Nick Hytner’s production of Carouselbegan life at the National Theatre at 1992 and was such a success that it transferred into the West End the next year, albeit without its entire original cast. So this recording does not feature the likes of Patricia Routledge and Janie Dee which is sad, but it did retain the incomparable Joanna Riding who delivers the kind of performance as Julie Jordan that should rightfully be lauded for aeons.
Frankly, it pisses all over Katherine Jenkins’ efforts (Michael Hayden’s Billy isn’t particularly fantastic but I’d still take him over Alfie Boe), speaking as it does to the darker side of Rodgers and Hammerstein’s musical, which Hytner was one of the first to really emphasise. Riding is superb from start to finish and in a treasure trove of riches, it is the rendition of ‘What’s the use of Wond’rin” that really blows you away. Continue reading “Album Review: Carousel (1993 London Cast Recording)”
The National Theatre last night hosted its biennial fundraising gala, Up Next, raising over a million pounds to support access to the arts for children and young people across the country. I think they forgot to invite me though… 😜
Performances commissioned especially for the event included a new piece by Poet Laureate Carol Ann Duffy, alongside performances by Sir Lenny Henry, Anne-Marie Duff and hundreds of talented young people from across London.
“Fingers crossed Make a wish What gruesome game of chance is this? Cross your chest Count 1 in 3 And pray it doesn’t grow in me”
A musical about cancer? As unlikely as it might seem, A Pacifist’s Guide To The War On Cancerisn’t even the first one that I’ve seen. That dubious honour goes to Happy Ending, one of the most misjudged shows I saw last year, but fortunately this Complicite and National Theatre co-production in association with HOME Manchester rejoices in a much stronger pedigree, a collaboration between performance artist Bryony Kimmings (book and lyrics), Brian Lobel (book) and Tom Parkinson (music).
A Pacifist’s Guide… posits itself as “an all-singing, all-dancing celebration of ordinary life and death” and this it does by collating varying stories of people diagnosed with cancer into a single hospital waiting room, watched over by Emma, a single mother waiting for some tests or suspected bone cancer to be conducted on her baby son. And over the course of a long night, we hear their tales of living with the disease, the trials of having to deal with other people’s reactions to it, the wells of emotion it taps into. Continue reading “Review: A Pacifist’s Guide To The War On Cancer, National”
My first ever trip to the institution that is the National Theatre Christmas Quiz saw teams of four from current shows Husbands and Sonsand wonder.land doing battle for the honour of, well, several bottles of fizz as it turned out. With Emma Freud as Quizmistress and Angus Deayton keeping the scores, it was a light-hearted 45 minutes of festive fun.
Rounds varied from odd-one-out, working out song lyrics from a dry line reading by Deayton, guess which NT show the costume was from, to Taboo-style-guessing-games, and a surprising array of knowledge troves and hidden talents soon came to life – Anne-Marie Duff was very up on her theatrical knowledge, Julia Ford is clearly itching to do a musical and Anna Francolini bossed everything (apart from Katie Mitchell…). Continue reading “How-could-it-be-a-review: The National Theatre Theatre Quiz 2015”
It’s been a goodly time coming, just over two years since it opened actually, but the Original Cast Recording ofThe Light Princess is finally here. Finely crafted by writers Tori Amos and Samuel Adamson with the original cast from the National Theatre production and recorded entirely under studio conditions, this double CD a triumphant achievement. It simultaneously acts as a perfect tribute to a much-loved show (one I saw five times during its too-short run #1, #2, #3, #4, #5), it also advances the score, refining its musicality into a more intense yet accessible experience.
Right from the opening bars of the ‘Prologue: Once Upon A Time’, Katherine Rockhill’s piano playing sounds amazing and is rightfully forefronted here as the cornerstone of Amos’ wide-ranging compositions, the lushness of the strings sound pretty special too. And with Rosalie Craig’s astonishing performance as Althea – the light princess herself – liberated from the constraints of this most physically demanding of roles (both for her and for us too, goggling at the inventiveness with which her floating was essayed), her vocal interpretation deepens into something even more affecting, impossible as it may seem to anyone who saw her amazing work onstage. Continue reading “CD Review: The Light Princess (Original Cast Recording)”
“Now is the time when the people of Chile come together”
I’m going to put it out there, I have no idea why new musical The Postman and the Poethasn’t received a major production yet. This concept album was recorded in 2011 and has to rank as one of my favourite things I’ve listened to over the last few weeks of all these cast recordings, if not the whole year. It’s even based on source material that has Oscar-winning connections to endear it to risk-averse audiences – if From Here To Eternity can make it to a West End theatre, I’m sure The Postman and the Poet could make a decent stab at it too.
