A trio of quick London cast recordings – The Secret Diary of Adrian Mole Aged 13 ¾, Heathers and Calendar Girls
“For a greasy little nobody, you do have good bone structure”
I was delighted to see a belated West End transfer for this lovely new musical by Jake Brunger and Pippa Cleary. I’ve loved every step of its journey and The Secret Diary of Adrian Mole Aged 13 ¾ (Original London Cast Recording) proves the perfect accompaniment as it captures so much of the energy of this most British of tales and sparky performances from the likes of John Hopkins and the luminous Kelly Price.
I didn’t however make it to Heathers, it just not appealing to me at all. With Heathers (Original West End Cast Recording), the opportunity to listen to this high school musical is now ours but I have to say, its charms elude me. There’s a fatal mismatch between the darkness of the source material (it really is a brutal film) and the breeziness of Laurence O’Keefe and Kevin Murphy’s pop-rock score that not even the quality of Carrie Hope Fletcher, Jodie Steele, Sophie Isaacs and Jamie Muscato’s strong performances can overcome.
And I thought I’d pay another visit to Yorkshire for Calendar Girls (Original London Recording) to see whether it stands the test of time. It proved an amiable if short-lived presence in the West End and listening to it again, I’d argue that there’s a gentleness to it that doesn’t quite linger long enough. Gary Barlow’s tunes are undeniably pretty but ultimately, they don’t really call out to be listened to over and again.
“I may be in love but im not stupid”
To the tune of ‘Legally Blonde’
Legally Blonde as a musical
Has worked before on and off-West-End
Now it’s gone to the East Midlands
To Leicester’s Curve, and just go.
Nikolai Foster’s directing it,
He’s changed some things that you may approve
Others are not so successful
“You need to see me in a brand new domain”
A bit of a change over at Upstairs at the Gatehouse has seen their customary Christmas musical take on a more modern bent after recent successes with classics such as Guys and Dolls, Crazy For You and Singin’ in the Rain. Over the past years, many a West End musical has been cleverly refashioned for this intimate space in Highgate, where fringe premieres of The Drowsy Chaperone, Buddy, and Avenue Q have previously been seen, and it is to the latest of these that the in-house Ovation Theatres have turned with Legally Blonde the Musical.
Like protagonist Elle Woods herself, the show might easily be dismissed on superficial grounds but it is worth remembering that it managed over three years at the Savoy in the cutthroat world of the West End musical and also took home the Olivier for Best New Musical. A good deal of that was due to the winning charms of Sheridan Smith but there’s also no denying that Laurence O’Keefe and Nell Benjamin’s ebullient score and Heather Hach’s adroitly pitched book from Amanda Brown’s novel and the Reese Witherspoon-starring film taps into something irresistible. Continue reading “Review: Legally Blonde, Upstairs at the Gatehouse”
“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)”
“Don’t talk like a slut, dear”
It seems scarcely credible that Bat Boy The Musical ever opened in a West End house – its scuzzy, B-movie schtick seems custom-designed for the fringe world and it is decently served by Luke Fredericks’ production here, for Morphic Graffiti at the Southwark Playhouse. Keythe Farley and Brian Flemming’s book was inspired by a spoof story in an American tabloid which spoke of a creature that was half-boy and half-bat, and imagines what happens when a local family takes him in under their wing in the insular town of Hope Falls, West Virginia.
Rob Compton’s Bat Boy is first found in the depths of a cave by some trouble-making teenagers who capture him after a brief struggle in which one of their number is injured. Bat Boy has been down there for years – with some pretty nifty gym equipment judging by his abs – but once placed in the care of Sheriff Reynolds and his family, finds himself longing to join society. With the help of the motherly Meredith and moody daughter Shelley, he learns to speak and to modify his blood-thirsty behaviour, but soon finds that not even the most cut-glass BBC accent can defeat small-mindedness at its very worst. Continue reading “Review: Bat Boy The Musical, Southwark Playhouse”
Nell Benjamin, The Explorers Club
Steven Levenson, Core Values
Conor McPherson, The Night Alive
Richard Nelson, Regular Singing
Bruce Norris, Domesticated
Robert Schenkkan, All The Way
John Patrick Shanley, Outside Mullingar
A Gentleman’s Guide to Love and Murder
Beautiful: The Carole King Musical
Love’s Labour’s Lost
The Bridges of Madison County Continue reading “Nominations for the 2014 Drama Desk Awards”
“You need to see me in a brand new domain”
Legally Blonde The Musical turned out to be something of a surprise: a show that I grew to really love over my three visits during its West End run (review#1, review#2, review#3), whilst making a bona fide star out of its leading lady Sheridan Smith. I may not have been blown away by it on first viewing, but it worked its way into my heart and its soundtrack is one that I listen to quite often even now. Capitalising on its finish in London, a national tour of the show has taken up shop in the New Wimbledon Theatre, giving Londoners another chance to dip into the world of Elle Woods, if they’re willing to go to zone 3 that is.
Revisiting something that was so enjoyed though can have its pitfalls, as comparisons are invariably drawn. Some of it is about the realities of seeing a touring version of a show – the set will never be as impressive as in a West End house, but the design here really does come up short on a couple of occasions and the sound quality was shocking in parts. Elsewhere, some performances left me disappointed especially as the casting decisions don’t always seem to have hit the mark. It feels a little churlish to criticise Faye Brookes for not being Sheridan Smith, but her Elle doesn’t capture the loveability that is needed to keep the show swinging through its slower parts and to keep the audience invested. Gareth Gates takes on the thankless role of Warner very much against type and I’m not sure I bought him as the heartbreaker. Both sounded excellent though. Continue reading “Review: Legally Blonde The Musical, New Wimbledon”
“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”