Michael Ball and Alfie Boe get back together for Back Together, their third album as a duo, which I ultimately find hard to resist
“The more you refuse to hear my voice
The louder I will sing”
First they were Together, then they were Together Again and now they’re Back Together – there’s no separating Michael Ball and Alfie Boe as their double act has become an extraordinary success, managing that all-too-rare-nowadays feat of actually selling albums.
And you can see why, especially in a spell-binding trio of musical theatre classics early on. The unexpected harmonies speckled throughout ‘Wishing You Were Somehow Here Again’, the delicate interplay in Fiddler’s ‘Sunrise, Sunset’ and the always rousing ‘Circle Of Life’ (with the assistance of Shaun Escoffrey) all imbue the familiar material with real interest, making the case for Ball & Boe as more than just your average crooners cranking out a new album. And the inclusion of a Pasek & Paul song is predictably de rigueur for a 2019 release, even if neither man quite has the suppleness of voice or diction to really get away with the energy of ‘The Greatest Show’. Continue reading “Album Review: Michael Ball & Alfie Boe – Back Together”
The nominations for the 20th Annual WhatsOnStage Awards have been announced and I have a thought or two #justiceforAnneHathaway
As a publicly nominated affair, the What’s On Stage Awards always throw up an interesting set of nominations, as fanbases engage alongside theatregoers to produce an idiosyncratic reflection on the year. This year though, the nominees for the nine creative categories (Choreography, Costume Design, Direction, Graphic Design, Lighting Design, Musical Direction, Set Design, Sound Design and Video Design) have been decided by an independent panel of industry experts appointed, which has resulted in some pleasing inclusions for the likes of Equus and Small Island.
Acting-wise, the focus does land a little heavily on the more famous names (plus ça change) and that Supporting Actress in a Musical category is super-crowded (the Dear Evan Hansen mothers would have been a shoo-in for me there). My only real point of issue comes with the categorisation for the & Juliet players – are you really going to nominate Oliver Tompsett as a lead and then put Cassidy Janson in the supporting category? Did you not see the show, or get any of its message at all?!
Voting for the winners is open now and closes on 27th January 2020, with the winners being revealed at a ceremony on 1st March 2020.
Best Actor in a Play, sponsored by Edwardian Hotels
Tom Hiddleston – Betrayal – Harold Pinter Theatre
Andrew Scott – Present Laughter – The Old Vic
Matt Smith – Lungs – The Old Vic
Wendell Pierce – Death of a Salesman – Young Vic / Piccadilly Theatre
Laurie Kynaston – The Son – Kiln Theatre / Duke of York’s Theatre
Best Actress in a Play, sponsored by Tonic Theatre
Claire Foy – Lungs – The Old Vic
Zawe Ashton – Betrayal – Harold Pinter Theatre
Hayley Atwell – Rosmersholm – Duke of York’s Theatre
Sharon D Clarke – Death of a Salesman – Young Vic / Piccadilly Theatre
Juliet Stevenson – The Doctor – Almeida Theatre Continue reading “2020 What’s On Stage Award nominations”
There’s much to like about Dear Evan Hansen at the Noël Coward Theatre, not least a brilliant lead performance from Sam Tutty
“Will I ever be more than I’ve always been?”
After seeing Dear Evan Hansen, you realise that its title can be taken two ways. It’s the salutation on a letter that precipitates a world of trouble for the awkward teenager and those around him as per Steven Levenson’s effectively contemporary book. But it also ultimately emerges as an affectionate form of address, troublingly so as the show latterly pulls its punches around some of the harder-hitting topics that it raises.
High-school senior Evan’s life is crippled by social anxiety. His hard-working single mum barely has time for him, he’s got no mates to speak of, and his therapist keeps setting him homework. Then when one of his classmates Connor Murphy dies by suicide, a chink of light unexpectedly cracks through his depression, as an unlikely chain of events leads him to claiming that they were best friends in order to emotionally support the grieving family. Continue reading “Review: Dear Evan Hansen, Noël Coward Theatre”
West End chanteuse Emma Lindars channels some seriously impressive vocal power on album As We Grow Older
“You were the one who said forever from the start”
Anyone who was in Made in Dagenham scores points with me, so spotting that Emma Lindars had released an album earlier this year – As We Grow Older – which features a mixture of musical theatre and contemporary pop. Lindars’ resume takes in all sorts of West End credits over the last decade or so, but I do remember being particularly impressed with her in cabaret act The IDolls.
And that impassioned power I remember is on fine display throughout,. whether a gorgeous take on ‘With Every Breath I Take’ from City of Angels, or Céline-esque power ballads ‘Before I Fall’ and ‘As We Grow Older’. There’s a beautiful pairing with Alice Fearn on ‘When You Believe’ from The Prince of Egypt (though as ever, it’s the delicate interplay of that middle chorus rather than the epic finale that really captures the heart). Continue reading “Album Review: Emma Lindars – As We Grow Older”
A pair of album reviews from Phantoms past and present – Ramin Karimloo’s latest From Now On and new leading man Josh Piterman’s Josh Piterman
“Will I ever be more than I’ve always been?”
Ramin Karimloo’s recording career has always been an interesting one to track, as he oscillates between the musical theatre in which he has made quite the name and the musical influences that clearly lie closest to his heart. His latest full-length album From Now On encapsulates this perfectly right from the off, using his patented Broadgrass style to illuminate The Greatest Showman’s ‘From Now On’ to glorious effect.
