Andrew Lloyd Webber marks his 70th birthday with a new musical anthology – Unmasked: The Platinum Collection – taking in shows new and old with some surprises along the way (Beyoncé, Lana del Rey, Duncan from Blue )
“Oh what a circus, oh what a show”
Upon reaching 70 this year, Andrew Lloyd Webber is clearly in a reflective mood and hot on the heels of his autobiography Unmasked released last week, comes this new compilation album Unmasked: The Platinum Collection. Available physically as a 2CD or 4CD version (the latter with a 40 page book of liner notes and tributes), this collection looks back on a career spanning nearly 50 years and features some new twists on the material as well as reminding us of the old favourites.
Over the four discs, 17 of Lloyd Webber’s shows are represented here (Jesus Christ Superstar tops the list with 8 tracks, Evita and Phantom just behind), alongside assorted one-off songs (such as ‘Amigos Para Siempre’ from the 1992 Barcelona Olympics, the Gary Barlow co-write ‘Sing’ from the Queen’s Diamond Jubilee). But for ALW fans it will be the unreleased stuff that makes the mouth water – five new orchestral suites and a smattering of new recordings featuring the likes of Lana del Rey (a winsome ‘You Must Love Me’ and Gregory Porter (a spirited ‘Light At The End Of The Tunnel’. Continue reading “Album Review: Andrew Lloyd Webber Unmasked: The Platinum Collection”
In celebration of his 70th birthday this March, new compilation ANDREW LLOYD WEBBER: THE PLATINUM COLLECTION will be available March 16th through UMC / Polydor.
The collection is personally curated and overseen by Lloyd Webber to include classics from his earliest work starting with 1968’s Joseph and the Amazing Technicolor Dreamcoat through his most recent School of Rock.
Newly recorded songs from superstar artists Nicole Scherzinger (“Memory”, Cats), Gregory Porter (“Light at the End of the Tunnel”, Starlight Express) and Lana Del Rey (“You Must Love Me”, Evita) add to the collection of his cherished works from the past five decades.
The set also contains recordings by world-class performers such as Barbra Streisand, Madonna, Michael Crawford, Sarah Brightman, Michael Ball, and released for the first time, Beyonce singing “Learn To Be Lonely” from the 2005 Academy Awards with Lloyd Webber accompanying on piano.
UNMASKED: THE PLATINUM COLLECTION is available as 2 CD and 4 CD editions. The 4-disc version contains an exclusive 40-page book with a personally penned introduction from Lloyd Webber and more in-depth notes on each track, written by respected theatre critic and Lloyd Webber biographer Michael Coveney, together with personally written tributes from Barbara Streisand and Glenn Close among others.
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Continue reading “Andrew Lloyd Webber celebrates 70 years with ‘Unmasked: The Platinum Collection’”
“You’re a blockbuster buster”
It’s been five years since the Menier’s glorious revival of Sweet Charity so London has been waiting a wee while for the misadventures of Charity Hope Valentine to return to our stages but with this semi-staged concert version at Cadogan Hall, it’s been largely worth the wait. A cast led by Denise Van Outen, the Royal Philharmonic Concert Orchestra, and an ensemble of bright young things from ArtsEd Ensemble combine to joyous effect and with barely a week’s rehearsal, it’s all the more impressive for that.
Van Outen makes a great Charity, infusing a wonderfully wry sense of humour into her demeanour which cleverly reinforces her indefatigable spirit. Supremely confident vocals and a smooth move or two in Matt Flint’s choreography make her a constant joy to watch and one could well imagine her nailing the role in a full-blown production too, especially if she were joined by Michael Xavier as the various men she encounters. Never mind the frozen peaches and cream, HE’S the stuff of dreams whether the appealing nerdishness of Oscar or the hapless lothario that is Vittorio, his lusciously rich voice undoubtedly one of the best in British musical theatre. Continue reading “Review: Sweet Charity in concert, Cadogan Hall”
“Give me time to realise my crime”
Sometimes you can step around the difficult bits of a show to appreciate what works, give it the benefit of the doubt if you like, but Denise Van Outen’s one-woman show Some Girl I Used To Know left me so frustrated, annoyed even, that any sense of benevolence has gone right out of the window. Van Outen is a talented performer – I enjoyed her Tell Me On A Sunday though the less said about Rent Remixed the better for everyone concerned – but it is hard to see what she’s really trying to achieve here with this self-penned show (co-written with Terry Ronald) which arrived at the Arts Theatre after a UK tour.