The show is based on Antonio Skármeta’s novel Ardiente Paciencia, on which the 1994 Oscar-winning film Il Postino was based, but Trevor Bentham and Eden Phillips’ book keeps the story of the musical in Isla Negra, a small fishing village on the Chilean coast and in the early 1970s, when political turmoil threatened to overwhelm this South American country. And Michael Jeffrey, a composer new to me, has pulled together a hugely exciting and accomplished score that blends its Latin influences seamlessly into a grand musical theatre style. Continue reading “Album Review: The Postman and the Poet (2011 Concept Album)”
The lure of falling down the rabbit hole is one which has kept adaptations of Lewis Carroll’s Alice in Wonderland appearing on a regular basis on screens and stages and the Manchester International Festival is no exception, commissioning this musical treatment with the National Theatre and Paris’ Théâtre du Châtelet. Composer Damon Albarn (no stranger to the MIF after Monkey and Dr Dee) and writer Moira Buffini’s thoroughly modern version – stylised wonder dot land – certainly has a unique take on the story but has the feeling of something of a work-in-progress perhaps, no bad thing as longer runs in London and Paris will follow this brief engagement at the Palace Theatre.
Here, wonder.land is an online world, a virtual reality where people can escape the drudgery of their own lives or pretend to be someone completely different, for a little while at least. 12-year-old Aly is one such person, trying to hide from the bullies at school and the unhappiness at home by becoming Alice, her all-conquering avatar or online identity who accepts a mysterious quest as part of joining wonder.land. And in her journeying, she comes across variations on many of the characters we’ve come to know but viewed through a different prism, many of them being the avatars of other players, balefully reflecting their own insecurities. Continue reading “Review: wonder.land, Palace Theatre”
The theatrical production of London Road was a major success for the National Theatre, the opening run first extending in the Cottesloe and then being rewarded with a later transfer to the much larger Olivier – I was first blownaway by its originality and then later comforted by its message in the aftermath of the 2011 riots. So the news that director Rufus Norris was making a film adaptation was received with apprehensive anticipation, could this strikingly experimental piece of theatre possibly work on screen.
Writer Alecky Blythe uses a technique whereby she records interviews with people which are then edited into a play but spoken verbatim by the actors, complete with all the ums and aahs and repetitions of natural speech. And in 2006, she went to Ipswich to interview a community rocked by a series of murders, of five women in total, all sex workers, and set about telling a story not of salacious deaths but of a community learning to cleave together in trying times. Oh, and it’s all set to the most innovative of musical scores by Adam Cork, elevating ordinary speech into something quite extraordinary.
The material has been considerably reshaped for the screen – Moira Buffini assisting as script consultant – resulting in a much more straight-forward narrative through-line than was seen on stage. This linear development is reflected in Danny Cohen’s cinematography which tracks the wintry gloom of the beginning into the verdant bloom of the climax with a real visual grace. Straightening out the storytelling reduces the theatricality of the presentation too, making this feel much more like a piece of documentary realism.
Where the stage show had a cast of eleven each playing a resident and multiple other roles, each character is played by someone different here, meaning the focus is teased out a little from the tight circle of the London Road residents and their outrage about their street turning into a red light district, to give a more fully realised sense of the wider community. They consequently get more of their own voice heard – the nervy teenagers suspecting everyone around them, the sex workers shaken up by the attacks on their own, the journalists tiptoeing around the sensitivity of the issue whilst always on the lookout for a scoop.
