Album Review: Tina – The Tina Turner Musical Original Cast Recording

The Original Cast Recording of Tina – The Tina Turner Musical captures much of what makes the show work so well, not least Adrienne Warren’s sensational lead performance

“Hot whispers in the night
I’m captured by your spell”

As Tina – The Tina Turner Musical opens on Broadway, what better time to take a look at the Original Cast Recording, which is now available worldwide – to stream, download or order the CD, then visit Ghostlight Records here. The show opened in the West End last year and while I may not have loved the book unconditionally, there is no denying the 24 carat gold quality of the score with its selection from Turner’s frankly amazing back catalogue which spans rock’n’roll to rhythm’n’blues to pop to straight up soul.

Rather cannily, the Broadway production has retained the lead from the West End production as Adrienne Warren deservedly took the lion’s share of the plaudits. And it is her personality, allied to that rip-roaring voice, that shines through this cast recording, elevating it from the mere karaoke of way too many other jukebox show cast recordings. Listen to the passion of the moan that opens ‘A Fool in Love’, the hunger of ‘Better Be Good to Me’, the aching tenderness of ‘I Don’t Wanna Fight’ – this is a star-making performance. Continue reading “Album Review: Tina – The Tina Turner Musical Original Cast Recording”

Review: Tina the Musical, Aldwych Theatre

Adrienne Warren absolutely shines in Tina the Musical at the Aldwych Theatre, though the bio-musical form has its limitations here

“It gets bigger baby, and heaven knows”

Mamma Mia has a lot to answer for. The jukebox musical is clearly the legacy project that people are looking to once music stars have retired or disbanded (or not even then, in some cases). But whether they take a fictional route (a la Viva Forever or Son of a Preacher Man) or go bio-musical (a la All Or Nothing), it really isn’t easy to make it work that well. 

Newly opened at the Aldwych Theatre, Tina the Musical has the credentials to make you hope it can do just that. Directed by Mamma Mia’s Phyllida Lloyd, written by Olivier winner Katori Hall with Frank Ketelaar and Kees Prins, and with the almighty back catalogue of Tina Turner to call on, there’s a thrilling sense of energy here which is perfectly encapsulated in the star-making performance of  a fricking amazing Adrienne Warren. Continue reading “Review: Tina the Musical, Aldwych Theatre”

Review: Boudica, Shakespeare’s Globe

“I’d rather walk in blood than walk a slave for he thy Emperor!”

For every Blue Stockings, there’s been a Pitcairn, with a Bedlam inbetween. No matter the AD, the commitment to new writing in the later part of the summer season at Shakespeare’s Globe has thrown a marked inconsistency. And Tristan Bernays’ Boudica proves no different, given an ambitious production by Eleanor Rhode which strives a little too hard to situate the play in an Emma Rice house-style, fun as it may come across. 

So Game of Thrones-style storytelling mashes up against spirited covers of the likes of ‘London Calling’ and ‘I Fought The Law’, a great sense of energy percolating through this wooden O. But Bernays’ play doesn’t always fit easily with this treatment, written in blank verse that has to balance the required info-dump to flesh out this historical fiction with something more fascinatingly insightful about what might have driven the Queen of the Iceni. Continue reading “Review: Boudica, Shakespeare’s Globe”

Review: A Pacifist’s Guide To The War On Cancer, National

“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 Cancer isn’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”

CD Review: Ghost The Musical (Original Cast Recording 2011)

“This is always such a rush”

Some musicals are slow-burners. They may not hit you with their full force on first viewing but rather repay revisits and repeated listens to cast recordings to unfurl the depth of their appeal. So it was for me with Legally Blonde, and also with Ghost the Musical – a show I saw twice in the West End and again on its 2013 tour, liking it more and more each time.

And a large part of that was the way in which Glen Ballard and Dave Stewart’s pop/rock-based score took its time to sidle its way into my affections, not necessarily the kind of music that would appeal to me but ultimately proving irresistible in its finest moments. And it is remarkably diverse too, pulling in from a wide musical palette whilst stamping out its own identity as something refreshingly different from your typical musical theatre score. Continue reading “CD Review: Ghost The Musical (Original Cast Recording 2011)”

Re-review: Ghost the musical, Piccadilly

“It’s just relief to suspend my disbelief”

It feels a bit like I’m cursed when it comes to Ghost the Musical. I booked it at the beginning of the year to see the original cast before they went to Broadway and Sharon D Clarke injured herself so I missed her and this time round, eager to see Mark Evans’ acting and musical talent / damn fine abs *delete as appropriate, we arrived at the theatre to find his understudy was on. It is not the end of the world when that happens of course but it is sometimes a disappointment when one is looking forward to seeing a particular person (though it helps that there’s videos like this to fall back on) and as it turned out, when I saw the name of the understudy – Spencer O’Brien – I was actually quite pleased as he is someone I have great residual affection for as he was in the cast of the superlative Salad Days the Christmas before last.