The tracklisting sees him dabble in musicals old and new – he makes a good case for King George in an uplifting ‘You’ll Be Back’ from Hamilton and Dear Evan Hansen’s ‘Waving Through a Window’ builds the already fever-pitch anticipation for its London opening. And they’re matched by a straightforward canter through Rent’s ‘What You Own’ and Hedwig’s achingly good ‘Wicked Little Town’ which balance his interpretative skill with his unmatched vocal strength. Continue reading “Album Reviews: Ramin Karimloo – From Now On / Josh Piterman – Josh Piterman”
Two new music releases – Renée Fleming tackles Broadway classics in style, and The Quentin Dentin Show releases its cast recording
“Life is what you want it to be”
No matter what you think of Renée Fleming, you can’t accuse her of resting on her laurels. At this point in her career, she could well be taking the easy route but this decade alone has seen her tackle Broadway (most recently receiving a Tony nomination for Carousel) for the first time and release an album that featured interpretations of three Björk songs. Her newest release cleaves closer to musical theatre though, and Broadway is available now from Decca Classics. Continue reading “Album Reviews: Renée Fleming – Broadway & The Quentin Dentin Show”
Casting my eye over some recent musical theatre album releases: Audra McDonald’s live album Sing Happy, Louise Dearman’s latest collection For You, For Me and the long-awaited cast recording for Everybody’s Talking About Jamie
There are few things as well-designed as Audra McDonald’s thrilling soprano to make you happy, so the title of her new album Sing Happy is apt indeed. Her first live album and her first backed by an orchestra (the New York Philharmonic). the gig was recorded just a few days ago on 1st May and no wonder they were so quick to turn it around.
Whether shimmering through Porgy and Bess‘ timeless ‘Summertime’, proudly getting her life in La Cage aux Folles’ ‘I Am What I Am’ or absolutely nailing She Loves Me’s ‘Vanilla Ice Cream’, McDonald’s velvety textured voice is always so exciting to listen to. And the drama of songs like ‘Never Will I Marry’ sound glorious with the richness of the orchestral backing (conducted by Andy Einhorn).
An affinity for Sondheim comes into play twice, a medley of ‘Children Will Listen’ with South Pacific’s ‘You’ve Got To Be Carefully Taught’ and in a showstopping take on ‘Being Alive’, still manages to surprise with the heights to which she lifts the song. An unalloyed, absolute pleasure. Continue reading “Album Reviews: Audra McDonald – Sing Happy / Louise Dearman – For You, For Me / Everybody’s Talking About Jamie cast recording”
Defying the critics and showcasing the marvellous Keala Settle, there’s more to like about The Greatest Showman than you might think. Or not.
“The noblest art is that of making others happy”
There’s always something amusing about a piece of art that manages so successfully to flick two fingers at the critics and right now, none more so than The Greatest Showman. In the UK alone, it has achieved a box office consistency near the top of the list unseen since Avatar, the cast recording has been at the top of the album charts for the past two months, and such is its hold on the zeitgeist that it is now holding singalong performances across a range of cinemas.
None of which you would have predicted on its critical reception ahead of its Boxing Day release. It’s not an accurate portrayal of PT Barnum’s life, some said; it doesn’t have enough of a dramatic narrative, others sniffed; still more have derided its complete lack of any post-modern ironic edge, de rigueur for a contemporary musical so they’d have you believe. And there’s merits to all of these points though they do seem to spectacularly miss the point of the film, which is pure entertainment. Continue reading “Oscar Week Film Review: The Greatest Showman”
“Will I ever be more than I’ve always been?”
Proving that you don’t need to win the reality show that you’re in to set your career, and that it’s your talent that matters, Rachel Tucker’s success is testament to just how far hard work and a hella big voice can take. Headlining shows in the West End and Broadway, including playing Wicked’s Elphaba in both, 2017 has seen her play a series of dates on a UK tour with musical director Kris Rawlinson, which in turn produced an album – On The Road – which has recently been digitally released with some bonus tracks in a deluxe edition.
Reflecting the diversity of a live show, the record opens with a potency and confidence that could see her take her place among the Rat Pack as she swings confidently through classics like ‘Miss Otis Regrets (She’s Unable To Lunch Today)’ and ‘The Candyman’. New musical theatre gets a look in with the searching emotion of Dear Evan Hansen’s ‘Waving Through A Window’ and then the intensity is dialled down for a moment with Randy Newman’s heartbreaker ‘When She Loved Me’. Continue reading “Album Review: Rachel Tucker – On The Road (Deluxe)”
“Is this the start of something wonderful and new?
Or one more dream that I cannot make true?”
There doesn’t seem to be anything that can stop the dead-eyed determination of Anton Du Beke to try and become the kind of all-round entertainer that his website proclaims him to be. Best known for his regular mid-season finishes on Strictly, he’s dipped his toes into the world of presenting (whatever happened to Hole in the Wall…) and now it is the record industry that has to avert its eyes politely for a wee while.
Released in time for Christmas, From The Top contains zero surprises. If you were thinking of getting for someone who likes him, then they are going to be satisfied. Du Beke has an inoffensive smooth tone that suits the more undemanding choices of standards here (‘Beyond The Sea’, ‘More’, ‘It Had To Be You’), Strictly singers Lance Ellington and Hayley Sanderson make guest appearances as does Connie Fisher, and there’s bags of that inimitable charisma of his. Continue reading “Album Review: Anton Du Beke – From The Top”