Review: The King and I, Palladium

So much to like in The King and I at the London Palladium, not least the exquisite costumes and a superb Kelli O’Hara

“Getting to hope you like me…”

Despite my love of a classic musical, it has taken me a wee while to work up the enthusiasm to go and see The King and I at the Palladium. A big Broadway success, Bartlett Sher’s production kept its leads of Kelli O’Hara and Ken Watanabe but with that pedigree comes an element of playing it safe, which is what I think has kept me at bay.

And in watching the show, you can’t ever really escape this feeling of sedateness, splendidly mounted as it is. Catherine Zuber’s costume work is beyond lush, Michael Yeargan’s set has an epic scale and the sweep of Christopher Gattelli’s take on Jerome Robbins’ original choreography is quite often breathtaking – they don’t make em like this any more etc etc. Continue reading “Review: The King and I, Palladium”

How to solve a problem like a compilation – my alternative Unmasked

Andrew Lloyd Webber, Unmasled

I make my own suggestions about interpretations of Andrew Lloyd Webber songs that could have been included on his new compilation album Unmasked

“They must have excitement, and so must I”

In a world of Spotify and iTunes and other online music services, compilation albums ought to have died a death. But the enduring success of the Now That’s What I Call Music series puts the lie to that, showing that while the idea of curating your own content is tempting, many of us prefer to let someone else do it for us.

So Andrew Lloyd Webber’s decision to release new anthology Unmasked is a canny one in that respect (read my review here), tapping into the desire to have a nicely pleasant set of musical theatre tunes to pop on in the car. And as with any compilation, it’s as much about what hasn’t been included as what has, that stands out. Continue reading “How to solve a problem like a compilation – my alternative Unmasked”

Album Review: Marguerite (2008 Original London Cast Recording)

“Come see the show,
She will neither know nor care”

It is always fascinating to listen to the cast recordings of shows that are regarded to have flopped, to see whether the writing was always on the wall or if some reason was responsible for the magic not happening. Lasting just four months at the Theatre Royal Haymarket in 2008, Marguerite is one such musical, despite (or maybe because of) the weight of expectation behind its writing team.

With a book by Alain Boublil, Claude-Michel Schönberg and Jonathan Kent (from the the Alexandre Dumas, fils’ novel La Dame aux Camélias) lyrics by Alain Boublil and Herbert Kretzmer, and music by Michel Legrand, the demands on these Gallic grandees were nothing short of recreating the exceptional success of Les Misérables (on which Boublil, Schönberg and Kretzmer collaborated) but it wasn’t to be. Continue reading “Album Review: Marguerite (2008 Original London Cast Recording)”

CD Review: Love, Lies & Lyrics – The Words of Lesley Ross

Why do whores only sing in musicals?” 

Showcasing the work of a lyricist is a different prospect from that of a composer, something that is immediately apparent from glancing at the cover and booklet of Love, Lies & Lyrics – The Words of Lesley Ross, the latest new musical theatre CD emerge from the nurturing cocoon of SimG Records. This album features music from 4 different writers, taken from over a dozen musicals, with the now customary array of West End stars – over 30 in number here – so it can’t help but be highly eclectic as a collection, in something of a similar vein to Robert Gould’s collection from last year.

The diversity of this approach certainly has its benefits, especially as man of the songs are around the 2 minute mark, as it means the album can bounce around wryly comic observation songs like ‘Pick A Ticket!’ and ‘Him in 23B’ to the more heartfelt but still story-led balladry of Nigel Richards’ ‘And In My Heart’ and Annalene Beechey’s ‘Song for Someone’. If I had to pick, Madalena Alberto’s plaintive lullaby ‘I Will Be There’ is the highlight of the record – its gorgeously delicate emotion coming from a perfect confection of lyric, music and performance.  Continue reading “CD Review: Love, Lies & Lyrics – The Words of Lesley Ross”

Radio Review: My Fair Lady, Prom 2 on Radio 3

“I understand dear, it’s all so grand dear.”

One of the earlier Proms this year featured a semi-staged, fully-talent loaded yet inexplicably unfilmed production of Lerner and Loewe’s classic musical My Fair Lady. Fortunately it was recorded by Radio 3 so its reach wasn’t just limited to those who were able to get tickets for the Royal Albert Hall. And as befits the Proms, it was given an extraordinarily lush treatment by Shaun Kerrison, with John Wilson conducting his own orchestra of 70, using Previn’s film score orchestrations, and a classy cast and chorus plus dancers to make this quite the significant event and probably deserving of more than this mini-review.  

First off, it sounded simply glorious. The score is just a delight to listen to at the best of times but given full orchestral rein here, the songs like ‘Wouldn’t it be Loverly?’, ‘On The Street Where You Live’ and ‘I Could Have Danced All Night’ amongst many many others, sparkled and shone and made an instant reminder as to why this show has endured so well. And it was largely sung well: Annalene Beechey (an actress we really ought to see more of on-stage, darn her maternal instincts ;-)) and Julian Ovenden bringing their customary interpretative skill to Eliza and Freddie and making a darn fine job of it. Continue reading “Radio Review: My Fair Lady, Prom 2 on Radio 3”

CD Review: Acoustic Overtures – The Songs of Dougal Irvine

“Nothing’s simple at all”

Acoustic Overtures is the debut album from writer/composer Dougal Irvine, one of the group of up-and-coming musical theatre composers with address books full of West End stars that we’re blessed with at the moment, featuring a selection of his songs recorded by a bunch of familiar faces. Irvine’s show Departure Lounge played at the Waterloo East theatre last year, but this CD wisely steers clear thereof (the soundtrack for that show has already been released anyway) and focuses on new material, including new shows which have been developed through the Perfect Pitch development scheme.

Irvine came to musical theatre from a rather circuitous route and resultantly comes across as a breath of fresh air, Departure Lounge was accompanied by just two guitars but it doesn’t feel at all like a gimmick but the organic development of this sound. These songs have been more fully orchestrated but there’s still a raw freshness to the voice coming through in most of the songs. I have to say I was a little disappointed with the way the album opens with two jaunty cabaret-type numbers, it’s not that they are bad but rather they don’t feel representative of the musical theatre compositions that make up the bulk of the recording. Ashleigh Gray’s ‘Two Faces’ and Daniel Boys and Cassie McIvor come together well on ‘Silence in the Rain’. Continue reading “CD Review: Acoustic Overtures – The Songs of Dougal Irvine”