“She screamed, I think – it was hard to hear”
Surrounded by the Sounds – the music of Tim Prottey-Jones is the second of actor/writer Prottey-Jones’ albums featuring a whole array of his West End pals, but the third that I’ve reviewed (see reviews of More With Every Line and To Do. To Be.) It features songs from two of Prottey-Jones musicals – Once Bitten and After The Turn – and has a decidedly more pronounced rock feel to it than either of his other collections.
As such, it didn’t quite tickle my fancy in the way that I might have liked, especially since To Do. To Be. had impressed me. And it’s not that this is a collection of bad songs, they’re just not my cup of tea. Such guitars, much rock, so not wow. Even when the tempo slows a little into ballad territory, as with Michael Xavier’s ‘Chance In A Lifetime’ or Jodie Jacobs’ ‘Colour Me’, it is still just too monotonely guitar-heavy for my liking.
“Pour a double gin,
here’s to your double chin”
Back when Adam Sandler was, you know, tolerable, he did rom-coms like 1998’s The Wedding Singer and where even moderately successful films go, musical theatre adaptations surely follow. Tim Herlihy adapts his own screenplay along with lyricist Chad Beguelin, and original music comes from Matthew Sklar, and the result is a perfectly competent piece of musical theatre which is fun without ever really being fantastic.
Opening at Leicester’s Curve ahead of a 8 month long UK tour (dates and venue at the end of this review), you can see where Nick Winston’s production has made its key decisions – Francis O’Connor’s set has its eye on quick get-outs and so Jack Henry’s video projections do a lot of the heavy lifting in setting the 80s milieu. And the casting mixes West End reliability with TV name recognition, the cherry on the cake of course being Ruth Madoc. Continue reading “Review: The Wedding Singer, Curve”
“The public will like whatever I tell them to like”
If only the public were so gullible… New rock musical 27 has nearly completed a substantial run at the Cockpit Theatre so I took my time to see it, knowing that many a show that has described itself as a rock musical has proven not to be my cup of tea. And thus it turned out with Sam Cassidy and Matt Wills’ 27, a mishmash of classical and modern myths that ends up something of an unholy mess.
At the forefront, just about, is the story of Orpheus, reinterpreted here for the modern world as wannabe rocker Jason (with a band called the Argonauts…) who does a Faustian deal with the devil for instant fame (see what I mean about those influences…) but ends up chasing through the underworld to rescue his girlfriend who has succumbed to a drug overdose. Continue reading “Review: 27, Cockpit”
“Let’s be clear, there’s nothing ironic
About our love of Manolo Blahnik”
So in a slightly odd turn of events, as Rupert Goold’s American Psycho opens for previews on Broadway, the London Cast Recording of the Almeida’s Winter 2013/14 production is finally released. That London run was well-received by me, so much so that I went back (not just to post the pics of one of its nifty ad campaigns) twice and Duncan Sheik’s music was a big part of that, very much appealing to the 80s kid in me.
Sheik’s score is bathed in a glossy sheen of electronica, predominantly made up of original songs but also featuring covers of some 80s classics – Human League, Tears for Fears, even Phil Collins in radically reharmonised version of ‘In The Air Tonight’. And it’s the ideal partner for this adaptation of Bret Easton Ellis’ novel and surprisingly, it holds up really well, even without the vivid visuals (not least of Matt Smith’s abs). Continue reading “Album Review: American Psycho (London Cast Recording)”
“I only told you the truth…”
After directing its European amateur premiere back in 2006, Adam Lenson now presents the London debut of Michael John LaChiusa’s See What I Wanna See at the Jermyn Street Theatre. Formally challenging and musically experimental, this modern musical is based on three short stories by Japanese writer Ryūnosuke Akutagawa, all circling around the elusive nature of truth and how faith and deception can shift and skew its perspective.
Set in Medieval Japan, the opening tale of Kesa and Morito is split in two, acting as a prologue to both acts as a pair of lovers come to the end of a tumultuous relationship. R Shomon fast-forwards to a film noir version of 1951 New York where a murder has been committed but multiple versions of what happened are muddying the picture. And in Gloryday, a disillusioned priest in 2002 New York sees a hoax snowball way out of his control. Continue reading “Review: See What I Wanna See, Jermyn Street”
“There are worlds that you’ve never dreamed of…“
Laura Tisdall’s self-penned musical The In-Between received the concept album treatment back in 2012 but has remained unproduced since then. An original story about 19 year old orphan Flick Wimple and the dilemma she faces when an unexpected move places her in the space between parallel worlds – The In-Between – and she’s given the choice to leave all her problems behind but at no small cost to the older sister who has raised her. Helping her on her way is Calicus, someone who has guided many along a similar path but sees something different in Flick.
