A trio of album reviews cover the (relatively) recently released cast recordings of Company, Follies and Mythic
“One more souvenir of bliss”
I adored Marianne Elliott’s reinterpretation of Stephen Sondheim and George Furth’s Companyon my many visits and so the news of a cast recording was of course ecstatically received. And perhaps inevitably it doesn’t quite live up to the thrill of seeing it live but maybe that’s because the production is still so fresh in my mind. I mean we’re only talking a 4 instead of a 4.5…
I swear Patti LuPone’s ‘Ladies Who Lunch’ was different every time I saw it but this version here is as good as any, with the glorious fullness of her voice pointedly sharpening its wit. Her contributions to ‘The Little Things We Do Together’ are inspired, Jonny Bailey’s ‘Not Getting Married’ is breathlessly affecting and the warmth of Rosalie Craig’s character and voice infuse the whole experience with real quality. Continue reading “Album Reviews: Company / Follies / Mythic”
Greek mythology goes pop with appealing new musical Mythic at the Charing Cross Theatre
“Step away from the pomegranate”
As we wait for Hadestown to arrive at the National Theatre, an alternative modern musical take on Greek mythology has emerged just across the river at the Charing Cross Theatre. Marcus Stevens and Oran Eldor’s Mythic may have a rather unassuming demeanour by comparison, but it is proves to be something of a gently Olympian success from director/choreographer Sarah O’Gleby. (FYI I caught a late preview of this).
Stevens’ book focuses on the troubled mother/daughter relationship between earth mother goddess Demeter and rebellious teen Persephone. Demeter has rejected the hard-partying celebrity lifestyle of the gods in favour of her Mother Nature ways but Persephone wants nothing more than to drop the trowel and kick it up good with the likes of the Essex-style Aphrodite and an emo Hades. Continue reading “Review: Mythic, Charing Cross Theatre”
A trio of West End cast recordings (well, one’s off-West-End…) show that it is sometimes hard to recapture the stage magic
Starting off with the best of this bunch, the Southwark Playhouse’s production of Working might not have seemed like the obvious choice for a cast recording but maybe the lure of a couple of new Lin-Manuel Miranda tracks was a real sweetener.
Truth is, it is the quality of the cast’s performances that make this a fantastic addition to the list of albums you need to hear. From Siubhan Harrison’s impassioned ‘Millwork’ to Dean Chisnall’s gleeful ‘Brother Trucker’, and the highly charismatic Liam Tamne nails both of Miranda’s contributions – the wilful ‘Delivery’ and a corking duet (with Harrison) on ‘A Very Good Day’.
Experience pays though, as Gillian Bevan and Peter Polycarpou take the honours with some scintillating work. The latter’s ‘Joe’ is beautifully judged, as is the former’s ‘Nobody Tells Me How’, both demonstrating the uncertainty that can come at the end of a long career, when retirement doesn’t necessarily hold the joyful promise it once did. Highly recommended. Continue reading “Album reviews: Working / Bat out of Hell / 42nd Street”
There are (still) no words to say about Bat Out Of Hell that can really do it justice (here’s my attempt from the first viewing) and in any case, even if I wanted to I couldn’t, as it really is a show that demands to be seen having partaken of a beverage or seven. And believe me, last night I partook! So I guess I’ll see you at the Coliseum next year then, you can get the first round in 😉
“Will you hose me down with holy water, if I get too hot?”
I think it is safe to say thatBat out of Hellis one of the most random things you’ll see in the West End this year, if not ever, whether you’re a fan of Meatloaf or not. It is a deliciously over-the-top production quite unlike the usual fare in the august surroundings of the London Coliseum but that’s part of its charm here – what would be sacrilegious is actually cheekily charming. Find production photos of the show here and read my 4 star review for Cheap Theatre Tickets here.
Running time: 2 hour 50 minutes (with interval) Booking until 5th August
With music from Benny Andersson and Björn Ulvaeus of ABBA and conceived by Tim Rice who also contributed the lyrics, the 1980s musical Chesshad grand ambitions which have never really come to fruition as it remains a show that has been revised as often as it has been revived. This new production at the powerhouse of intimate musical theatre that is the Union is a version which has been sanctioned by Rice himself as the definitive version of this story of a love triangle in the world of international chess competitions set against the backdrop of the Cold War. But the potency of an intimate venue has to be carefully captured in order to make it truly work and this is where Chess comes a little unstuck.
Ryan Dawson Laight’s design has recast the Union into a shallow thrust, the size of the theatre meaning that most of the seats end up on the sides. Not an issue at all in and of itself but Laight has a large platform take up most of the space at the rear of the stage and so much of the action is forced forward and this, combined with co-directors Christopher Howell and Steven Harris having the performers play predominantly straight ahead, results in a production that too rarely engages with the vast majority of its audience. For the handful of eight or so people facing the stage head-on, it must be marvellous but if the theatre were full, more people would actually see Florence’s back than her face during the bruisingly raw final scene – that two directors can misuse such an intimate space this way is certainly problematic. Continue reading “Review: Chess, Union Theatre”
Two years ago, the Tabard Theatre revived Stiles and Drewe’sJust So for their festive show and it is to these composers that they return in 2012 with this production of Honk!A musical adaptation of the classic Hans Christian Andersen fairytale The Ugly Duckling, it follows the fortunes of a duckling, cruelly nicknamed Ugly by all around him save his mother, who looks different to the other ducks in the yard. When he ends up lost, frightened and alone, he is forced to make a personal odyssey but even as he is constantly threatened by a voracious cat and scary big humans, he also finds that there’s a big wide world outside of the barnyard where others are not quite so quick to judge.
The score is one of Stiles and Drewe’s most accomplished and lyrically, it has a deceptive simplicity which allows for layers of interpretation making it an ideal family show. Joe Sterling’s nerdish Ugly goes on a powerful journey of self-discovery – characterised by moving renditions of songs like ‘Different’ and ‘Lost’ – even before his revelatory transformation; Kathryn Rutherford’s compassionate Ida is a beautiful study in maternal determination; and even in the unlikely pairing of a cat and a chicken as flatmates, there’s a lovely message of tolerance, especially when it is performed with such show-stealing verve as by Kate Scott and Lydia Grant. Continue reading “Review: Honk!, Tabard”