My top 10 Losing My Minds post has been one of the most popular on the site (the most recent spike sadly being because of Marin Mazzie’s untimely passing – RIP), so I thought I would repeat the exercise with what is arguably Company’s most iconic song ‘Being Alive’.
“Somebody make me come through”
1. Alice Fearn An unexpected favourite mainly due to the combination of its achingly beautiful strings (arranged by Ben Goddard) and the delicacy of Fearn’s beautiful delivery.
2. Raúl Esparza
This. In all its ferocious power, I just can’t imagine it being better done by a man.
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 Broadwayis available now from Decca Classics. Continue reading “Album Reviews: Renée Fleming – Broadway & The Quentin Dentin Show”
This production of Into the Woods at the Cockpit Theatre brings it into the 21st century, not a strictly necessary move
“To have, to wed, to get, to save, to kill, to keep, to go to the festival”
One of the main reasons that fairytales have endured as long as they have is that they are timeless, their messages recited as-is at bedsides since time immemorial. Recognising this, Stephen Sondheim and James Lapine’s Into the Woods gives us a first half which takes us deep into this enchanted world as we know it and waiting until after the interval to show us what happens after happy ever after.
So the notion of updating the show to a specifically 21st-century context is an intriguing one, as director Tim McArthur draws in influences such as The Only Way is Essex, Made in Chelsea and Rab C Nesbitt. On the one hand, it offers a fresh take on well-known characters; on the other, it also provides a distracting layer onto characters that barely need it. The result is a well-performed interpretation that rarely feels essential. Continue reading “Review: Into the Woods, Cockpit”
I turn my attention to the latest set of Broadway cast recordings with Frozen, Prince of Broadway and Mean Girls
My cynicism about the quick turnaround of megahit film Frozeninto a would-be megahit musical lasted for about 10 seconds as I popped on their cast recording. I mean, I loved the film and its songs by Robert Lopez and Kristen Anderson-Lopez and so who was I kidding?!
And it fulfils all of my Disney princess dreams. Caissie Levy (Elsa) and Patti Murin (Anna) lead the cast in fine full-voiced form, new songs from the Lopezes fit in well to the score though it does take a hot minute to get used to them. And the orchestral arrangement lends a note of excitement to the songs you know so well already.
Levy’s ‘Let It Go’ naturally takes the spotlight as the Act 1 closer (reprised to close the show as well) but Murin’s rendition of ‘Love Is An Open Door’ with John Riddle’s Hans gets my vote for its sheer warmth and joie de vivre. Of the new songs, Elsa’s ‘Dangerous to Dream’ probably ranks as my favourite. Definitely keen to see this once it hits the West End. Continue reading “Album reviews: Frozen / Prince of Broadway / Mean Girls”
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).
Something of an undersung talent in this country (all his top gigs have taken place in Paris, or Kilworth), Dan Burton is nevertheless leading man material, and his debut album Broadway Melodies is proof thereof. Short and sweet at ten concise tracks, Burton swoons and slides effortlessly through the Great American Songbook.
This weekend only, John Barrowman and Seth Rudetsky deliver conversation and concert realness at the Leicester Square Theatre in London
“Passionate as hell But always in control”
I hadn’t originally intended to go and see John Barrowman in this intimate concert setting but my Aunty Jean is a big fan and so decided to make a day trip out of it, and I got to go along for the ride. This micro-run of three performances fell under the aegis of Seth Rudetsky’s intermittent Broadway @ Leicester Square Theatre series, mixing performance with conversation to create a unique and relaxed vibe.
As Sondheim celebrates his 70th birthday, his musical Assassins is revived at Pleasance Theatre, London
“Every now and then, the country goes a little wrong. Every now and then, a madman’s bound to come along”
It was interesting to discover in the post-show Q&A that an explicit reference to Trump has been excised from this production of Assassins – a picture of his head removed from the shooting gallery that provides the stark image, and framing device, that opens and closes the show. But given that that above quote comes in very early on, contemporary political resonance is rarely too hard to find, should you wish to look for it.
That’s all the more impressive given that Stephen Sondheim (music and lyrics) and John Weidman (book) constructed this show back in 1990. And the allure of this slice of Americana, as much musical history as it is socio-political, has proven enduringly popular as it explores something of the people behind the nine recorded attempted assassinations of US presidents. Continue reading “Review: Assassins, Pleasance”
“There is joy in the air
So be gone with dull care”
What to do to make your album stand out in a crowded marketplace of musical theatre-related albums? Get Auburn Jam’s Joe Davison in to do your arrangements, that’s what. A glimpse at the tracklisting of Helen Power’s new album Enrapturedmay not initially suggest a great adventurousness but on first listen, its playful and subtly daring nature soon become apparent.
A relaxed take on Porgy & Bess’ Summertime is a strong opener, full of bold musicality and Power’s confident soprano, but it’s the next of couple of tracks that set out the vision here. A Latin-inflected ‘The Sound Of Music’ has no right to be effective but as Davison introduces silky bossanova rhythms and elastic double-bass lines, it’s impossible to resist its easygoing charm. And if less radical, his Bond-esque re-arrangement of the title track from The Phantom Of The Opera is no less exciting, its duelling brass section and violins building to a breathless climax that thrills just as much as Power’s soaring top E.