“Make it Sparklejollytwinklejingley”
First things first, it’s a really poor show on behalf of those in charge of this production at the Lowry that there was no announcement or any mention of the fact that the understudy for the main part was on. Not for any sniffy reason about wanting to see Ben Forster but rather that it denied Colin Burnicle his spot in the limelight on the first occasion that he got to play the role of Buddy the Elf.
I don’t think Burnicle will mind me saying he had an understandably slightly nervy beginning but he soon settled into the green felt boots of Buddy, working a slightly more frantic Jim Carrey-esque vibe than one might expect from a role originated on screen by Will Ferrell but it was one that worked. And he connected well with former Atomic Kitten Liz McLarnon as his putative love interest Juvie, as under-developed a part it is. Continue reading “Review: Elf, Lowry”
“You gotta remember that December is the time for glitz”
I have to say I was sceptical about Elf the Musical, not least because it was Bonfire Night (5th November for you heathens) when I saw it but to my pleasant surprise, I was soon won over by its classic charms. If you’ve seen the film, then you’ll know that its soundtrack was a dip into the Christmas chapter of the Great American Songbook – Ella Fitzgerald’s ‘Sleigh Ride’, Ray Charles’ ‘Winter Wonderland’ etc – but the score for the musical is original yet pays great homage to those standards.
Matthew Sklar’s music and Chad Beguelin’s lyrics succeed by being entirely both warm-hearted and open-hearted and in this recording, is powered by the practically Duracell-bunny-like enthusiasm of Ben Forster’s Buddy, the kid who found his way into Santa’s bag of presents and ended up being raised at the North Pole. The heart of the story is his re-entry into the human world to find his birth father and in tracks like ‘World’s Greatest Dad’, you realise just how big and real his emotions are.
And that feel-good feeling is carried across the whole record – Jessica Martin as his mum matches him for sincerity in both ‘I’ll Believe in You’ and ‘There Is A Santa Claus’, Kimberley Walsh’s velvety smooth voice sits well as sceptical love interest Jovie in Never Fall In Love (With An Elf) and the big band feel of Stuart Morley’s musical direction keeps ‘Nobody Cares About Santa’ from ever getting too dark for the (big) kids. Indeed in a world where things are often ‘Sparklejollytwinklejingley’ , everyone is a winner.
A strong cast recording that definitely bears repeated listens to its classic song-writing – it’s not just at Christmas that “singing loud for all to hear” spreads cheer.
“I always get a special glow when the snow comes falling down”
There’s something a little perverse about a show as intrinsically Christmassy as Elf the Musical opening on Bonfire Night but with a limited run finishing sharply on 2nd January, the time to get festive starts now. Based on the 2003 film starring Will Ferrell and directed by Jon Favreau, the musical capitalises on the feel-good charm of the movie to create something deliciously old-school in feel but with a definite contemporary spin on things. My four star review for Cheap Theatre Tickets can be read here.
Running time: 2 hours 40 minutes (with interval)
Booking until 2nd January
“Fresh and alive and gay and young”
It’s kind of hard to avoid the many rave reviews that this Morphic Graffiti revival of Rodgers and Hammerstein’s Carousel has received so it won’t surprise those who know me that I wasn’t quite as blown away by it as were others. I have somehow managed to avoid ever seeing it before and I wonder if that made the difference – a recurring theme seems to be ‘one of the best versions I’ve ever seen’ indicating a deep seated affection for the show (much like Miss Saigon) whereas to fresh ears and eyes, the splendour of the score can’t always paper over the more questionable aspects of the book.
There’s certainly much to appreciate in Luke Frederick’s production – the reconceptualising of a ‘big’ musical into the boutique space of the Arcola has been excellently done. Lee Proud’s choreography has a great feel for the expressive and exhilarating potential in such intimacy and Andrew Corcoran’s tight band of five create a great musical sound, especially blessed by the unmiked singing which lends a rawness and immediacy that feels entirely appropriate for the venue. I can well imagine it not having sounded quite like this before and therefore exciting those who loved it already. Continue reading “Review: Carousel, Arcola”