Only Fools and Horses was never going to be my thing but there’s no denying how much fun this rendition of the theme tune is. Maybe I should go back to Peckham when I can…
“You can’t whack the big pineapple”
Full disclosure – I don’t know if I’ve ever seen an episode of Only Fools and Horses voluntarily. I mean I’ve seen clips and I’ve probably been in a room where other people were watching it, but it was never a show that has figured in my life. So news of Only Fools and Horses The Musical didn’t bring quite the excitement it did for so many others, ensuring that this was a commercial success long before any critics got near it.
And as such, my own reaction can only be viewed through this lens. When people say ‘you don’t have to have seen the TV show to get the jokes’. I can tell you they’re having a laugh. This musical is suffused with injokes, from the pre-show announcements onwards and in some ways, rightly so (having had a similar kind of experience with Acorn Antiques the Musical in this very theatre). Continue reading “Review: Only Fools and Horses The Musical, Theatre Royal Haymarket”
“He came so close to me”
I first became aware of Gareth Peter Dicks’ music through The Music Box, a compilation of some of his musical theatre tracks sung by a ton of West End faves, which served as a neat introduction to this composer. It’s a tough old world out there for new musical theatre and so people have to find the best way they can to get their music out there and noticed – showcase CDs are one, and concept albums are another, what Dicks did with his musical Bluebird a few years ago.
A love story set throughout the turmoil of WWII, Sarah Lark’s nurse Roberta Jones is like so many others in having to bid farewell to her husband Pete as he leaves for the frontline and her daughter who is evacuated to the country. Pete keeps in touch via regular letter-writing but a charming US serviceman Ben fills the void for companionship in her life but as their relationship intensifies, Roberta is forced to question what and who she wants. Continue reading “CD Review: Bluebird (2009 Concept Album)”
“At the top of the hole sit the privileged few”
And it is mostly the privileged few who’ll get to see this lavish English National Opera production of Sondheim’s oft-revived Sweeney Todd: The Demon Barber of Fleet Street as stalls seats will set you back an eye-watering £95, £125 or £155. Somewhat cheaper seats are available from the upper circle upwards but still…* Lonny Price’s semi-staged production (with its nifty fake-out of a beginning) was first seen in New York in March 2014 but unsurprisingly, given it featured Emma Thompson and Bryn Terfel as Mrs Lovett and the demon barber himself, it declared “there’s no place like London” and has now taken up residence in the Coliseum alongside a cast of nearly 40 musical theatre veterans (and Thompson’s daughter) and a lush-sounding orchestra of 60.
Thompson and Terfel may be the headline names but the real pleasure comes in the luxury casting that surrounds them. Philip Quast and John Owen-Jones bring a richness of vocal to Judge Turpin and Pirelli respectively, Alex Gaumond and Jack North both mine effectively Dickensian depths to Beadle and Toby and there’s something glorious about having the marvellous Rosalie Craig here, even in so relatively minor a role as the Beggar Woman as her quality shines through despite that wig. Matthew Seadon-Young and Katie Hall as Anthony and Johanna are both really impressive too, their voices marrying beautifully as they respond intuitively to the textures of David Charles Obell’s orchestra. Continue reading “Review: Sweeney Todd, London Coliseum”
“You think you’ll come in here and go for free?”
The sight of a grim-faced guard demanding 20p or so at the doors to public toilets may be nothing new to visitors to train stations and museums but what if they were the only conveniences at all that you could use. That is the scenario in Urinetown, a Broadway cult hit which has splashed its way over to the St James Theatre, which envisages a dystopian future where the water table is so low that private toilets have been banned and public toilets have been privatised, meaning the only way to go is to pay for the privilege.
When Assistant Toilet Custodian Bobby Strong from the least salubrious toilet in town decides to make a stand against this corporate greed led by Caldwell B Cladwell’s Urine Good Company (ba-dum-tish), he leads a rebellion which kidnaps Caldwell’s daughter and demands the right to “pee for free”, unprepared for the violent crackdown that follows. Elements of Malthusian philosophy about the sustainability of the human race are seeded throughout and much of the story is as dark as the sewers in which much of it takes place. Continue reading “Review: Urinetown, St James Theatre”
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”
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”
“Don’t want to be dependent on a wink, a smile, or kiss.”
At the beginning of the year I unexpectedly caught a fun cabaret Scrapbook Live, showcasing the work of musical theatre writers Robert Archibald and Verity Quade, which I enjoyed considerably even though I hadn’t heard the CD from which much of the material was taken: Scrapbook – The Songs of Robert Archibald and Verity Quade.
Having now downloaded it, I gave it a listen over the last week and in some ways, it is a bit of a double-edged sword having seen the live gig. It gave me that nice sense of recognition with some of the more memorable songs which made it a fascinating listen, but it also reminded me of the energy that accompanied the renditions of the songs and the live accompaniment. I have to say I wasn’t a fan of much of the orchestrations on the CD, it sounds a little bit too processed, too artificial, keyboards instead of pianos but then that’s just what I prefer. Continue reading “Album Review: Scrapbook – The Songs of Robert Archibald and Verity Quade”
“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: The 25th Anniversary”