This trio of album reviews covers Singing You Home: Children’s Songs for Family Reunification, Mamma Mia! Here We Go Again (2018 Film Soundtrack) and Vanara the Musical
“Ay, ay, ay, ay, canta y no llores”
Regardless of your politics, Singing You Home: Children’s Songs for Family Reunification is a really rather lovely album of bilingual children’s songs. But in this day and age nothing is not political and the current US administration’s policy of child separation is a genuine atrocity that it is hard to know how to respond. Laura Benanti had the nous to conceive this project though and produced it with Mary-Mitchell Campbell and Lynn Pinto, and a whole host of the great and good of the American musical theatre. Thus this is more than just your usual set of lullabies – Lin-Manuel Miranda and Mandy Gonzalez crooning on the Mexican song ‘Cielito Lindo’, Audra McDonald shining on Jason Robert Brown’s ‘Singing You Home’, Kristin Chenoweth’s ‘Beautiful Dreamer’, well worth the investment for this uniquely exceptional cause. Continue reading “Album Reviews: Singing You Home / Mamma Mia! Here We Go Again / Vanara the Musical”
All change on the Strand for Dreamgirls and Kinky Boots post closing notices at the Savoy Theatre and Adelphi Theatre respectively, and I revisit both.
“Never let ‘em tell you who you ought to be
Come mid-January, the Strand will look a fair bit different for theatregoers as both Kinky Boots and Dreamgirls have posted advance closing notices, leaving the Adelphi and the Savoy respectively on the same date, Saturday 12th January. As sad as it is to see any show close though, both of these musicals have had a fairly decent run (Kinky Boots opened in August 2015, making it nearly 3 and a half years; Dreamgirls in November 2016, reaching two) and given how merciless the commercial market can be, I think both productions can hold their head up high with their West End runs.
And getting ahead of the game with those closing notices means that people still have many the opportunity to catch either or both of these shows before the final curtain. (I should add too, that both shows have announced that they will be touring the UK going into 2019.) I’ve paid both a revisit relatively recently and am happy to report that they both remain well worth seeing, due to some mighty fine performance. Oliver Tompsett has only just stepped into the role of Charlie Price but he is nigh-on perfect casting and his majestic voice suits Cyndi Lauper’s score down to a T and he’s clearly getting on well with Simon-Anthony Rhoden’s impressive Lola. Continue reading “Re-review: All change on the Strand for Dreamgirls and Kinky Boots”
“I am freedom, I’m constriction
A potpourri of contradiction”
A cheeky trip back to Kinky Boots (my third time) – here’s my review from last time. I’ll just say Matt Henry continues to be fiercely amazing, the wholesome David Hunter is perfectly (re)cast as ol’ Charlie boy, and Elena Skye manages the not-inconsiderable feat of stepping into Amy Lennox’s shoes as the hilarious Lauren. It’s still a lovely, lovely show and I’m really pleased that it appears to still be doing really well. Now put the nose on the Charlie!
“That’s just the fallout people”
Atomic bombs derive their destructive power from nuclear fission, when atoms split after being bombarded with other particles, and there’s a certain sense of random elements being thrown together in Miss Atomic Bomb, in the hope of reaching some kind of critical mass. Comedy gangsters, tap-dancing routines, comedy bank managers, dead sheep, comedy zucchini, pigs in clothes, comedy transvestites, hoedowns, comedy rabbi costumes, a Strallen and a character with a ridiculous surname because you can get a song out of it. Put them altogether and what do you get? A show that’s either a bomb or a blast.
Full disclosure, I saw a preview and I’m given to believe that a lot of work has happened to the show in the last couple of days, which is only natural for a new musical. For me though, the show feels fundamentally flawed in really not knowing what it wants to be. Writers Adam Long, Gabriel Vick and Alex Jackson-Long throw together satire and slapstick uneasily as a desperate Las Vegas hotel manager arranges the Miss Atomic Bomb beauty pageant to drum up tourist trade as the US military test their atomic arsenal in the Nevada desert. Continue reading “Review: Miss Atomic Bomb, St James”
“You must admit that Elle Woods should join the chosen few”
Part of the fun of delving back into these soundtracks, so many of which I’ve had for a while, is challenging the preconceptions that I’ve allowed to build up in my mind. Sister Act the musical is the perfect example, mentally I didn’t rate it so hadn’t listened to it for an age but upon taking the time, I discovered it to be better than I remembered. That works both ways though and I’ve long rated the Legally Blonde the Musical soundtrack on this basis, even though it really stems from me having my favourite four tracks from it on my most listened to playlist.
So yes, ‘Omigod You Guys’ and ‘What You Want’ are two brilliant songs and I’ll fight anyone who says otherwise. Their glossy joie de vivre setting the scene perfectly for this camp-as-tits show and book-ended by the highly amusing ‘There, Right There!’ and the emotive title track which segues from its gorgeous ballad treatment into an energetic 11 o’clock number, there are some cracking musical moments in this show and with national-treasure-in-the-making Sheridan Smith at its helm as the determined Elle Woods, how could it be otherwise. Continue reading “Album Review: Legally Blonde (2010 Original London Cast)”
“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”
“Some girls fight hard; some face the trial”
I have tickets for Legally Blonde – The Musical later this month after the cast change as the final part of my trip round the musicals, but when a friend offered me a last second ticket on a cold dark night, I thought why not and decided to give this show another whirl. A more detailed review of the show can be found here, this will focus more on the performances this time round. The cast is largely the same, Richard Fleeshman being the only major change having taken over from Duncan James, but I saw Andy Mace as Professor Callaghan, on for an indisposed Peter Davison.
This really is Sheridan Smith’s show: her energy and vivacity drive proceedings on so effortlessly and naturally and she really is a gifted comic performer, getting the laughs in throughout, but also finding real emotional depth too. There was some unfortunate unscripted drama as she injured her shoulder (apparently nothing serious and not a dislocation as someone reported on Twitter) midway through the first half and the lights came back up as we anxiously waited to find out what would happen. She eventually resurfaced and continued bravely though in some discomfort, perversely lending the finale of Act I a real gritty, tear-jerking quality. An extended interval led us to suspect an understudy would appear, but to her credit, Smith finished the show and her second half performance showed no sign of the injury. I applaud her for continuing on and not wanting to disappoint her audience (who reciprocated with a raucous standing ovation) but I do worry about the physical toll this role is taking on her body, especially as she has now extended to January: it really is a demanding part, Elle is rarely off the stage and sings in the vast majority of the songs. Continue reading “Re-Review: Legally Blonde – The Musical, Savoy Theatre”
“You can’t come in here with all your singing, dancing and…ethnic movements”
If Priscilla Queen of the Desert was the marshmallow on top of the whipped cream on top of your cocoa, then Legally Blonde is the full mug of the best Viennese hot chocolate you can imagine. Sticking closely to the story of the film, with just a little streamlining, we follow Elle Woods, a Malibu princess and sorority queen whose world is rocked when her boyfriend leaves her for Harvard Law School and the pursuit of someone more ‘serious’. Elle then follows him but ends up finding out a lot more about herself than she anticipated. The book is completely original and I found it surprisingly good, the opening numbers of ‘Ohmigod you guys’ and ‘What you want’ were both great tunes, ‘Ohmigod’ in particular will not leave your head for hours! There are of course some weaker numbers in there, but never any boring ones which is achievement enough. Continue reading “Review: Legally Blonde The Musical, Savoy”