“These are my emotions
Mine alone to keep”
Some things age well. Music produced in the 90s is not often one of them, and so it is true of the Original London Cast Recording of Fame The Musical. The musical was actually written in the 80s, premiering in Miami before getting its first major production in the West End at the Cambridge Theatre in 1995. Following the hopes and dreams of a scrappy group of drama school brats at the New York High School of Performing Arts, and between the film and TV show, it’s a well-worn story but one told well.
The main problem is that Steve Margoshes’ score really isn’t that strong, failing to come up with anything that is polished and assured as the Michael Gore-penned title song which, to be fair, is a solid-gold pop banger. The Paula Abdul-tinged ‘Let’s Play A Love Scene’ comes closest for me and elsewhere, there’s not much in the way of memorable music, plus Jaques Levy’s lyrics have dated badly, always a problem when trying to be au courant, and David Beer’s musical direction also can’t help but show its age in aiming for a contemporary rock sound. Continue reading “Album Review: Fame (1995 Original London Cast Recording)”
“Life has dropped you at the bottom of the heap”
For many people, myself included, it is nigh on impossible to approach a film version of stage behemoth Les Misérables with a blank slate. It’s been a mainstay of the musical theatre world since its 1985 London debut – it is most likely the show I have seen the most times throughout my lifetime – and after celebrating its 25th anniversary with an extraordinarily good touring production, has been riding high with a revitalised energy. So Tom Hooper’s film has a lot to contend with in terms of preconceptions, expectations and long-ingrained ideas of how it should be done. And he has attacked it with gusto, aiming to reinvent notions of cinematic musicals by having his actors sing live to camera and bringing his inimitable close-up directorial style to bear thus creating a film which is epic in scale but largely intimate in focus.
In short, I liked it but I didn’t love it. I’m not so sure that Hooper’s take on the piece as a whole is entirely suited to the material, or rather my idea of how best it works. Claude-Michel Schönberg’s score has a sweeping grandeur which is already quasi-cinematic in its scope but Hooper never really embraces it fully as he works in his customary solo shots and close-ups into the numbers so well known as ensemble masterpieces. ‘At The End Of The Day’ and ‘One Day More’ both suffer this fate of being presented as individually sung segments stitched together but for me, the pieces never really added up to more than the sum of their parts to gain the substantial power that they possess on the stage. Continue reading “Film Review: Les Misérables”
“He has magic fingers”
Before it came to an untimely end, the cast of Betty Blue Eyes were able to put down their vocals for an official live cast recording which provides something of a legacy for this Stiles + Drewe show. I went to see the show two times – reviews here and here – and loved it on each occasion as a fine exponent of a truly British new musical, but I have to admit I didn’t race to buy the soundtrack when it was first released. Part of it was due to the free taster CD that was released with the Evening Standard one Friday afternoon which meant I already had just under half the songs and though I enjoyed listening to it a couple of times, it was not one to which I returned.
Though I found it to be musically a very strong show, for some reason it doesn’t quite come across as well on the recording. Whether it was the lack of accompanying visuals to up the ante or the fact that I’d seen the show quite recently, the joy I got from watching the show didn’t quite translate into the listening experience I thought it would be. In its entirety, I found it to be so retro-infused and nostalgic as to almost be too much to listen to in one go, it doesn’t quite hit the same spot although there are moments of individual brilliance in some of the songs. Continue reading “Album Review: Betty Blue Eyes Official London Cast Recording”
“Pig! No pig!”
