Ruthie Henshall, Darren Day, Sam Tutty and more star in an online 50th Anniversary concert of Stephen Schwartz’s Godspell
“Some men are born to live at ease, doing what they please”
We’ve all had to adjust our plans one way or another but not even a global pandemic is going to get in the way of Godspellcelebrating its 50th anniversary with this online tribute concert. Conceived and directed by Michael Strassen, it reunites stars like Ruthie Henshall, Darren Day and John Barr with a show for which they made a studio cast recording in 1993, and also features a host of additional musical theatre talents.
The musical, score by Stephen Schwartz and book by John-Michael Tebelak, draws on the Gospel of Matthew as it moves towards the Passion of the Christ. But this adaptation points a little more towards inspirational optimism than outright spirituality, whilst introducing a creatively interesting way of presenting the songs which sets it apart from many of the other online offerings of the last few months. Continue reading “Review: Godspell 50th anniversary concert”
I wasn’t going to write up Turn Up Londonbut in the end, it was just too darn good to leave unremarked. I’m just going to whip through my highlights though, and urge you to stay tuned for any future for this excellent and essential project. Continue reading “Review: thoughts on Turn Up London”
23 West End actresses who have played Elphaba or Glinda in Wicked have reunited to perform a stunning rendition of the show’s ‘For Good’ to support the Make a Difference Trust Covid 19 Emergency Appeal Fund to support those in the theatre community suffering hardship because of the coronavirus crisis.
Please consider donating either by texting “SUPPORT” to 70111 to donate £5 (UK ONLY) or donate any amount here
The Original London Cast Recording for Rags – The Musical is released by Ghostlight Records, the first to capture the many changes to the show
“What if we never meet again?”
Sometimes a musical just doesn’t grab you, and so it was for me with Rags The Musical. The show received its UK premiere at the Northern powerhouse that is the Hope Mill Theatre in February 2019 and transferred to the Park Theatre in London at the beginning of 2020 and despite its excellent notices, I just didn’t fancy it. The universe clearly wants me to hear it one way or another though, as Ghostlight Records are now releasing an official London cast recording, the first for this show since 1991.
I think my ambivalence might have stemmed from a lack of love for Fiddler on the Roof (I know…). And Rags was initially conceived in 1986 as a sequel of sorts by book-writer Joseph Stein, as he explores the experience of a group of Jewish immigrants as they arrive in the US. Over the years though, David Thompson has considerably revised it and Stephen Schwartz’s lyrics and Charles Strouse’s music have also been substantially tinkered with. Musicals are ever a work in progress but such overhauling doesn’t always inspire the greatest confidence – credit then to director Bronagh Lagan and musical director Joe Bunker for refining this material in such a stylish manner. Continue reading “Album Review: Rags – The Musical: Original London Cast Recording”
On the one hand, so much to love with such an inordinate array of talent assembled to mark Sondheim’s 90th birthday. But on the other, where’s the editor, there’s a real sense of the rambling here too. Fortunately as this has been put together in lockdown (and very well too) it is easier than ever to skip to the bits you want (in the spirit of these times, I ain’t telling you who disappointed me).
For me, I loved the unexpectedness of Katrina Lenk’ ‘Johanna’, the cuteness of Beanie Feldstein & Ben Platt’s ‘It Takes Two’, and the energy of Alexander Gemignani’s ‘Buddy’s Blues’. And of the heavy hitters in the finale, Donna Murphy and Patti LuPone nailed ‘Send in the Clowns’ and ‘Anyone Can Whistle’ respectively, and there’s huge fun (if not finesse) in Christine Baranski, Meryl Streep & Audra McDonald giving us their ‘Ladies Who Lunch’. Continue reading “Lockdown Review: Take Me to the World: A Sondheim 90th Birthday Celebration”
Legendary Broadway composer Stephen Sondheim will be toasted with an all-star birthday concert, streaming live on Sunday 26th April. Hosted by Raúl Esparza, with musical direction by Mary-Mitchell Campbell, and coinciding with the 50th Broadway anniversary of Sondheim’s Company, Take Me to the World: A Sondheim 90th Birthday Celebration can be seen for free on YouTube.
