I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw in July.
On Your Feet, aka the rhythm will get you, sometimes
the end of history…, aka how can you get cheese on toast so wrong
Equus, aka hell yes for Jessica Hung Han Yun’s lighting design
Games for Lovers, aka straight people be crazy
Captain Corelli’s Mandolin, aka the one that got my goat
The Girl on the Train, aka Philip McGinley in shorts
Uncle Vanya, aka I really need to stop booking for plays like this with casts like that
Jellyfish, aka justice for the second best play of last year
Sweat, aka Clare Perkins should always be on in the West End
Sue Townsend’s The Secret Diary of Adrian Mole Aged 13 3/4 The Musical, aka yay for lovely new musicals in the West End
The Light in the Piazza, aka Molly Lynch fricking nails it
Jesus Christ Superstar, aka was third time the charm?
Continue reading “July theatre round-up”
I might have taken a break from reviewing in June, but I didn’t stop going to the theatre – I had too many things already booked in. Here’s some brief thoughts on what I saw.
Betrayal, Harold Pinter
Shit-Faced Shakespeare – Hamlet, Barbican
The Knight of the Burning Pestle, Cheek By Jowl at the Barbican
Somnium, Sadler’s Wells
Les Damnés, Comédie-Française at the Barbican
Vanya and Sonia and Masha and Spike, Theatre Royal Bath
Blithe Spirit, Theatre Royal Bath
The Hunt, Almeida
Present Laughter, Old Vic
Europe, Donmar Warehouse
The Deep Blue Sea, Minerva
Plenty, Chichester Festival Theatre
Pictures of Dorian Gray, Jermyn Street
The Light in the Piazza, Royal Festival Hall
Hair of the Dog, Tristan Bates Continue reading “June theatre round-up”
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”
“Do you feel the kind of grace inside the breeze?”
One of the joys of having this blog is the aide memoire aspect of it, the theatrical diary that it has become, allowing me to trace how my tastes have shifted. I say this in particular reference to Floyd Collins, a show I didn’t much enjoy the first time I saw it at its 2012 production at the Southwark Playhouse and yet which on this revisit, four years later, I adored.
A substantial part of it comes with the musical complexity of Adam Guettel’s score, one I (still) think few people would fall in love with instantly, but also one which has repaid repeated listens and the breadth of performers yearning to sing his music (Audra McDonald, Kelli O’Hara…), incrementally convincing me of its worth and culminating in the gloriously revelatory sound of Tom Brady’s band tucked away in the balcony of Wilton’s Music Hall. Continue reading “Review: Floyd Collins, Wilton’s Music Hall”
“It’s been fun hitchin’ up with a psycho like you”
Caroline Sheen is one of those performers you feel ought to be better known, having starred in some pretty major shows throughout her career yet never quite managing that breakthrough moment – no matter, she’s thus one of British musical theatre’s secret pleasures. Her debut album Raise the Curtain saw her capitalise a little on her bigger gigs – Mary Poppins, The Witches of Eastwick – but it also pleasingly gives plenty of airtime to new musical theatre writing too.
In fact there’s no less than 5 tracks which received their first ever recordings here, Sheen opting to use her talent to really shine a light on the contemporary scene, showcasing the music she clearly loves. So the likes of innovative composer Conor Mitchell gets his striking ‘What Did You Want From Love?‘ featured, Richard Taylor (now represented in the West End with The Go-Between) gets a beautiful song called ‘Higher’ on there, so too Grant Olding with ‘Carrie Makes A Decision’ from his show Three Sides. Continue reading “Album Review: Caroline Sheen – Raise the Curtain (2010)”
“I woke up this morning on the wrong side of life”
I loved Billy Porter’s second album Billy’s Back On Broadway so I turned with interest to his first, released nearly a decade before in 2005. At The Corner of Broadway + Soul was recorded live at Joe’s Pub and sees Porter bring together his own R’n’B compositions with gospel songs and Broadway hits – both old and new in his own inimitable style. Porter has a massive voice and loves to sing big and it is a joy to hear him cut loose as he so often does here.
A snippet of Dreamgirls’ ‘And I’m Telling You I’m Not Going’ is fierce, Into the Woods’ ‘Last Midnight’ is just beyond, and there’s a healthy smattering (7 in fact) of his own songs which effectively mine a nu-soul vein – the dirty funk of ‘Hell or High Water’ probably emerging as my favourite. He’s not just a belter though. The Adam Guettel/Jason Robert Brown two-fer sees him rein in the power to glorious effect on both ‘Awaiting You’ from Myths and Hymns and ‘King of the World’ from Songs for a New World which shine in their subtlety. Continue reading “Album Review: Billy Porter – At The Corner of Broadway + Soul (2005)”
“Do you feel the kind of grace inside the breeze?”
Though my tastes are broad, I am an old-fashioned soul at heart and little fills me with as much joy as a classic soprano, characterising so much of what I love about musical theatre. One of Broadway’s finest is Kelli O’Hara, an actress so good that since her first Tony nomination for The Light In The Piazza in 2005, she has been so nominated for every role she has played since, culminating in a win last year with her sixth nomination for The King and I.
Her 2011 album Always reflects something of the choices made by her contemporary and fellow singer Audra McDonald in the way that it delves into the Great American Songbook with chapters both old and new. There’s several classics in there – Rodgers and Hammerstein, Lerner and Loewe, Sondheim – from shows she has been in and others besides, but also a fair few new musical theatre writers too, reflecting the breadth of the career she has pursued. Continue reading “Album Review: Kelli O’Hara – Always (2011)”
“Maybe someday I’ll get lucky”
It took seven years for Audra McDonald to get around to her fifth solo album Go Back Home but as the adage says, some things are just worth waiting for. As entertaining as her diversion into the world of singer-songwriters on previous collection Build A Bridge was, there’s real joy in hearing her return so whole-heartedly to the world of musical theatre, particularly when it is as gloriously well done as this.
As ever, there’s the mixture of old and new that has typified McDonald’s output – the dips into the classics, represented here by Rodgers and Hammerstein, Sondheim and Styne, and the showcasing of the new, the likes of Michael John LaChiusa, Adam Guettel and Steven Marzullo who have regularly received her patronage. Such intelligent support of her industry has longed proved invaluable and helped to establish her at its forefront. Continue reading “Album Review: Audra McDonald – Go Back Home (2013)”
“Your arias cause a stir in my sad and lonely heart”
Ringing the changes with her fourth album, Build a Bridge saw Audra McDonald take a break from the classic musical theatre songbooks she’d been exploring on her last two albums to turn to an altogether more contemporary world of rock and pop. There’s still room for some of the new musical theatre that she has tirelessly championed her whole career, of course there is, and there’s something utterly beguiling about the effortlessly modern feel of this collection.
That’s not to say that the selections are today’s Top 40 hits – Neil Young sits beside John Mayer, Randy Newman by Nellie McKay after all – but that Doug Petty’s arrangements and production style, together with that peerless soprano marries the material together in a beautiful way, that ultimately just celebrates the joy of good song-writing. Through McDonald here, one can trace how the timeless melodies of Bacharach and Costello’s ‘God Give Me Strength’ progress naturally to the chamber-pop of Rufus Wainwright’s charismatic ‘Damned Ladies’. Continue reading “Album Review: Audra McDonald – Build a Bridge (2006)”