The experience of the residents does remain central to the film though, Blythe digging back into her archive of interviews to find ways of ensuring at least of them appears in every scene and Cork rejigging the score where necessary too. And this is where the writing is at its strongest, in always showing the complexity of the collective response. Though the story moves towards a happy(ish) ending with the London Road in Bloom street party as the culmination of their efforts, there’s no pretence that a solution to the inherent problems has been found, they’ve just been moved away from their doorstep.
This ambiguity comes across particularly well in characters like Olivia Colman’s Julie and Nick Holder’s Ron, barely apologetic in their unspeakable thoughts yet rooted in small-town authenticity. Paul Thornley’s inscrutable Dodge, Linzi Hateley’s pragmatic Helen and Clare Burt’s dithering Sue remain a delight, Anita Dobson is daffily wonderful as June, Michael Shaeffer and Rosalie Craig’s journalists both stand out and the original Julie, Kate Fleetwood, plays the new role of Vicky, a haunting figure representing the spirit and presence of the working girls, both alive and dead.
And delving a little deeper, clever little touches abound in the production. The two schoolgirls singing ‘It Could Be Him’ (see clip below) are the daughters of Burt (Eloise Laurence) and Hateley (Meg Hateley Suddaby); Blythe and Cork both get cameos as a newsreader and a pianist respectively; and the final street party mixes real residents of both the real London Road in Ipswich and the fictional one in Bexley in with an ensemble that folds in any number of faces that seasoned theatregoers might recognise.
Elements of choreography by Javier De Frutos are used sparingly but most effectively to sprinkle pathos or humour into sequences as required, David Shrubsole’s sharp musical direction keeps the singing (nearly all done live) on point, and Norris’ direction constantly takes on inventive new directions to expertly but sensitively reshape the material for this new medium. I can’t imagine what it would be like to come to this film without prior experience of the show (and I’d be fascinated to hear from you if that’s you) but as a fan, it is undoubtedly a beautiful extension to one of the most innovative musical theatre experiences of the last decade.
Full cast list
Julie – Olivia Colman
Sue – Clare Burt
Kelly McCormack – Rosalie Craig
June – Anita Dobson
Seb – James Doherty
Vicky – Kate Fleetwood
David Crabtree – Hal Fowler
Helen – Linzi Hateley
Tim – Paul Hilton
Ron – Nick Holder
Councillor Carole – Claire Moore
Simon Newton – Michael Shaeffer
Rosemary – Nicola Sloane
Dodge – Paul Thornley
Terry – Howard Ward
Gordon – Duncan Wisbey
Mark – Tom Hardy
Hayley – Rosie Hilal
Natalie – Amy Griffiths
Colette McBeth – Gillian Bevan
Jessica – Anna Hale
Schoolgirl 1 – Eloise Laurence
Schoolgirl 2 – Meg Hateley Suddaby
Kath – Angela Bain
Margaret – Jenny Galloway
Alan – Sean Kingsley
Imelda – Jayne McKenna
Jason – Richard Frame
BBC Newsreader – Alecky Blythe
Grahame Cooper – Mark Lockyer
Harry – Barry McCarthy
Shop Assistant – Abigail Rose
Evening Star Girl – Maggie Service
Radio Techy – Alexia Khadime
Radio DJ – Dean Nolan
Stephanie – Ruby Holder
Alec – Calvin Demba
Stella – Helena Lymbery
Wayne – Mark Sheals
Graeme – Morgan Walters
Ivy – Janet Henfrey
Steve Cameraman – Jonathan Glew
Chris Eakin – Jason Barnett
Policeman – Andrew Frame
Anglia Newsreader – Rae Baker
