“We’re all banged up without a bang”
Maureen Chadwick, Ann McManus and Kath Gotts’ musical adaptation of long-running TV show Bad Girls
only lasted a couple of months in the West End back in 2007 but they still managed to get out a cast recording (and a DVD too, though I’ve not been able to track that down yet). My first experience with the show was with the Union’s fringe production
earlier this year and I have to say, I really enjoyed myself.
Sadly, I don’t think this recording quite captures the joie de vivre that the show gave me. It actually highlights the randomness of Gotts’ score, both musically and dramatically. David Burt’s Jim Fenner is a case in point here – Burt plays up the devilish charisma which is his forte in suavely slick numbers like ‘Jailcraft’ and ‘The Key’ yet for all his old-school Hollywood charm, we have to buy him as the sexually predatory villain of the piece.
To be fair, that’s an extreme example but such inconsistency is indicative of Bad Girls as a whole and the songs aren’t really strong enough to stand up on their own here, switching from heartfelt spiritual to vaudeville to flat ballads. Julie Jupp and Rebecca Wheatley do their best as the Julies with comic number ‘Life of Grime’ but it doesn’t pop as it did onstage; so too with Yvonne’s glammed-up number ‘A-List’, Sally Dexter’s powerful voice deserving a better calibre of material.
But for all my head says this doesn’t work, my heart has been softened by the memories of that Union production and I can’t help but be a little seduced into this trashy life of crime – the 80s power pop of ‘The Baddest and the Best’ is pretty much the definition of guilty pleasure. Maybe one to borrow off a friend rather than buy outright.
“It’s hard to tell the gay guys from the straight”
Technically speaking, Soho Cinders is a new musical. But given that some of the songs were first premiered at a Stiles + Drewe concert and subsequently released on CD and that the musical itself received a concert presentation late last year, it feels more like the return of an old friend. Though in the way that you can’t always control when friends come back into your life, this fable-like gay retelling of the Cinderella story was booked into the Soho Theatre in the middle of the summer.
Cinderella here is Robbie, a law student who works as an escort on the side and his Prince Charming is James Prince, a bisexual candidate in the London Mayoral race with whom he has been carrying out a clandestine affair. Anthony Drewe and Elliot Davis’ book retains much that will be recognised, like ugly stepsisters, but has also taken a bit of a spin on things, Buttons has become Velcro, the carriage becomes a Boris bike and the story has generally been modernised to cover the world of politics and sex scandals. Continue reading “Review: Soho Cinders, Soho Theatre”