Not too much to say about revisiting Betty Blue Eyes as most everything I wanted to say was covered in my original review, and although I’m sad to say there was no Liza at this performance, I was joined by someone even better! I really enjoy watching shows I love with people experiencing them for the first time and seeing what they respond to and I was pleased to hear Aunty Jean chuckling away next to me for most of the show. But it was also interesting to see that there were sections I’d forgotten (one of the dangers of having an album sampler rather than the whole show I think) and how my emotional reactions differed: ‘Magic Fingers’ brought proper tears down my cheek and being somewhat prepared, I was able to look a bit more at the pig without being too freaked out 😉
Aside from the replacement of the lightsabers with paint brushes in ‘Painting By Heart’, I can’t say I noticed any significant changes since the preview I saw. I can’t even really say that I thought the cast looked more comfortable or polished onstage as they were in pretty good shape when I saw them. There’s still the slight feeling that a couple of the roles could be sung by stronger voices, but I would wager that it would rob the show of much of its quirky charm. Continue reading “Re-review: Betty Blue Eyes, Novello”
“Another little victory for little England”
With a book by Ron Cowen + Daniel Lipman, adapted from the story of the film A Private Function by Alan Bennett + Malcolm Mowbray and with a score by George Stiles + Anthony Drewe and marking a rare excursion back into producing from Cameron Mackintosh, Betty Blue Eyes is a new musical at the Novello Theatre with a lot of names credited on the poster! Set in Shepardsford, a Yorkshire town in 1947 at the height of post-war austerity (and previews, which this was, are being sold at austerity prices!), the plot follows Gilbert Chilvers a chiropodist and his frustrated wife Joyce, chafing under the restrictions of the time and who yearns to be accepted into the higher echelon of society where she believes they belong. They are not having much joy until they happen upon a secret plot by the town council to hold a feast for this elite in honour of Princess Elizabeth and Prince Philip’s impending marriage at which an illegally kept pig will be the star of the banquet. So, this being a comedy, they steal the pig.
But it is about something more too, over and above the farcical shenanigans with Betty the pig, especially in the more reflective first half. This is a society struggling to come to terms with the enduring impact of the Second World War, the melancholy ‘Magic Fingers’ in particular looking at the wives left behind, as rationing hits hard, threatening to dampen the spirit of those just trying to carry on living in hard times yet still nurturing their own dreams and ambitions. And this is where Stiles + Drewe’s score comes into its own, suffused with a beautiful warmth: it really is stuffed full of tunes, their comical songs are deliciously witty whilst advancing the story, there’s simple but affecting emotion in the balladry and more than once, I found myself just swaying along with a grin on my face (and not just because Liza Minnelli was just a couple of seats away from us). It all has that kind of nostalgic feel that makes for easy recognition and it is a score I wanted to hear again from the moment the show finished. Continue reading “Review: Betty Blue Eyes, Novello”
“There’s a reckoning to be reckoned”
Forming the culmination of the 25th Anniversary celebrations of Les Misérables was a pair of concert versions of the show taking place at the O2 centre in Greenwich which brought together the company of companies, over 500 actors and musicians joining forces to pay tribute to this enduing classic of a show. The cast and companies of the touring production and the West End production joined with a massive choir and orchestra and a hand-picked international cast performed the lead roles in this concert presentation which was also relayed live into cinemas and later released on DVD to be enjoyed by those who chose not to go (or couldn’t get tickets).
Concert versions of shows are always a bit funny, performers singing songs to each other but looking straight out at audiences and limited opportunity for acting so they can often feel a little constrained in their presentation. Here, the cast were in full costume and projections and clips from the show used to fill in some of the gaps that the songs could not fill. And it is all really rather good if not quite the self-proclaimed “musical event of a lifetime”. Continue reading “DVD Review: Les Misérables in concert”
“This was just a moment in the woods…”
The final show in this year’s season at the Open Air Theatre in Regent’s Park is yet another entry into Stephen Sondheim’s anniversary calendar with a production of Into The Woods. And what a well-suited choice as the multi-level set sits in the real trees and bushes around the auditorium, swaying in the wind, leaves beginning to fall and providing the perfect backdrop for the show.
Told by a narrator, here a young boy (Ethan Beer last night), the story mixes together characters from many familiar fairytales all living their stories as we know them, in their various searches for happiness, wealth, fulfilment, all their hearts’ desires and reaches the conclusions we have come to know as the characters secure their happy endings. However, this only takes us to the interval and the second half takes a decidedly darker turn as Sondheim and Lepine investigate what happens after ‘happy ever after’ and the dangers in having your wishes granted. Continue reading “Review: Into the Woods, Open Air Theatre”