On the one hand, there’s a tiresome, paper-thin monologue about a successful businesswoman who is thrown into a tailspin when a Facebook poke from her first love makes her realise just how unhappy she is in her relationship. And on the other there’s an 80s/early 90s jukebox show which revisits her formative years in Essex. For me though, neither one works satisfactorily. The book focuses on comedy of the lowest crudest denominator (of course she’s a lingerie designer) and none of the three characters are ever allowed to develop to the point where any of them might seem like vaguely realistic people who could ever be in a relationship. Continue reading “Review: Some Girl I Used To Know, Arts Theatre”
THE SPOTLIGHT BEST ACTRESS IN A PLAY
Zoe Wanamaker – All My Sons at the Apollo
Helen McCrory – The Late Middle Classes at the Donmar Warehouse
Jenny Jules – Ruined at the Almeida
Kim Cattrall – Private Lives at the Vaudeville
Nancy Carroll – After the Dance at the National, Lyttelton
Tracie Bennett – End of the Rainbow at Trafalgar Studios
THE SPOTLIGHT BEST ACTOR IN A PLAY
David Suchet – All My Sons at the Apollo
Benedict Cumberbatch – After the Dance at the National, Lyttelton
Matthew Macfadyen – Private Lives at the Vaudeville
Rory Kinnear – Hamlet at the National, Olivier & Measure for Measure at the Almeida
Simon Russell Beale – Deathtrap at the Noel Coward & London Assurance at the National, Olivier
Toby Stephens – The Real Thing at the Old Vic Continue reading “2011 What’s On Stage Award nominations”
“Ohmigod youguys! Ohmigod!”
So after an impromptu visit to see Legally Blonde a couple of weeks ago as a favour to a friend, my scheduled return to the show took place this weekend in order to see how the new cast members are settling in, with the first major cast change since the show opened. Since I saw it so recently (and I saw so much this week too…), I’m linking to my thoughts on seeing it again here instead of repeating them: this post will focus mainly on the newbies.
Simon Thomas has taken over as Wagner, which marks a change from casting a more famous name in this role as has been done previously despite it not really being a major role at all. I remember being surprised first time round at how little the character is featured in the show, given that Duncan James’ face was plastered all over the publicity. He does well in what is quite a thankless role really, but I did enjoy his performance and his handsomeness definitely helps! Carley Stenson did well as Margot with a more endearing and sweet take on this girl, having already developed a great chemistry with the other Delta Nu girls but Siobhan Dillon just exudes confidence as Vivienne, seeming as if she’s been in the ensemble for ages with a great performance both acting-wise and in her singing, especially that whopper of a note in the Legally Blonde Remix at the end. Continue reading “Review: Legally Blonde The Musical (cast change), Savoy Theatre”
Many a musical has received a facelift, but none quite so dramatic or misguided as Rent Remixed, setting up shop at the Duke of York’s. William Baker (director) and Steve Anderson (musical arranger) are perhaps better known as part of the creative team behind Kylie Minogue but are responsible here for reinterpreting Jonathan Larson’s much loved Rent for a younger generation.
The original itself is a rough reworking of La Bohème, celebrating the lives of a group of sexually ambiguous, bohemian New Yorkers, eking out a living on the breadline and devastated by the arrival of HIV and AIDS. And whilst this is ostensibly the same show, the process of ‘remixing’ has ended up with curious results. Continue reading “Review: Rent Remixed, Duke of York’s”
Tell Me On A Sunday is a funny beast, not quite a full musical, more of a song cycle as it has now been divested of its other dance-based half in its original form as Song & Dance to create this vehicle for Denise Van Outen. Andrew Lloyd Webber’s music and Don Black’s lyrics have now been blessed with updated new material from comedian Jackie Clune, showing that broken hearts and disappointments are still just as easy to come by, if not more so, in the 21st century.
Our leading lady is a girl from Ilford who, when she discovers her boyfriend is cheating on her, relocates to New York for a fresh start and a whole new set of men to be unlucky in love with as time and time again, she find the perfect guy, tells everyone back home about him and then it goes pear-shaped. The set is on a revolve with an ever-changing set of props that evoke the range of locations, helped by projections onto the walls, as we move from England to the USA, from date to date, from New York to LA. It fills the stage well, but there is the ever-present nagging sense that the material here is paper-thin. There’s no real attempt to make its leading lady anything more than a dumb blonde, or show any real depth to her, any sense of her learning from her mistakes. Like the Duracell bunny, she just gets back up and keeps on going same as before.
Consequently it needs star quality to deliver it some weight and fortunately Van Outen rises to the challenge in a star-making performance. Vocally, she is strong at everything: the anger of Let’s Talk About You, the tenderness of Come Back With The Same Look, the playfulness of Capped Teeth and Caesar Salad and best of all, a hushed version of Unexpected Song which is probably the loveliest thing I have heard all year. She really controls the stage well though, taking us through the ups and downs and more downs of her romantic life and remaining utterly convincing throughout. She really sells the whole damn thing and deserved the wild reception when the curtain finally came down.
So can I recommend this to people? I am really not sure. If you like Lloyd-Webber’s stuff and/or Denise Van Outen, then this will be perfect for you as it involves someone at the top of her game delivering the goods superbly. For casual viewers though it might be too much of an ask and at these ticket prices, it is too slight and insubstantial a piece to justify what they are charging, no matter the quality.