Reviews of a trio of excellent albums: Marie Oppert – Enchantée, Kim David Smith Live at Joe’s Pub and Siobhan Dillon – One Voice, all recommended
I do love me a soprano and discovering a new one feels like as good a way to spend lockdown as any. Marie Oppert is a French singer and actress whose debut, at age 17, came in a major concert version of a little-known show called Les Parapluies de Cherbourg… From those Michel Legrand-sanctioned days, she has established a notable career and now releases her first solo album Enchantée. Back by the luscious sound of the Orchestre National de Lille and conductor Nicholas Skilbeck, this collection sees Oppert explore a bilingual songbook that stretches from the boulevards of Paris to Broadway.
The result is something rather glorious. The sumptuous treatment of the likes of ‘The Light in the Piazza’ and ‘I Could Have Danced All Night’ are near ecstatic, ‘Children Will Listen’ in French brings a new dynamism to a familiar piece, and characterful duets with Melissa Orrico and Natalie Dessay, whom she charmingly terms her “two Franco-American ‘fairy godmothers”, both impress. The irrepressible energy of 1938 track ‘Y’a d’la joie’ is an absolute standout and an interpretation of Billy Elliott’s ‘Electricity’ has no right to be as effective as it is here. Sod’s law though, Oppert is playing in London next month but bloody Covid restrictions means I can only go by buying a table for two. Continue reading “Album reviews: Marie Oppert – Enchantée / Kim David Smith Live at Joe’s Pub / Siobhan Dillon – One Voice”
The Interval Act has been set up by The Theatre Cafe to keep audiences engaged with productions running in the West End, celebrating their cast, crew and all people associated with your favourite shows! The Interval Act will give you a range of performances from concert style to variety to getting to know your favourite West End show even more. Donations from the small cost to view willgo to the artist and the industry charity, Acting for Others.
First up, there’s a mini-concert from West End star Luke Bayer (Everybody’s Talking About Jamie, Soho Cinders) a West End dance workshop from Jon Reynolds (9 to 5, Kinky Boots), a performance from Broadway star Siobhan Dillon (Sunset Boulevard, Miss Saigon) and a West End dance workshop from Six the Musical star Cherelle Jay.
More acts will be announced throughout June too and tickets for the livestreams will be just £5.
“Has there ever been a moment
With so much to live for?”
Dammit – one of the key rationales behind my Broadway blowout last winter was seeing actors I didn’t think I’d otherwise have the chance to see in the West End, Glenn Close being chief among them and thus I forked out a pretty penny to see her in Edward Albee’s A Delicate Balance. So naturally her return to these shores was announced a few months later with a reprisal of her Tony Award-winning performance as Norma Desmond in Andrew Lloyd Webber’s Sunset Boulevard.
And as with last year’s Sweeney Todd here at the Coliseum too, director Lonny Price and the ENO have returned to the semi-staged format which allows them to mount a bare-bones production and still charge full whack for tickets, prices thus go up to £150. I understand that money has to be made, especially for an organisation in as perilous a position as theirs and they say at least 400 tickets at every performance is available at £25 or under (altitude training not provided though…) Continue reading “Review: Sunset Boulevard, London Coliseum”
“I’ll do my dance, I’ll make them drink”
I’m pretty there’s a clause in the gay contract that means it is illegal to turn down the offer of drinks in the Julie Andrews Room so who was I to resist when the folks at TodayTix invited me to try out their mobile ticketing app by coming along to see Miss Saigon. Founders Merritt Baer and Brian Fenty have had big success on Broadway with their service, offering tickets for a range of shows one week to one hour before showtime and boasting of enabling tickets to be purchased in 30 seconds or less.
And I have to say that they’ve pretty much nailed it. The interface of the app is bright and easy to use (certainly it was on my iPhone6), there’s a wide range of West End shows available and the process of choosing and booking tickets at all price levels is simple and speedy with a little seatmap showing you where in the theatre your selected seats are. It really does streamline the ticket-buying process so that making any last minute decisions to see a show that much easier. Continue reading “Review: Miss Saigon, Prince Edward Theatre with TodayTix”
“Start by admitting from cradle to tomb, it isn’t that long a stay”
Perhaps with a nod to the fact that it isn’t that long since it was in the West End, the touring production of Kander and Ebb’s Cabaret directed by Rufus Norris is just playing a few days at the New Wimbledon Theatre before touring the country. It was a production that I enjoyed when I saw it back at the Savoy and crucially, it has made the one casting change it needed to really improve. Despite her best efforts, Michelle Ryan never felt really at home as Sally Bowles and the introduction of Siobhan Dillon is a clever one as she embodies the simultaneous fragility and strength of this most iconic of characters.
