Live At Zédel, Soho’s unique live entertainment concept at Crazy Coqs, announces their new 2018 summer season produced in partnership with Fane Productions
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”
“The feelin’ is gettin’ so intense”
Nick Hytner’s production of Carousel began life at the National Theatre at 1992 and was such a success that it transferred into the West End the next year, albeit without its entire original cast. So this recording does not feature the likes of Patricia Routledge and Janie Dee which is sad, but it did retain the incomparable Joanna Riding who delivers the kind of performance as Julie Jordan that should rightfully be lauded for aeons.
Frankly, it pisses all over Katherine Jenkins’ efforts (Michael Hayden’s Billy isn’t particularly fantastic but I’d still take him over Alfie Boe), speaking as it does to the darker side of Rodgers and Hammerstein’s musical, which Hytner was one of the first to really emphasise. Riding is superb from start to finish and in a treasure trove of riches, it is the rendition of ‘What’s the use of Wond’rin” that really blows you away. Continue reading “Album Review: Carousel (1993 London Cast Recording)”
“You are a curiosity”
American versions of Shakespeare (whether his plays or the man himself) are always worth looking up, even if only for a chuckle and new TNT TV series Will is certainly no exception. There’s some weight behind it – it was created by Craig Pearce, the longtime writing partner of filmmaker Baz Luhrmann and has Shekhar Kapur, who directed the award-winning Elizabeth and Elizabeth: The Golden Age, directing and executive producing and in the role of the Bard himself, there’s a potentially star-making role for British newcomer Laurie Davidson.
I watched the first two episodes and they sure make an arresting introduction. You feel Luhrmann’s influence almost immediately as this is no antiquated version of a sedate Elizabethan London, but rather it is one shot through with bright colours and a punk-filled attitude. Literally so, as they have conceived the burgeoning theatre scene of the time as being akin to the contemporary(ish) world of punk rock – theatres filled with patrons in leather and mohicans, the soundtrack filled with the Clash and drunken singalongs to Lou Reed. Continue reading “TV Review: Will, Episodes 1 + 2”
“Donna Noble has left the library. Donna Noble has been saved”
And here we are, my favourite series of Doctor Who. So much huge wonderfulness and even its less good moments are still more than halfway decent. Key to the series’ success is Catherine Tate’s Donna Noble – gobby and one-dimensional in her introductory episode the Christmas special The Runaway Bride, her character journey throughout this season is magisterially constructed, a true awakening of self (with thankfully no romantic inclinations towards our Time Lord) and one given unbearable poignancy due to its frustratingly tragic end.
It’s also one of the best constructed series in terms of its over-arching season arc, its warnings and clues layered meaningfully into several stories and building into a momentous and properly climactic finale, which lands just about the right level of grandiosity. There’s also the first companion-lite episode (the superbly creepy Midnight) to go with the Doctor-lite one (the achingly beautiful dystopian Turn Left); a typically brilliant Moffat double-header in Silence in the Library and Forest of the Dead with gorgeous work from Alex Kingston as the soon-to-be-hugely-significant River Song; and if the return of Rose undoes some of the emotional impact of the Series 2 finale, Billie Piper’s work is spikily powerful. These are episodes I can, and have, watched over and over again.
“Tale as old as time”
It’s taken me a little time to get round to writing this review, which is rarely a good sign, as I was struggling for anything entirely constructive to say about this film. The 1991 animated Beauty and the Beast was Disney close to its best but these days, nothing is left alone if it has even the merest hint of cash cow about it. So it has previously hit the stage as a musical and following the success of Kenneth Branagh’s Cinderella, it now has a cinematic live-action remake.
Which is all fine and good but just because you can do something doesn’t mean you should. And at no point does Bill Condon’s film ever convince us that the world needed this version of Beauty and the Beast, there’s rarely any sense of it bringing something new and insightful to the story. Plus the contortions it (and star Emma Watson) has had to make to try and convince of its feminist credentials scarcely seem worth it in the final analysis. Continue reading “Film Review: Beauty and the Beast (2017)”
“How could anyone be gloomy and depressed?
We’ll make you shout ‘encore!'”
The live action remake of Beauty and the Beast will be arriving in cinemas on 17th March but should you be so inclined, you can listen to the film’s soundtrack here on YouTube, other digital platforms or buy the album from wherever it is that records are sold near you. Alan Menken and Howard Ashman’s music and lyrics will be intensely familiar to fans of the original Disney film but after director Bill Condon decided not to include any of the songs that were written for the musical with Tim Rice, Menken composed a number of new songs for this film which ought to pique the interest of any right-thinking musicals fan.
None of the old-school classic feel of the music has been lost in this recording, which was a great relief to me, and its new twists on these old songs are certainly interesting. I really enjoyed Josh Gad and Luke Evans’ freshly comic take on ‘Gaston’ and though Emma Watson is no out-and-out singer, she gives a sweetly decent account of herself. Emma Thompson has perhaps a trickier job in tackling the iconic legacy of Angela Lansbury’s Mrs Potts, her accent choice is somewhat distracting but once you’re accustomed to it, the lushness of the orchestrations make the title track spine-tingling and ‘Be My Guest’ is immense fun as Ewan McGregor, Gugu Mbatha-Raw and Ian McKellen chip in too. Continue reading “Album Review: Beauty and the Beast (2017) – Original Motion Picture Soundtrack”
In advance of Beauty and the Beast opening in cinemas across the UK next Friday, here’s just a few of the clips floating around to give you a taste of the live action in action.
“He said, I’ve bought you a selfie stick. I said, do I have to do everything myself?”
I haven’t booked much Christmas-themed theatre this year in an attempt to try and reclaim a bit of a social life but also because I do find it quite hard to write reviews about pantomimes. By and large I’ve been quite lucky in the few I’ve been to in recent years, sticking to the venues who know what they’re doing (Hackney Empire, Lyric Hammersmith, New Wimbledon) but even with this logic, my fingers were burnt a little with this year’s first festive foray.
Marking Susie McKenna’s 17th panto for the Hackney Empire, Jack and the Beanstalk is a raucous, rambling affair indeed, but one blessed with the return of Clive Rowe as the Dame, the actor famed at the only one to win an Olivier for panto. And I have to say that the audience around us were largely loving the whole thing which is kind of the whole point, even if you’re bribing the kids with handfuls of free sweets (it’s only like giving critics drinks vouchers for the interval ;-)) Continue reading “Review: Jack and the Beanstalk, Hackney Empire”