“Musical theatre’s my passion, my art”
In the Delfont Room at the Prince of Wales Theatre, there is often a Sunday night treat to be found and this week saw the launch of Unwritten Songs, the debut album by Michael Bruce featuring a whole host of West End stars, many of whom were in attendance to perform the songs they sing on the album, including Julie Atherton, Alexia Khadime, Anna-Jane Casey and Mark Evans and some other special guests too, including Caroline Sheen. Bruce is a composer who has had his own West End showcase, musicals playing at Edinburgh, is resident composer at the Bush Theatre and has written the score for shows like the National Theatre’s Men Should Weep and the forthcoming David Tennant/Catherine Tate Much Ado About Nothing, so it is safe to say this is a man who is going places.
His songwriting covers many bases, but he is particularly strong at the comedic songs and his repertoire is already full of choice gifts for the more daring cabaret performer: ‘Portrait of a Princess’ (formerly titled ‘In A Disney Way’) was written especially for Julie Atherton and plays perfectly to her inimitable strength at witty story-songs, if for some crazy reason you only buy one song off this album, this would be the one. But there’s also the faux-operatic ‘Continental’ delivered with a great wry humour by Emily Tierney and the newly written ‘The Musical Theatre Song’ which borrows the rapid-fire structure of Sondheim’s ‘(Not) Getting Married Today’ as a musical theatre fan breathlessly lists all the shows she loves, delivered almost without fault by Anna-Jane Casey. Bruce clearly enjoys challenging his singers and when they are of this calibre, then why the hell not. Continue reading “Review: Michael Bruce – Unwritten Songs album launch, Delfont Room”
“We’ve only just met, but you need to get some perspective on the big picture”
Ordinary Days is a musical which played at the Finborough back in 2008 but has been slightly revised and revamped during runs in the USA and returns to London to Trafalgar Studios 2. Completely sung-through, Adam Gwon wrote the music and lyrics to all 18 songs which play out over a nifty 80 minutes and this production features two members of that original London cast, including the rather special Julie Atherton.
It is set in contemporary New York looking at the mundane lives of four young adults and how the problems in their lives forces them to seek and/or reassess the connections they make to get through life. As with so many modern American musicals, the immediate reference point seems to be Jason Robert Brown but I have to say there were moments when the music actually reminded me more of Robert Lopez and Jeff Marx’s work in Avenue Q which was nice. Continue reading “Review: Ordinary Days, Trafalgar Studios 2”
“If you intend to f*ck with the god of power, then make sure you don’t fall asleep besides him”
Any play that can use the epithet “your mother-f*cking brother” with complete accuracy has to be worth your attention and sure enough, Welcome to Thebes, a new play by Moira Buffini opening in the Olivier auditorium at the National Theatre, is more than equal to the challenge. The play is quite huge in scope, it looks at the role of women in politics, the state of Africa, the aftermath of war, the relationship between Africa and the West, the tragedy of child soldiers and it tells of them through the prism of Greek mythology, but relocated to the modern day and an unspecified (West) African state.
So we have the story of a female president-elect, Eurydice, struggling to exert herself in both her domestic situation in a country reeling from years of civil war, but also in the male-dominated world of international relations as she needs to establish links with global superpower Athens for much needed aid and investment by engaging with its charismatic leader, Theseus. The clearest analogy to make is with Liberia, the only African state to have an elected female leader of state in Ellen Johnson Sirleaf who came to power after the concerted efforts of a mass movement of women hungry for peace after years of civil war. And if Thebes equates to Liberia, then Athens becomes the United States, the superpower and apparent bastion of democracy but unwilling to provide assistance without considerable caveats; Theseus being an Obama-like leader with a touch more arrogance. Continue reading “Review: Welcome to Thebes, National Theatre”
“Who can say if I’ve been changed for the better?”
Due to a number of reasons (mainly bad reviews from friends, vitriolic reviews from critics and the ticket prices) I never quite managed to getting round to seeing Wicked despite really wanting to see Idina Menzel who reprised her Broadway role initially, and it’s always been fairly near the bottom of my list of shows to get round to seeing. But with the Get Into London Theatre offer available on good seats (£60 tickets for £35, offer now expired), I finally bit the bullet and booked at the Apollo Victoria.
Purporting to tell the hidden story behind The Wizard of Oz, Wicked tells the story of two girls, Elphaba and Galinda, who meet at sorcery school and follows their tumultuous relationship as they grow up. For they become respectively, the Wicked Witch of the West and Glinda the Good Witch of the North, and their complex friendship is tested with rivalries over love and their opposing personalities and viewpoints. And whereas the story begins well before Dorothy arrives in the land of Oz, much of what we see sheds interesting new light on events as we know them. Continue reading “Review: Wicked, Apollo Victoria”