“When we must cross over
Who knows what we’ll find”
A 90s musical of an 80s film – nostalgia has a lot to answer for but it was to Maltby Jr and Shires’ 1996 adaptation of the Tom Hanks-starring film that producers turned for their big Christmas musical at Bord Gais Energy Theatre in Dublin. Morgan Young’s production also had a short run at the Theatre Royal Plymouth and with the creation of this UK cast recording, you wonder whether further plans were in the pipeline for the show.
I’m not holding my breath though, as it doesn’t really sound like that much of a winner. Shire’s score is painfully dated, Maltby’s lyrics provide little spark and as a whole, Big the Musical just sounds a bit twee, a bit inconsequential. There’s little sense at all of the songs driving the narrative, they’re more an inoffensive, intermittent distraction, taking way too long to inch over to even just to ‘pleasant’ on the scale. Continue reading “Album Review: Big the Musical (2016 Original UK Cast Recording)”
“Sometimes you need to hear it Sam”
Given the fortunes of its replacement at the Piccadilly Theatre, the 15 month West End run of Ghost the musical doesn’t seem too bad at all in the end. Based on the famous 1990 film with book by Bruce Joel Rubin and music from Dave Stewart and Glen Ballard, the story of psychics, possession and pottery certainly looked impressive in Matthew Warchus’ cinematically flash production but this wasn’t always enough to overcome the shortcomings of its adaptation. But it was a show that intrigued and one that I came to like quite a lot (I saw it twice – reviews can be read here and here but the first review of the show on here, from its original Manchester run, comes courtesy of my father!) and so I was certainly intrigued to catch it at the New Wimbledon Theatre as it sets out on a major UK tour.
The main difference comes with the blessed removal of the heinous song and dance routine ‘Ball of Wax’. I’m not sure that tap dancing ghosts have any place in the world but they really stood out like a sore thumb in the original show with their misguided appearance coming at an appallingly bad time, right after Sam’s death and shattering any poignancy that might have been built up. Now, we get a much mellower song called ‘You Gotta Let Go’ (first introduced on Broadway) which serves the same purpose of getting him acquainted with his new status in the afterlife. Other changes are subtler and by and large, the show feels rather akin to its West End predecessor. Continue reading “Review: Ghost the musical, New Wimbledon”
“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”