“Part of me is saying I should go”
Like many others, I imagine, I did not leave Stephen Ward thinking I particularly want to hear this score by Andrew Lloyd Webber again anytime soon and so three years later, this is the first time I’ve revisited this musical. And as the strange melody of opening number ‘Human Sacrifice’ started, I began to wonder if I’d been overly harsh, Alexander Hanson’s story-telling experience imbuing this prologue of sorts with real interest and setting me up for a potential reimagining of my opinion.
But then track number 2 ‘Super Duper Hula Hooper’ kicks in, that title makes me die a little inside every time I hear it, and you soon begin to realise why the show barely managed 4 months in the West End. Lloyd Webber may have been a teenager in the 60s but he’s looking back at them like a man in his sixties, the air of rose-tinted corrective lenses and musical tweeness proving fatal to conjuring any kind of authentic sense of the period. Continue reading “Album Review: Stephen Ward (2013 Original Cast Recording)”
“Manipulation, that’s the technique,
This conversation must not leak”
It’s a curious thing, to take a relatively obscure figure, base a musical on him that is then named after him, yet leave a vacuum where his central presence ought to be the driving force. For all that Andrew Lloyd Webber, Don Black and Christopher Hampton place the character of Stephen Ward at the centre of Stephen Ward the Musical, he remains far too inscrutable, far too unexplored for us to buy into the main premise of the show which is that Ward, who committed suicide after being made the scapegoat for the Profumo scandal of 1963, is a tragic victim of Establishment hypocrisy.
But for all Alexander Hanson’s sterling efforts as the osteopath-turned-social fixer who engineered the first meeting of Secretary of State for War John Profumo and wannabe showgirl Christine Keeler, the show suffers from making him narrator as well as protagonist. So he is lumped with huge swathes of exposition, made increasingly worthy due to a slavish attention to real-life events, as a huge cast of characters flash by momentarily in the service of telling a story, but leave us none the wiser as to what Ward was like as a person, what motivated him, what moved him. Continue reading “Review: Stephen Ward The Musical, Aldwych”
“I invented a new way of lie, some might call it unconventional,
All that stuffy post-war Englishness, I liked something more consensual”
With such a busy couple of weeks, I’ve only just gotten round to having a listen of the sneak preview of four songs offered at the launch of Andrew Lloyd-Webber’s new musical Stephen Ward. I was prompted by an offer to download two of them for free (for a limited time only) but you can also listen to them online and/or watch the videos below. The story is undoubtedly a little niche, exploring the 1963 Profumo scandal from the point of view of Ward who was smack bang in the middle of it, he being the one who introduced MP John Profumo to Christine Keeler and setting in motion events that rocked the government.
As for the music, there’s something rather endearing about Lloyd-Webber’s continued contributions to British musical theatre, he could so easily have decided to retire yet he carries on writing to the beat of his own drum, safe in the knowledge that a devoted fanbase will lap it up. Unsurprisingly, the four songs previewed do not reveal any major change in direction and so it will be interesting to see if the show is able to transcend the attentions of musical theatre devotees and appeal to a wider audience. Joanna Riding’s simple ballad ‘Hopeless When It Comes To You’ is the pick of the bunch but Alex Hanson, playing Ward himself, runs her close with the sinuous storytelling of ‘Human Sacrifice’. Continue reading “Preview: Stephen Ward The Musical”