Did I like this?
I think not.
Did I like this?
I think not.
“Lock the door and stop complaining
Gather ’round and listen well”
Between them, Amber Riley, Beverley Knight and Cassidy Janson have racked up Olivier Awards and accolades aplenty and their mutual respect has led to them joining forces to create musical supergroup Leading Ladies. And working with producers Brian Rawling and Paul Meehan through East West Records (Warner), their debut album Songs From The Stage is about to be released.
Across the 14 tracks of the collection, there’s a variety of approaches as they tackle songs from a wide range of musicals. Each singer gets a couple of solo numbers, and they all chip in with backing vocals on some of those, but the highlights come when the trio sing together. And none more so than on an utterly transcendent version of Carole King’s ‘Will You Still Love Me Tomorrow’ whose close harmonies are goosebump-inducingly extraordinary, the marriage of their voices a perfect alchemy. Continue reading “Album Review: Leading Ladies – Songs From The Stage”
“Hold your decaying
Hear what we’re saying”
Sad to say, what I’m saying is that I was not a fan of The Addams Family at all. After a cracking opening number which promises oh so much, Marshall Brickman and Rick Elice’s book grinds to a juddering halt in a first half which does nothing but interminably set the scene. And Andrew Lippa’s score offers little respite as it fails to really nail any definitive sense of identity and ends up really rather forgettable. Things do pick up a tad post-interval but it’s too little too late by then.
It all could have been so much better. The Addams Family are an iconic set of characters, previously immortalised on cartoon strip, on television and on film, a legacy which goes some way to explaining the commercial success of the show on Broadway in the face of a scathing critical reception. But classic characters need classic storytelling and here, they’re marooned in a schmaltzy neverland which captures nothing of the golden age, nor has anything to say to audiences today. Continue reading “Review: The Addams Family, New Wimbledon”
“Livin’ for the moment’s rewards”
I did like Nadim Naaman’s first album We All Want The Same but with its compositions stretching over a decade of Naaman’s songwriting, it didn’t quite have the cohesion to show off his emerging talents. For his second CD though, he’s gone all-out to demonstrate the depths of both sides to him as a musician – opting for a double-length album, half the songs are musical theatre numbers which have received his own spin, and the other half are original songs written over the last year. Thus Sides reaches with larger ambition, and succeeds.
Naaman has a marvelous showman quality to his voice but it’s beautiful to hear him bring out all the colours he can – the sense of building excitement in The Hunchback of Notre Dame’s ‘Out There’, the driving, the driving swagger of The Fix’s One, Two, Three complemented by its tenderly heartfelt break. A jaunty ‘Moving Too Fast’ sees him looking back to one of his first professional roles as The Last Five Years’ Jamie whereas his current gig – Raoul in The Phantom of the Opera – is acknowledged with a startling but hugely effective Latin-inflected treatment of its title song, accompanied by the glorious richness of Celinde Schoenmaker’s voice.
“I planned a well-rendered, one-gendered lesbian love story”
You’d be forgiven for not being familiar with Andrew Lippa, whose work is being celebrated at the Menier Chocolate Factory with a vivacious show that cherry-picks from his career so far. Although born in Leeds, his successes have been over the Atlantic with shows like The Addams Family, Big Fish and The Wild Party which have helped him to build a considerable, if niche, audience. With the help of some classy West End friends though, this sparkling revue could well encourage a further groundswell of popular support in the UK and get Lippa’s work produced here more often.
In the meantime, the concert format works well here with The Life of the Party. Lippa is a born raconteur and from his piano, he is a hugely entertaining presence full of gossipy tidbits but more importantly, brimming with enthusiasm for the world of musical theatre and his continued place in it. Talking about the songs and shows that have made up his oeuvre, there is no mistaking his sheer love for what he does and that brings something extraordinary to the material, an intensity that might not even been matched when the songs are being performed in their natural context within the shows. Continue reading “Review: Life of the Party, Menier Chocolate Factory”
“I really don’t think you have anything to worry about Charlie Brown”
Out in West London, the Tabard is a theatre that hasn’t really managed to work its way into my regular theatregoing: I’ve enjoyed things there, last Christmas’ Just So in particular, but it’s always been a bit on the wrong side of town for me to merit multiple trips, the nature of fringe theatre being essentially so variable.
But an interesting looking cast for You’re A Good Man Charlie Brown meant that I made the trip to Turnham Green once more. A musical comedy based on the famous Peanuts comedy strip, this is a revised version of the show by Clark Gesner, with additional songs and dialogue from Michael Mayer and Andrew Lippa and in another factor that convinced me to go, is directed by Anthony Drewe. Continue reading “Review: You’re A Good Man Charlie Brown, Tabard”