This once-in-a-lifetime event, benefiting ASTEP (Artists Striving to End Poverty), will include a range of songs from the Sondheim catalogue performed by many of the artists who delivered iconic turns in his musicals, including Meryl Streep, Bernadette Peters, Patti LuPone, Mandy Patinkin, Audra McDonald, Christine Baranski, Donna Murphy, Kristin Chenoweth, Sutton Foster, Brian Stokes Mitchell, Kelli O’Hara, Aaron Tveit, Maria Friedman, Katrina Lenk, Michael Cerveris, Brandon Uranowitz, Elizabeth Stanley, Chip Zien, Alexander Gemignani, Iain Armitage, Stephen Schwartz and, from the cast of Pacific Overtures at Classic Stage Company, Ann Harada, Austin Ku, Kelvin Moon Loh and Thom Sesma.
There’s two songs I could listen to for ages on the Original Cast Recording of The Prince of Egypt but I could easily leave the rest
“No power on earth can change that, brother”
There was a moment in the last couple of days as I listened to ‘Make It Right’ for the umpteenth time that I wondered whether I’d been a bit harsh to The Prince of Egypt when it opened in late February. I’d made the note ‘lovely duet’ at the time and on record, the sweet/strong combination of Liam Tamne and Luke Brady’s voices is an absolute winner as their fraternal connection is tested over soaring contrapuntal melodies and an orchestral backing that flows as effortlessly as the Red Sea
So too, the show’s most famous song (so much so that the publicity campaign basically centred on it) ‘When You Believe’ has a choral majesty that is undeniable. Alexia Khadime and Christine Allado lead the company with real style – the interplay of their voices in the middle chorus is spine-tingingly lovely – and the incorporation of the Hebrew-sung bridge (led by Mia Lakha) is a rare graceful moment of geo-specificity that works. Continue reading “Album Review: The Prince of Egypt (Original Cast Recording)”
Despite an excellent cast, The Prince of Egypt might be in need of a miracle at the Dominion Theatre
“For the rest of my life I’ll have to live with this”
Way way back, many centuries ago, but a little bit more after the Bible began, someone decided that Old Testament justice really was the way forward for musical theatre. And so here we have a musical that features two ethnic massacres of children but it’s all OK if you sing a ballad afterwards to atone (even if you’ve sanctioned the murder of your de facto nephew) and others will then tell you it’s ok “when you believe”.
The Prince of Egypt picks up a few generations after Joseph and co set up shop in the land of the Nile, where the Hebrew population is now spiralling out of control for the Egyptian authorities. Enlightened thinking about immigrants hasn’t quite reached these shores, so the Hebrews find themselves enslaved and upon the order of the slaughter of all their newborn boys by a grumpy Pharoah Seti, an intrepid Yocheved pops her baby into a basket and hopes that he’ll get picked up by a queen rather than a crocodile. Continue reading “Review: The Prince of Egypt, Dominion Theatre”
Crikey, how I loved Heather Headley’s Broadway My Way, one of the best showtunes albums of recent years
“I know that everything I need is in here”
I was unreasonably peeved at Heather Headley for a little while, taking her casting in the West End debut of The Bodyguard as a slight on UK talent, for which I was rewarded her not appearing when I saw the show! But on seeing this clip of her smashing ‘Memory’ out of the park, I realised I’d played myself in not trying to see the show again to witness her talent live.
The next best thing is her 2018 album Broadway My Way, which I’ve belatedly got round to listening to. And once again more fool me, as it is probably one of the best musical theatre albums I’ve had the privilege of hearing. A collection of songs both old and new, it is an absolute masterclass in reinterpreting material to make it so closely fit a voice as to suggest it was written just for it. Continue reading “Album Review: Heather Headley – Broadway My Way”