A joyous production of Hairspray Live gives you hope that the show will go on with The Show Must Go On
“You can wonder i you wanna but I never ask why”
I assumed that since The Show Must Go On went with The Sound of Music Live last week that they would be working their way through the series of live TV musicals that NBC had aired in the US. In going with Hairspray Live this weekend though, it seems that we’ve skipped Peter Pan and The Wiz (maybe due to rights issues?), though it’s not necessarily the worst thing as Hairspray is such a joyous show it should perk up many a flagging spirit.
It proves far superior to The Sound of Music and you have to believe that it stems from a far more successful casting policy. Heading out for a national casting call for Tracy works because she’s such an everywoman character but even then, newcomer Maddie Baillio is thoroughly charming. Having Harvey Fierstein reprise his Edna is a masterstroke and then roping in Tony winners Kristin Chenoweth and Jennifer Hudson indicates that the right strengths were being looked for. Continue reading “Review: Hairspray Live (The Show Must Go On)”
Despite great work from supporting players like Audra McDonald and Laura Benanti, The Sound of Music Live isn’t a great advert for The Show Must Go On
“Many a thing you know you’d like to tell her”
In some ways, turning to the series of live TV musicals to continue The Show Must Go On now that Andrew Lloyd Webber has exhausted the content he is willing to give for free, for weekends at a time. The problem is, its opening salvo – The Sound of Music Live from 2013 – really isn’t a good example of the form.
Directed by Rob Ashford and Beth McCarthy-Miller, it has all the requisite component parts and as a piece of live entertainment, it is all very competently done. There’s an impressively capacious set, slick camerawork and a well-drilled ensemble who barely put a foot wrong throughout the 2 hours plus of the show. Continue reading “Review: The Sound of Music Live (The Show Must Go On)”
It wasn’t meant to be airing until late 2021 but the filmed version of the Broadway production of Hamiltonwill now be airing this summer. With the cinematic release of In The Heights being pushed back to next year, it means that Lin-Manuel Miranda will still get his chance to take over our households once again.
‘You Matter To Me’ has always been one of Waitress‘ most beautiful melodies and as Kat McPhee and Jeremy Joseph intertwine their voices gorgeously, you’ll be hard-pressed to stay dry-eyed before the tributes to frontline workers even start
If you are someone who has not missed a day of work, putting yourself or your family at risk, we dedicate this to you. You matter.
The Inheritance, by Matthew Lopez
Heroes of the Fourth Turning, by Will Arbery, Playwrights Horizons
Cambodian Rock Band, by Lauren Yee, Signature Theatre
Greater Clements, by Samuel D. Hunter, Lincoln Center Theater
Halfway Bitches Go Straight to Heaven, by Stephen Adly Guirgis, Atlantic Theater Company/LAByrinth Theater Company
One of my favourite of these videos, Jason Howland’s spectacular arrangement of ‘You’ve Got A Friend’ would be worth your attention, even before it was performed by casts of Beautiful: The Carole King Musical from across the world
I tackle a trio of Broadway cast recordings in the shape of Cole Porter’s The New Yorkers, Kiss Me, Kate! and Beetlejuice
“Most gentlemen can’t be profound”
As it only played a handful of performances, the release of Cole Porter’s The New Yorkers (2017 Encores! Cast Recording) is a welcome chance to revisit this rarely seen musical. The recording is certainly aided by the presence of such musical theatre stalwarts as Scarlett Strallen and Tam Mutu (scintillating together on ‘Where Have You Been?’), the revelation for me is jazz singer Cyrille Aimée, who delivers a slinkily devastating rendition of ‘Love for Sale’ that makes it feel like the song was written for her.
Aside from the songs written by Jimmy Durante (his comic stylings at their best on Act 1 closer ‘Wood’ delivered with panache by Kevin Chamberlin), the prevailing aesthetic is one of classic Cole Porter elegance, Rob Berman’s musical direction finding just the right level of sparkling verve to blow off any lingering cobwebs and infuse real life into the material. Ruth Williamson’s witty ‘The Physician’, Mylinda Hull’s just-as-funny ‘The Great Indoors’, Strallen leading the ecstatic finale ‘I Happen to Like New York’…the pleasures here abound.
Sticking with the glorious Cole Porter, and who wouldn’t!, this year has also seen the release of Kiss Me, Kate! (2019 Broadway Cast Recording). It’s a show that I have a little difficulty with, never having seen a production that managed to sufficiently square its period gender dynamics with (my) contemporary sensibilities. But there’s no denying a songbook that contains the likes of ‘Too Darn Hot’, ‘So In Love and ‘Always True To You In My Fashion’.
And when you have the likes of Kelli O’Hara and Will Chase singing them, you’re in the territory of dreamily good. Whether together on the oom-pah-pah of ‘Wunderbar’ or separately on their respective renditions of ‘So in Love’, they’re both exceptionally good and utterly listenable. Also great value for money are ‘B’ couple Stephanie Styles and Corbin Bleu, pulling focus brilliantly wherever they pop up.
And last but not least, even if Mr Porter isn’t involved here, we have Beetlejuice (Original Broadway Cast Recording). From its opening minutes, (“Holy crap! A ballad already?”), it is clear that there’s a properly anarchic spirit at play here and Eddie Perfect’s score, led by a highly charismatic Alex Brightman who clearly is having a ball as he repeatedly breaks through the fourth wall (if there is one when you’re listening…?)
‘The Whole “Being Dead” Thing is a genius opening number, prologue aside, and sets the tone for the Perfect’s pop-rock tunes, several of which feel like they have the potential to earworm their way into your brain (the refrain of ‘Fright of Their Lives is currently stuck in mine). Supported by vibrant work from Kerry Butler and Rob McClure and a cleverly sung performance from Sophia Anne Caruso as the Winona-waif Lydia, if Beetlejuice struggles to find a new home on Broadway then I’ll happily welcome it into the West End!
Encouraged by their Curtain Up nominations, I take a quick look at the Broadway cast recordings for Hadestown, Jagged Little Pill and Oklahoma!
“I want you to know, that I am happy for you”
I’m not quite sure why I haven’t got around to reviewing the original Broadway cast recording of Hadestown since I listen to it at least once a week, such is the enduring strength of Anaïs Mitchell’s glorious score. I loved the show so much at the National, that I’d already booked to go and see it again before I got home that evening, and getting to dive deep into this recording is about as close as I’ll get to seeing it again (I doubt it’ll return here any time soon although the West End is crying out for its inventiveness).
Those of us who loved the show in London are blessed that the Broadway transfer retained its key cast. So the intense vitality of Amber Gray, the easy swing of André De Shields, the indie-pop sweetness of Reeve Carney and Eva Noblezada and the gravelly hotness of Patrick Page remain intact. And those tunes! The plaintive cries of ‘Wait for Me’, the slinkiness of ‘When the Chips Are Down’, the incredible prescience of ‘Why We Build The Wall’, the sheer glee of ‘Way Down Hadestown’, it is a winner from start to finish for me. Continue reading “Broadway Album Reviews: Hadestown / Jagged Little Pill / Oklahoma!”