Otherwise, there isn’t too much more to say about it that wasn’t already said in that previous review. Will Young is a genuine revelation as a chilling Emcee, Matt Rawle’s bisexual writer Cliff exudes chemistry all around and the older lovers torn apart by the encroaching regime hits a real chiming note – Lyn Paul taking over from Siân Phillips against Linal Haft. And Valerie Cutko is an inspired casting choice for Fräulein Kost, a character I always end up wanting to see more of. Continue reading “Review: Cabaret, New Wimbledon Theatre”
“It’s just relief to suspend my disbelief”
It feels a bit like I’m cursed when it comes to Ghost the Musical. I booked it at the beginning of the year to see the original cast before they went to Broadway and Sharon D Clarke injured herself so I missed her and this time round, eager to see Mark Evans’ acting and musical talent / damn fine abs *delete as appropriate, we arrived at the theatre to find his understudy was on. It is not the end of the world when that happens of course but it is sometimes a disappointment when one is looking forward to seeing a particular person (though it helps that there’s videos like this to fall back on) and as it turned out, when I saw the name of the understudy – Spencer O’Brien – I was actually quite pleased as he is someone I have great residual affection for as he was in the cast of the superlative Salad Days the Christmas before last.
And though my feelings about the show were decidedly mixed when I saw it last – review here – I’d listened to the soundtrack quite a bit since then and discovered that it really is a grower. I really like a good proportion of it and so was quite happy to revisit the show, with the bonus of a new cast and a companion that had not seen it before, and in the end I found that I actually enjoyed it much more. The key for me and the soundtrack helped immensely here, is to think of it as a chamber musical, a small intimate piece essentially for four characters, and let the rest simply glide by in a rush of neon light and slow-motion walking. Continue reading “Re-review: Ghost the musical, Piccadilly Theatre”
I won’t be posting for a few days so I thought I’d leave you an out-of-office message so you’d know nothing was wrong – I have coping strategies in place to manage six days without theatre (though celebrating my birthday in Florence with friends will certainly help…!).
And as a birthday present to you, my readers, I’ve selected some of my favourite current videos for your viewing pleasure. Continue reading “Out-of-Office”
“Go now, before someone starts singing”
The critical word about the Soho Theatre’s new musical Ex was shockingly bad in several places, there was even a little petty Twitter spat between one of the reviewers and the writer, Rob Young. I’m not one to be too easily swayed by the opinions of others but my lack of enthusiasm was down to the last minute withdrawal of one of the lead actors – the yummy Gabriel Vick – due to a broken foot (though given the show’s reception, one can’t help but wonder if a little self-sabotage crept in…!). Nonetheless, I made it along at the end of the run, and due to the strength of reaction against it, ended up finding it not that bad.
To be sure, it is not a strong show, but I couldn’t see what had provoked such opprobrium. The show is aiming for the play with songs genre rather than calling itself an outright musical, which always seems an odd choice for me – has anyone ever said I will never see a musical, but I would see a play with songs… – Young’s play is combined with songs by Ross Lorraine as we look at the tangled relationships of two couples. Jack and Ruby used to be lovers but find themselves drawn back together even though both have moved onto new partners. Ruby is about to leave for the US to be with her new dentist paramour but nips into Jack’s bar for a final goodbye and to get some closure after he broke her heart and so as history is revisited and sparks fly, the four protagonists do battle. Continue reading “Review: Ex, Soho Theatre”
“How would you feel if you were me?”
Self Taught; Still Learning – The Music of Chris Passey is a collection of songs by new West Midlands composer Passey that enters the ever-growing list of albums showcasing new musical theatre writing sung by a range of West End stars. Many of these songs are taken from a concept musical called Bridges but others were written especially for the album and for the singers who agreed to perform. And in a nice touch, the profits from this CD are being split between the two charities MS Society and Cancer Research.
Which makes it a little sad to say that this is not an album that I particularly loved, something about it just didn’t click with me and despite a few listens, it isn’t a collection that feels destined to get repeat plays in this household. Things get off to a shaky start anyway with an intro by “YouTube’s Miranda Sings” – of whose schtick I’m not a fan and feeling a little at odds as a way to introduce this album and her performance of a song at the end feels rather misjudged even if it is just a bonus track- it is one joke stretched thinly and I can’t imagine why anyone would ever want to listen to more than 15 seconds of it. Continue reading “CD Review: Self Taught; Still Learning – The Music of Chris Passey”
“Ohmigod youguys! Ohmigod!”
So after an impromptu visit to see Legally Blonde a couple of weeks ago as a favour to a friend, my scheduled return to the show took place this weekend in order to see how the new cast members are settling in, with the first major cast change since the show opened. Since I saw it so recently (and I saw so much this week too…), I’m linking to my thoughts on seeing it again here instead of repeating them: this post will focus mainly on the newbies.
Simon Thomas has taken over as Wagner, which marks a change from casting a more famous name in this role as has been done previously despite it not really being a major role at all. I remember being surprised first time round at how little the character is featured in the show, given that Duncan James’ face was plastered all over the publicity. He does well in what is quite a thankless role really, but I did enjoy his performance and his handsomeness definitely helps! Carley Stenson did well as Margot with a more endearing and sweet take on this girl, having already developed a great chemistry with the other Delta Nu girls but Siobhan Dillon just exudes confidence as Vivienne, seeming as if she’s been in the ensemble for ages with a great performance both acting-wise and in her singing, especially that whopper of a note in the Legally Blonde Remix at the end. Continue reading “Review: Legally Blonde The Musical (cast change), Savoy Theatre”