An album review of Joel Harper-Jackson’s So What Happens Now? and inspired by Marry Me A Little last night, I explore Makerman and Rob Houchen
“I don’t care if it hurts
I wanna have control”
Released just as the second lockdown kicked in, Joel Harper-Hackson’s debut album has ended up with a painfully apposite title – So What Happens Now?. I first spotted Harper-Jackson a few years as a standout in a middling new musical and have enjoyed following his career since then, not least in the Hope Mill’s gorgeous production of Little Women. Interestingly, this album largely eschews the world of musical theatre for the world of popular music, albeit reimagined through the wonderfully moody arrangements of Greg Morton.
Piano, guitar and cello thus come to the fore to underscore mournful takes on ‘Jolene’ and ‘The Man That Got Away’, the quavering vocal at the beginning of ‘Another Suitcade in Another Hall’ really refocuses the song’s emotion, and the shivering sparseness of ‘Wicked Game’ hits harder than usual, especially once the dramatic stakes are raised. Unexpectedly effective though is the duet on ‘Tragedy’ with Jodie Steele which utterly reinterprets the rueful acceptance of the song in a way which makes complete sense. ‘Creep’ with Lauren Byrne is pretty damn good too. If ever there was an album to cry-listen to whilst looking through a rainy November window and eating a packet of biscuits, this is that album and this is that moment. Highly recommended. Continue reading “Album Review: Joel Harper-Jackson – So What Happens Now? / Makerman – Grove Hill / Rob Houchen”
Vocal group The Songsmiths’ Tenors of the West End offers up some fascinating harmonies on some classic pop tunes
“Everybody needs a little time away…from each other”
Simon Gordon, Benjamin Purkiss and Patrick Sullivan can boast 30 years experience in the West End and beyond and all spent some time in Obsidian as part of Bat Out Of Hell, so their teaming up together to form vocal group The Songsmiths makes sense. Their album Tenors of the West End, now available to download, draws on a wider range than Shaftesbury Avenue though – the mention of Chicago more likely to refer to soft-rock than Kander & Ebb.
This focus on pop-rock staples over musical theatre yields some fascinating results. There are no real surprises in terms of song choices but there’s no denying the exhilaration of hearing Fleetwood Mac’s ‘Go Your Own Way’ receive such a full-bodied treatment as this, so too with their meatier rendition of A-Ha’s classic ‘Take On Me’. The arrangement of ‘Hallelujah’ wisely keeps it out of mawkishness and some interesting harmonies emerge out of ‘Somebody To Love’. Continue reading “Album Review: The Songsmiths – Tenors of the West End”
We go back to the singalong Bat out of Hell at the Dominion Theatre but find diminishing returns
“Can’t you hear the choir now?
Listen to the animals sing”
Just a quickie for this repeat visit to Bat out of Hell, as the allure of the singalong performance was once again too strong. I don’t know if Tuesday night was the best choice though, as the Dominion Theatre was lacking in bodies and in atmosphere, at least in our part of the stalls, which kind of detracted from the communal spirit which was so enjoyable last time around.
I wonder too if the news of the show’s closure has dampened some of the enthusiasm. As D-day (5th January) draws closer, some of that intensity might return but for me, the performance level was weaker than I’ve previously seen. Rob Fowler and Sharon Sexton carry the show even more now and that means you only feel their absence all the more when they’re not on stage. Nothing really rocks, nothing really rolls…
Running time: 2 hours 45 minutes (with interval)
Bat out of Hell is booking at the Dominion Theatre until 5th January, one more singalong performance is scheduled for 31st December
Baby baby BABY! For better or worse, Bat out of Hell introduces the singalong musical into the West End
“You got the kind of lips that do more than drink
You got the kind of mind that does less than think”
Although it might feel like every night is singalong night at some musicals (cough Motown cough), Bat out of Hell have gone the extra step and made one night a month an actual sing-along performance. So if you get down to the Dominion Theatre on these selected dates, then you can live your dream of singing in a West End theatre, just, you know, not on the actual stage…!
If you’re pondering whether this is a good idea, I’ve answered a few questions below.
“I know you’re lookin’ for a ruby in a mountain of rocks
But there ain’t no Coupe de Ville hidin’ at the bottom of a Cracker Jack box”
1. What if I don’t know all the words?
Never fear – there are screens dotted around the theatre, and above the stage, which show the lyrics. And it’s not every song we’re invited to sing along to, which I was particularly gutted for for “What Part of My Body Hurts the Most”. Seeing the lyrics like this has the additional amusing bonus of showing how batshit crazy some of them are…! Continue reading “Review: A singalong Bat out of Hell, Dominion”
Serving up more Meatloaf, Bat Out of Hell returns to London at the Dominion with a new-found subtlety…
“Some nights you’re like nothing I’ve ever seen before or will again”
I jest of course – there ain’t nothing subtle about Bat Out of Hell, apart from the slight price rises on the merchandise stall. Newly installed at the Dominion Theatre, after runs in Manchester, Toronto and at the Coliseum last year, it has lost little of the bizarre, baffling energy that saw it find a very devoted audience.
And they’ll be pleased that leads Andrew Polec and Christina Bennington return, the new cast members slot in effortlessly, and the inimitable vocal prowess of all is still ear-splittingly breathtaking, under Michael Reed’s musical supervision. Rob Fowler and Sharon Sexton remain the show’s secret weapon, stealing the thunder like a punked-up Jack and Karen. Continue reading “Review: Bat Out of Hell, Dominion”