“Nothing stays in fifty years or so, it’s gonna change you know”
The thrills of Kander & Ebb’s iconic work Chicago became somewhat lost as the show grew into a stalwart long runner in London’s West End, turning to an unending procession of stunt casting moves to keep the crowds coming. But though I’m a great fan of the show, the temptation to go and see it again was never there, not even as it closed, the innate razzle-dazzle had gone missing. So the prospect of a brand new production at Leicester’s Curve Theatre, directed by Paul Kerryson and choreographed by bright young thing Drew McOnie, raised hopes that it might be back.
And boy is it ever. The Curve has been home to some excellent musicals during Kerryson’s tenure and Chicago is right up there with the best, as a vibrant recasting of the familiar elements of the show infused with a fresh vitality that literally sparks off the stage. Away from the faux glamour of the latest evictee from the jungle or fading Hollywood star, the focus on genuine musical theatre talent restores an integrity to the show which allows it Kerryson to really play up the viciously biting satire of sensation-hungry audiences which is as relevant today as it ever was. Continue reading “Review: Chicago, Curve”
I find it hard to resist certain things, and albums showcasing new musical theatre writing with all-star ensembles singing them have been a particular weakness for me this year. The latest temptation was Gareth Peter Dick’s debut album The Music Box which I liked the look of mainly because it was nice to see a rather different line-up of singers rather than the usual suspects lining up and names like Richard Dempsey, Laura Pitt-Pulford and Katie Rowley Jones got me to part with my money quite easily.
Dick is a Nottingham-based composer who has a range of diverse projects on the go: Ancient Egypt, Jack the Ripper and wartime dramas all seem to feature in shows, though I’m not sure how widely they’ve been produced and his was a new name to me. But one I was instantly intrigued by and could well be one to look out for. His rather eclectic musical palate takes in driving power ballads, Gothic pop numbers and some atmospheric instrumental pieces and creates an album that is undeniably a tiny bit insane, but really rather entertaining with it. Continue reading “CD Review: The Music Box – the music and songs of Gareth Peter Dicks”
“So sweet and soft and gentle,
My favourite Oriental”
The Union Theatre have definitely identified their niche in London’s cluttered theatre landscape: small-scale revivals of musicals that might otherwise have languished in obscurity with productions that are big on ambition. The latest show to get the Union St treatment is Dames at Sea, a 1966 parody of 1930s musicals with book and lyrics by George Haimshon and Robin Miller and music by Jim Wise which much like The Drowsy Chaperone, grew from its beginnings as a short sketch into a full show.
Though it was entertaining enough, I couldn’t help but feel that this was the Union treading water rather than blowing our socks off with something great. The piece itself is a show about putting on a show – it feels like they all are at the moment! – the cast of a musical have to find a new venue as their theatre is being pulled down but the arrival of a ship full of sailors with connections to the chorus offers a solution. Stuffed full of clichés from the small-town girl arriving on Broadway with nothing but her dreams, the big diva who then feels threatened, the sailor who just happens to be an amazing songwriter, chance meetings with former partners a-plenty, the list goes on… Continue reading “Review: Dames at Sea, Union”
“I concluded from your airs and manners that you were bred in Tufnell Park”
The Kissing-Dance is a Howard Goodall musical with lyrics and book by Charles Hart which is based on the 18th Century Oliver Goldsmith classic comedy She Stoops To Conquer. Set over one long night in Nonesuch, somewhere in the English countryside on All Fools’ Eve, it’s a story of comic misunderstandings as a London suitor is fooled into believing his prospective father-in-law’s house is an inn by the cheeky Tony Lumpkin, causing his intended to test his honour with her own scheme to foil her mother’s plans for her, whilst other secret affairs are revealed, missing family jewels cause consternation and general mayhem ensues until the sun finally rises again.
Following on from the well-received but prematurely-closed Love Story, The Kissing-Dance reveals a slightly more playful side to Goodall’s composing, embracing an English pastoral influence which allied to the wit of much of Hart’s lyrics, makes this really quite a sprightly affair. There are moments that feel almost like Gilbert & Sullivan, especially in the multi-layered finale to Act 1 with its many counterpointed melodies creating a harmonious delight. It wasn’t always so successful though, the title song feeling a little out of place with the rest of the show and not helped by being sung by the servants oddly, a small thing but still a bump in an otherwise smooth ride. Continue reading “Review: The Kissing-Dance, Jermyn Street”