Musically, it cleaves a little too close to the pop-rock genre for my personal taste. It’s also hard to replicate that sound effectively on disc and so the production can sometimes sound a little cheap, especially in the opening couple of tracks. That said, Dianne Pilkington and Cassie Compton bring a real sense of character to the feisty ‘She’s My Sister’. The more keyboard-based songs feel stronger – Lauren Samuels’ gorgeously evocative voice is an ideal fit for the stirring ‘Someone You’d Be Proud Of’ and as the song expands to an epic reach, it’s hard not to think she’d be a great Flick. Continue reading “Album Review: The In-Between”
“Learning to let go”
Just a quickie for this one-off – a fundraiser for the Make A Difference Trust of this late 1980s song cycle inspired by the AIDS memorial quilt. The original London production of Elegies for Angels, Punks and Raging Queens actually transferred to the Criterion – where tonight’s show was – from the King’s Head but it’s a little difficult to see how this production with its nearly 50-strong company could ever have been scaled down to fit into that Islington pub theatre. But given how the show is made up of individual songs and monologues, each inspired by a different panel on the quilt representing the life of someone who has died from HIV/AIDS, its inherent flexibility shows how it can take whatever form is needed.
Here, Stephen Whitson’s production takes on a new 21st century version of the book by Bill Russell, the updating of which has mixed results. Contemporary references clang a little awkwardly but there’s more of a problem in that neither the fast-moving world of medical advancements nor the changing nature of the epidemic itself are really reflected – the show is already a period piece in so many ways that it perhaps would be better to leave it that way rather than trying to chase a relevance that would be better served by a completely separate part two. Continue reading “Review: Elegies for Angels, Punks and Raging Queens, Criterion”
“Is everything alright Patrick?”
Third time round for this show, so little to add to my original review and then the subsequent brief re-review. One of my new year’s resolutions is to embrace seeing the shows I love more than once – there’s so much theatre in London and beyond that it has often felt like a crime to view things again rather than going to see something new and though that hasn’t changed, the joy of rewatching things recently has been particularly great. In that spirit, when a random cheap ticket popped up on the Almeida’s website, the prospect of seeing American Psycho again was irresistible.
Some pieces of theatre impress with the depth of their profundity, whilst others glisten with their immediacy, and American Psycho most definitely fits into the latter category. It’s almost like an extended music video with its 80s pop score, extraordinary visual impact and kinetic choreography (I’m on the lookout for a club in which people actually do that ‘hands in the air’ dancing) and the fast-moving pace of Rupert Goold’s production means its thrills are akin to the rush of a rollercoaster and for me, endlessly reconsumable.
Running time: 2 hours 40 minutes (with interval)
Programme cost: £5, and worth the purchase for its great content
Booking until 1st February, run sold out but day tickets and there’s often returns available on the website, checking late at night works
“You’ll see why Santa loves the snow”
It’s turning out to be quite the month for revisits of shows – I had a pair of tickets for American Psycho which I passed onto a friend after I was lucky enough to be invited to the press night, thinking it would be fairer to let someone else get to see the show as it was sold out. But after a drunken night out and some research on my phone, we discovered a few stray tickets (assumedly returns) were available for purchase on the Almeida’s website and after an evening of lemonades, my benevolence wasn’t quite so persistent…
My companion hadn’t seen it so I didn’t feel quite as guilty as I might have, and I really enjoyed the show so was looking forward to seeing it again, even after a relatively short interval. My thoughts from last time are here and so I’ll just concern myself with a few observations here. Matt Smith clearly loves an adlib, the revolve broke down again and he flirted a little with the stagehand trying to fix it; in the final number, it is actually Ben Aldridge doing a lot of the heavy lifting with the singing; and it really is impressive how effective Sheik’s score is in focusing almost entirely on setting the mood of the piece rather than furthering the narrative. Continue reading “Re-review: American Psycho, Almeida”