I revisit long-runners The Mousetrap, Les Misérables and Wicked, and come to a decision (of sorts) about the future of this blog
“Here’s to you and here’s to me”
Well 2019 has been an interesting year so far and one full of significance – I’ve turned 40, this blog has turned 10 and it’s all got me in a reflective mood. Personally, professionally, is this what I want to be doing? Do quote a Netflix show I haven’t even seen, does all this bring me joy…? Over the last couple of weeks, I’ve revisited a few long-running shows in the West End to consider what cost longevity.
The longest running show in the West End is The Mousetrap – 66 years old with over 27,000 performances and their answer to keeping going is to not change a single bit – has the show even ever cast a person of colour? My limited research suggests not… On the one hand, it’s a policy that does seem to have worked and that record is a mighty USP, although does the number of empty seats at the St Martin’s that afternoon suggest a waning of interest finally? Continue reading “Blogged: long-running shows and long-running blogs – what does the future hold”
A trio of West End cast recordings (well, one’s off-West-End…) show that it is sometimes hard to recapture the stage magic
Starting off with the best of this bunch, the Southwark Playhouse’s production of Working might not have seemed like the obvious choice for a cast recording but maybe the lure of a couple of new Lin-Manuel Miranda tracks was a real sweetener.
Truth is, it is the quality of the cast’s performances that make this a fantastic addition to the list of albums you need to hear. From Siubhan Harrison’s impassioned ‘Millwork’ to Dean Chisnall’s gleeful ‘Brother Trucker’, and the highly charismatic Liam Tamne nails both of Miranda’s contributions – the wilful ‘Delivery’ and a corking duet (with Harrison) on ‘A Very Good Day’.
Experience pays though, as Gillian Bevan and Peter Polycarpou take the honours with some scintillating work. The latter’s ‘Joe’ is beautifully judged, as is the former’s ‘Nobody Tells Me How’, both demonstrating the uncertainty that can come at the end of a long career, when retirement doesn’t necessarily hold the joyful promise it once did. Highly recommended. Continue reading “Album reviews: Working / Bat out of Hell / 42nd Street”
“You may be 13 but you’re still an adolescent boy”
After premiering at the Curve Theatre in 2015, Pippa Cleary and Jake Brunger’s musical adaptation of Sue Townsend’s tale of Leicester’s most famous teenager has undergone its own version of puberty, re-emerging at the Menier Chocolate Factory for the summer. And those growing pains seem to have been worth it as The Secret Diary of Adrian Mole Aged 13 ¾ has matured beautifully, a powerful example of how musicals need to be allowed to develop, resulting in this case in a fantastic new British musical.
Luke Sheppard’s production certainly benefits from the intimacy of the South London venue but where it now excels is in its emotional intensity. The scenes between Adrian (played by Ilan Galkoff at this performance) and his mother Pauline, an achingly superb Kelly Price, are just heart-breaking, as he struggles to realise just how far her women’s lib-inspired independence will take her from him. I was reminded that reading this book was in fact was one of the main ways I learned about divorce and that scarce comprehension is captured perfectly here. Continue reading “Review: The Secret Diary of Adrian Mole Aged 13 ¾, Menier Chocolate Factory”
Composers who put together albums of their songs, especially if they are up and coming talent who haven’t necessarily had a breakthrough show yet, are often in something of a bind. Do you go for as diverse a selection of your material as you can find or do you concentrate on showcasing your strengths – both approaches have their merits and their disadvantages and I don’t personally think there is any easy, or right answer. Act One – Songs from the musicals of Alexander S Bermange is probably closer to the latter option and sure enough, it has its strengths and its weaknesses.
Bermange has quite a list of credits to his name but has arguably yet to really mark his mark on the London scene. I only really became aware of him recently when his show Thirteen Days had a small run as part of this year’s Arcola’s Grimeborn Festival. As a musical treatment of the Cuban missile crisis, it was a work of mixed qualities, not always entirely successful but one which equally showed intriguing promise, not least in the firmly old-school manner of rousing song-writing. And that is what comes across most clearly in this collection, which bypasses the post-Sondheim school to cleave closer to the likes of Schwartz and balladeer. Oh, and it features a simply sensational cast of sheer quality. Continue reading “CD Review: Act One – Songs from the musicals of Alexander S Bermange”
I haven’t done many reviews of soundtracks to shows since starting to cover CDs on here, focusing more new writing and solo albums from MT performers, but I don’t know why not as I listen to them just as much. The first I’ll cover will be the OLCR of the 2006 revival of Tim Rice and Andrew Lloyd-Webber’s Evita, a production which revitalised this stalwart of a show in a way that I didn’t think possible and introduced me, and the rest of London’s theatregoers, to the glories of Argentinean star performer Elena Roger.
The soundtrack, edited highlights rather than the full score, captures much of what made that production so vibrant so that it doesn’t really matter that we don’t have any of the striking visuals and choreography that accompanied this Latin American infused remounting. The orchestrations have been totally refreshed in line with this re-envisioning and with Roger’s singing leading the company, there’s just a greater sense of authenticity about the whole shebang. Continue reading “CD Review: Evita 2006 London Cast Recording”
“An Ogre always hides, an Ogre’s fate is known, an Ogre always stays in the dark and all alone”
I hadn’t originally intended to go to Shrek The Musical, certainly not this early in the run, never having seen the films and having a somewhat mixed reaction to the lead casting. The Nigels, Lindsay and Harman, intrigued me but Amanda Holden (I’ve never seen Britain’s Got Talent either) and Richard Blackwood did not appeal. But when an offer appeared on the show’s Facebook page, for £40 tickets at the front of the Upper Circle at a ridiculously cheap price of £15, I snapped up a pair as a birthday treat.
A big-budget production of the show had a relatively short run of just over a year on Broadway but a much-revised version went out on tour across North America last year and it is a copy of this scaled-down production that is now previewing in the Theatre Royal Drury Lane, directed by Rob Ashford and Jason Moore. It has a book and lyrics by David Lindsay-Abaire (also writer of the harrowing Rabbit Hole – talk about diversity!) and music by Jeanine Tesori, and according to my lovely companion for the evening, it cleaves very closely indeed to the first film in the franchise, right down to the same jokes being repeated. This is a review of an early preview, indeed there’s about a month of preview performances, so do bear that in mind as I have. Continue reading “Review: Shrek The Musical, Theatre Royal Drury Lane”
I hadn’t originally intended to get a ticket to see Phantom: Love Never Dies, being appalled at the ticket prices when it was announced, but when the National Lottery gods smiled on me and I got four numbers and £64 (the price of a middle stalls tickets plus booking fee) I decided to take the plunge to see if indeed love never dies or whether I needed a defibrillator in my manbag.
It has been billed as a stand-alone story, ie not a sequel despite the strapline being ‘the story continues’… and most of the main characters being taken from Phantom of the Opera, the only new addition amongst the leads is Gustave, Christine’s 10 year old son. The action here takes place ten years after the events of Phantom, the masked man having fled to New York and set up a fairground/freakshow at Coney Island called Phantasmaland. Madame Giry and daughter Meg travelled with him, Meg being one of the performers in the show and looking to make it big in showbusiness through being showcased here.
However, Phantom anonymously invites Christine Daaé to come and sing at this prestigious new venue, an offer she is forced to accept as husband Raoul is now a heavy gambler, and a drunk. So they arrive in New York with son Gustave, and it soon becomes apparent that there’s more than just singing on the menu, as secrets and lies from the past rear their head, long-suppressed feelings rise to the fore and frustrated ambitions boil over with shocking results. Continue reading “Review: Phantom: Love Never Dies, Adelphi”