Abby Rose Bryant, Adam Dutton, Adam Vaughan, Alan Vicary, Alicia Woodhouse, Alistair Parker, Amanda Minihan, Ameer Choudrie, Andrew Spillett, Andy Couchman, Anita Booth, Annette Yeo, Audrey Ardington, Barnaby Griffin, Basienka Blakes, Bob Harms, Carl Patrick, Carly Blackburn, Carol Been, Cassandra Foster, Charlotte Broom, Chloe Bingham, Chris Akrill, Clare Humphrey, Clemmie Sveaas, Connor Dowling, Coral Messam, Corinna Powlesland, Cornelia Colman, Courtney Crawford, Cris Penfold, Cris Snelson, Cydney Uffindell-Phillips, Daisy Maywood, Daniella Bowen, David Birch, David Stroller, Debra Baker, Don Gallagher, Edward Baruwa, Elaine Kennedy, Eleanor Clark, Ella Vale, Ellis Rose Rother, Emily Bull, Emma Brunton, Eva Lamb, Faye Stoeser, Frank Stone, Gary Forbes, Graham Hoadly, Haruka Kuroda, Hayley Gallivan, Helen Colby, Hendrick January, Ian Conningham, Ilana Johnston, Ilse Johnston, Ira Mandela Siobhan, Jack Edwards, Jackie Marks, James Ballanger, Jess Ellen, John Brannoch, Johnathan Fee, Jon Ponting, Joshua Lacey, Judith Paris, Julie Armstrong, Karianne Andreassen, Kayleigh Clayton, Laura Cubitt, Leah Ellis, Leah Georges, Leanna Wiggington, Lee Nicholas Harris, Linda Lewcock, Louis Fonseca, Louise Lee, Lucinda Shaw, Luke Fetherston, Lynne Wilmot, Marc Antolin, Margarita Reeve, Melanie La Barrie, Michael Fox, Michelle Wen Lee, Miles Mlambo, Miroslav Zaruba, Morgan Crowley, Natalie Victoria Dungan, Nathan Amzi, Nathan Harmer, Nathan Rigg, Nicholas Marshall, Oliver Roll, Paul Blackwell, Paul Bullion, Paul Shea, Perry Moore, Pete Meads, Philip Howard, Rachel Ann Davies, Rajesh Kalhan, Rebecca Scarott, Rebecca Sutherland, Rebecca Thomas, Reuben Williams, Rob Smithson, Sarah Heyward, Sarah Stanley, Sidney Livingstone, Simon Fee, Simon Humphrey, Stephanie Natufe, Stephen Webb, Steve Carroll, Steve Elias, Stuart Angell, Susan Fay, Susan Lawson-Reynolds, Tim Coldron, Tom Lyle Severn, Tomos James, Tony Pankhurst, Tony Timberlake, William Rossiter, Yinka Williams, Zoe Uffindell
Additional Choral ADR Group
Bethan Nash, Callum McIntyre, Daisy Maywood, Edward MacArthur, George Ikediashi, Hannah Genesius, Patrick Tolan, Perry Moore, Steve Rostance, Toby Webster,
Alexander S Bermange is a composer and lyricist who has been working away for over a decade without ever really breaking through into the mainstream here in the UK. He had a show – The Route to Happiness – at the new musical theatre writing festival at the Landor last year but he has generally had more success in Germany though his contact list is top rate, as the roll call on his most recent CD Act One certainly attests.
Predating that collection though is 2004’s Weird and Wonderfulwhich again boasts a fine collection of interesting performers – Anna Francolini, John Barr, and Richard Dempsey to name but a few – perhaps not as starry as some, but catnip to a theatre nerd like me. The focus here is on Bermange’s comic writing which gives a weird balance to the CD over its 19 tracks which can get a little bit wearing. Continue reading “CD Review: Weird and Wonderful”
There’s not really much more to say than to bid a fond farewell to this most beloved of shows. Despite the fierce love it engendered in its devoted fans, I personally don’t think a transfer would have necessarily worked so well. There’s something wonderfully neat about its life at the Lyttelton, the length and nature of its run in rep meaning that Rosalie Craig was able to make every single performance – an impressive feat even before one touches on the extraordinary demands of the lead role. And getting to see the final show, with a large group of people who had been equally (if not more) touched by the work – and that includes the extraordinary cast and company, I don’t think I’ve ever seen so much visible emotion at the end of a run – was a genuine privilege.
Since the show shone so brightly, yet so briefly, it has left the kind of indelible impression that will be impossible to shift. I saw it five times in total – you can read about visits one, two, three and four – and each time, it surprised me, its densely complex nature revealing something new each time with different musical motifs becoming prominent, the various themes shifting in emphasis, the texture of the show almost malleable in its changeability. So now we have to wait for the soundtrack and dream of once upon a once a, once upon a time.