Review: Hello Harry! A Celebration of 40 Years at Stage Door

Just a quickie for the infusion of pure joy that was Hello Harry! A Celebration of 40 Years at Stage Door

Amid the constant shower of shit that passes for news about theatre at the moment, this online concert to celebrate the incredible 40 year career of Harry Gabriel, the Shaftesbury Theatre’s Stage Door Keeper, was an absolute ray of sunshine.

Put together by Giles Terera, the guest list was truly astonishing, featuring a veritable who’s who of the theatre world, all connected one way or another with Harry through the 40 years of shows he has seen pass through the Shaftesbury Theatre. Continue reading “Review: Hello Harry! A Celebration of 40 Years at Stage Door”

CD Review: Mamma Mia (Original Cast Recording 1999)

“It’s the best I can do”

It’s easy to be dismissive about Mamma Mia and all it has wrought in revitalising the jukebox musical as a form but the numbers don’t lie. 17 years and counting in the West End, the 8th longest running show on Broadway (it occupies the same position on the UK ranking at the moment too), a wildly successful film adaptation that became the highest grossing musical ever…it’s impressive stuff.

And listening to the Original Cast Recording from 1999, subsequently re-released with bonus tracks for the 5th anniversary, I’d say it’s fairly easy to see why it has endured so long. For all you may mock Catherine Johnson’s book, which hangs oh so lightly on a varied selection of Benny Andersson and Björn Ulvaeus’ iconic music for ABBA, it actually does interesting things with it, in telling its own story rather relying on the songs themselves (I’m looking at you Jersey Boys…!)

So to say you’re better off listening to ABBA’s greatest hits is to miss the point. As light as the plot may be in its girl-wants-father-to-walk-her-down-the-aisle-but-finds-there’s-three-potential-candidates frothiness but there’s something genuinely tender in hearing ‘Chiquitita’ repurposed for two friends comforting a third, maternal lament ‘Slipping Through My Fingers’ actually sung between mother and daughter, the stag v hens vivacity of ‘Lay All Your Love on Me’.

And yes, they sound different to the originals, of course they do with a full orchestra and chorus to back them up, not to mention the lack of Swedish accents. This recording is a little blessed too in having the film’s soundtrack with its interesting casting choices to easily surpass, but that’s not to take away from the delightful vocals of Louise Plowright, Jenny Galloway, and Siobhán McCarthy as the leading trio, the latter’s Donna a fabulous leading lady from heartbreak to happiness.

Plowright’s cougarish ways enliven ‘Does Your Mother Know’ no end and Galloway’s equally predatory stance toward Nic Colicos’ Bill in ‘Take A Chance on Me’ is a delight. Lisa Stokke’s Sophie, the bride-to-be is charm personified and in keeping with the show’s female-friendly ethos, her intended – Andrew Langtree’s Sky – is somewhat sidelined. For me, ‘Our Last Summer’ has always been one of my favourite ABBA songs and remains so here, ruefully sung by former rocker Harry, an appealing Paul Clarkson, and McCarthy with a gentle loveliness that seems to stand in for the show as a whole.

Review: Merrily We Roll Along, Queens Theatre

“Feel the flow, hear what’s happening”

As part of the ongoing Sondheim birthday celebrations, the Donmar Warehouse is staging concert versions of two of his shows which have previously played at the theatre, but using the larger space of the Queens Theatre on Shaftesbury Avenue. The first one was Merrily We Roll Along, the 1981 show with music and lyrics from the man himself and book by George Furth, and this performance saw 12 of the original 15 members of the original Donmar Warehouse production from 2000 reunited on the stage.

The show covers two decades in the life of three friends but tells the story in reverse, starting with Franklin Shepherd a and works back in time to show how his professional and personal relationships, especially with collaborator Charley Kringas and confidante Mary Flynn, developed and changed as his success grew. And where this show really shone was in the superlative strength of the central trio: Julian Ovenden as the smooth-voiced and piano-playing Franklin was excellent in tracing the journey from jaded bitterness back to youthful idealism, Samantha Spiro was simply fantastic as the ever-constant Mary whose professional success can’t hide her personal disappointment at her unrequited love for her friend and Daniel Evans’ silver-voiced and nicely comic Charley was delightful. Anna Francolini also deserves a mention with a brilliantly judged acerbic performance as Gussie, Frank’s second wife. Continue reading “Review: Merrily We Roll Along, Queens Theatre”