“I know who you are and I know why you’re here”
On the face of it, Tim Prottey-Jones’ debut album More With Every Line ought to have been a no-questions-asked slam-dunk of a success with me, following on from other new musical theatre writers with star-studded line-ups on their albums – Michael Bruce and Lance Horne springing immediately to mind. Yet something about it didn’t quite work for me and after repeated listens, it still hasn’t emerged as an album that I am particularly fond of.
Prottey-Jones is a young composer, a drummer and guitarist as well as a singer, and this album is made up of songs taken from two musicals that are currently in development with his co-librettist and lyricist Robert Gould – After the Turn and Once Bitten. And it is these two points between them that I think are shaping my opinion. The music is largely pop/rock which really just isn’t my thing at all and as these are shows in development, this is music which hasn’t necessarily been much exposed to the rigours of external ears. Continue reading “CD Review: Tim Prottey-Jones – More With Every Line”
As May is my birthday month, and this year brings with it a particular milestone (30!), I decided that I would treat myself to as many shows as I could manage, and I could not imagine not managing to squeeze in at least one of the long-running musicals that form the bedrock of much of London’s theatreland. Having already seen Joseph twice this year, my thoughts turned to Les Misérables, and lastminute.com duly obliged with some half-price tickets. Les Mis is up there with Joseph in terms of having seen many, many productions, I think this was show number 11 for me, and yet I never tire of it.
Based on the Victor Hugo novel by Alain Boublil, and with music by Claude-Michael Schonberg, it follows the lives and loves of a group of characters on the fringes of society in revolutionary France, les misérables or the unfortunates. The number of characters may seem quite bewildering, but their stories incresingly intertwine, and the beauty of the play is that it deftly moves from the personal to the political and back again, thereby keeping the interest fresh and covering so many different aspects of human emotion as we flick from intimate love stories to revolutionaries preparing for battle to personal quests for revenge time and time again. Continue reading “Review: Les Misérables, Queens”