary, but also features choreography from Arlene Phillips (who really does belong back on our screens at the weekend). Set in Pittsburgh in the 1980s, we meet Alex, apprentice steel welder by day, club dancer by night (who isn’t!) who dreams of love and life in dance school. Watching this reminded me of just how many times I have seen variations of this story played out in countless films, of someone fighting against the odds to, delete as appropriate, date a black guy/rise above working class roots/honour a dead relative/not be a stripper and get to the audition in time to wipe the smile off that smug auditioner’s face in order to secure a place at an amazing dance school for which they are eminently unsuitable. But I love each and every one of them, there’s nothing like a cheesy teen dance film to raise the spirits! And as Flashdance got in there at the beginning, it can consider itself mistress of the genre. Continue reading “Review: Flashdance – The Musical, Shaftesbury”