“It’s 5.30 in the morning and I’ve realised my boyfriend is a prick”
Tim Connor’s musical The Stationmaster (with book by Susannah Pearse) recently had a starring role in the From Page to Stage season at the Tristan Bates Theatre and there’s now another opportunity to listen to his work with the CD release of Heart of Winter, a new one-woman song cycle. Produced by Auburn Jam Records and with story and dramaturgy by Lia Buddle, it continues the strong showcasing of new and interesting British musical theatre writing.
Heart of Winter tells the story of Kate, a Northern primary school teacher in her mid-twenties picking up the pieces after the end of a 3 year relationship and from the very beginning of ‘Opening’, Connor’s forthright way with a lyric gives a brilliant sense of Kate as a character (the parental advisory note should most definitely be heeded!). Yes she’s hurting but she’s astute enough to know that this is just a phase, something to be worked through and Buddle’s story takes us vividly through the various stages of mourning a relationship. Continue reading “Album Review: Heart of Winter”
“The train is coming…”
The third year of the From Page To Stage season of new musical theatre is now well underway at the Tristan Bates Theatre and the centrepiece of this year’s festival is a production of The Stationmaster with book by Susannah Pearse and music and lyrics by Tim Connor. The musical is an adaptation of Ödön von Horváth’s Judgment Day (last seen in London at the Almeida in 2009) but moves the action to a small town in the Lake District in 1958.
Life in Kirby is all homemade jam, cake competitions and friendly pints down the local and railway stationmaster Thomas Price is at the heart of the tight-knit community. But behind closed doors and the net curtains lies a certain disenchantment, his marriage to Catherine is under strain and a chance encounter with the equally disaffected Anna sends their lives hurtling down the wrong tracks, a disaster further compounded by the tragedy of their ensuing actions. Continue reading “Review: The Stationmaster, Tristan Bates Theatre”
“I don’t need to ask for much this Christmas”
One of the more worthwhile festive releases this year is also pleasingly one of the more interesting. The Make A Difference Trust brings together the British entertainment community and its audiences to raise funds to support people living with HIV and AIDS and with The West End Goes MAD For Christmas, has brought together a host of new musical theatre champions to offer up a compilation of Christmas songs that offer a fascinating alternative to the age old carols and standards that proliferate at this time of year.
And producers Nikki & Joe Davison at Auburn Jam Records have done a brilliant job in matching composers to performers across the eight songs, curating pre-existing tracks and new, and shining a light on some serious talent. The plaintive simplicity of Stuart Matthew Price’s self-penned ‘This Christmas’ is characteristic of much of his oeuvre of classic songwriting, Gina Beck’s crystalline soprano dances beautifully around the timeless melody of Alexander S Bermange’s ‘Praying For You’ and Nadim Naaman‘s ‘A Soldier’s Christmas’ treads an equally emotive path, sung charmingly by Gerónimo Rauch and Naaman himself.
Continue reading “Album Review: The West End goes MAD for Christmas”
“Find the words”
Set up in honour of and named after his parents Sidney and Sylvia, The S&S Award was created by Warner Brown as a celebration of new and as yet unproduced British musical theatre writing and held its inaugural award presentation at the St James Theatre on Sunday 24th November 2013. Don Black presented the prize to this year’s winners – Scott Gilmour and Claire McKenzie – for their show Forest Boy, of which we saw an extended excerpt but the audience were also treated to snippets from other shows in the running for this new prize.
Recent graduates of the Royal Conservatoire of Scotland, Gilmour and McKenzie based Forest Boy on the true 2011 story of a boy who appeared in Berlin claiming to have spent the last five years living in the woods with his father. But rather than a straight retelling, they use song and dance – movement director Emily-Jane Boyce contributing some excellent work – to explore the psychological journey of the young man, the troubled relationship with his parents, and the power of the imagination to invent and/or protect, as the truthfulness of his fantastical tale is probed by officials. Continue reading “Blogged: S&S Award”