And though my feelings about the show were decidedly mixed when I saw it last – review here – I’d listened to the soundtrack quite a bit since then and discovered that it really is a grower. I really like a good proportion of it and so was quite happy to revisit the show, with the bonus of a new cast and a companion that had not seen it before, and in the end I found that I actually enjoyed it much more. The key for me and the soundtrack helped immensely here, is to think of it as a chamber musical, a small intimate piece essentially for four characters, and let the rest simply glide by in a rush of neon light and slow-motion walking.   Continue reading “Re-review: Ghost the musical, Piccadilly”

Review: Ghost the musical, Piccadilly

“You in danger gurl!”

In the story of Ghost the Musical, it is the character Molly who is the ‘gurl’ in danger, but it turned out to be the woman saying it, Sharon D Clarke’s Oda Mae Brown who should have paid heed as a broken foot has ruled her out of the show for a while now and possibly out of the Broadway transfer too. I was particularly gutted as she was one of the main reasons I had booked to see the show, to catch the original leading cast before they trot over to New York to open the show there, and Clarke had been cited as one of the main attractions of the show.

As the show premiered in Manchester, my parents were amongst the first to see it and I even got my dad to write about his opinions for me on this very blog. But even despite his qualified recommendations, I couldn’t quite work up the enthusiasm to fork out for the show and it was only this imminent departure of Caissie Levy and Richard Fleeshman that got me there (which is ironic in itself as I don’t really see what all the fuss is about with Levy and Fleeshman struggled for me in Legally Blonde). But off to the Piccadilly I went with my mixed feelings, along with a pleasingly diverse crowd of theatregoers, and I left with mixed feelings too. Continue reading “Review: Ghost the musical, Piccadilly”

Guest Review: Ghost – the Musical, Opera House Manchester

I owe all sorts of things to my parents, not least my love of theatre to which I was introduced from an early age, and though our tastes coincide on many things (Propeller’s Richard III being the most recent example), they vary on others and I was quite surprised when they announced that they were going to see Ghost – the Musical in its premiere run at the Opera House in Manchester. So, I prevailed upon my father to write up his thoughts in advance of my trip to see the show when it moves down to the Piccadilly Theatre in London on 22nd June and so I present to you, unedited, the real Mr Foster 😉

Sometimes, it pays not to expect too much. That way, you stand a chance of being agreeably surprised, as I was by how much I enjoyed ‘Ghost – the Musical’.

Whoopi Goldberg apart, I was no big fan of ‘Ghost – the Movie’, so I wasn’t anticipating that a musical version sticking very faithfully to the film screenplay would appeal all that much. However, the show is visually spectacular and features some impressive performances by a strong cast. Dave Stewarts’s songs, though not particularly memorable (I didn’t come away humming any of the tunes), are well crafted and listenable. With one clunking exception, of which more below, the weaving of the songs into the storyline is skilfully done.

The lead performances are very good. As in the film, Oda Mae Brown is crucial, because she gets most of the best scenes and lines, and Sharon D. Clarke is outstanding in the role, with terrific stage presence, good comic timing and a rich, deep, soul singing voice. Her introductory number ‘Are you a Believer?’, sung with her two assistants, is a cracker (for older readers, think The Pointer Sisters ‘It’s Raining Men’) and her final routine, ‘I’m Outta Here’, was my favourite bit of the show.

Richard Fleeshman and Caissie Levy are engaging and likeable as Sam and Molly. Both have really good singing voices, even if they did tend to get a bit ‘shouty’ (especially Fleeshman) as some of the songs reached a loud climax. In fairness, they at times had to compete with an overloud band. Their first song ‘Here Right Now’ lifts the start of the show after a rather sluggish opening scene and the excellent ‘Rain / Hold On’ gets Act 2 off to a flyer. I also liked Molly’s solo ‘With You’.

The rest of the cast provide solid support. Andrew Langtree as the baddie Carl is a better actor than singer; Adebayo Bolaji is spectacular as the subway ghost; and the ensemble provide energetic backing to many of the musical routines.
Visually, the show is terrific, with an imaginative set, superb lighting and some dazzling special effects. The set is basically a box, but all of the walls move in and out to create other scenes and the walls are video screens, used particularly well to give pace and energy to the street and subway scenes. There are also conveyor belts across the stage and these are used effectively in the crowd scenes.

There are some flaws. As already indicated, the first act is a bit slow to get going and the sound balance is poor on some of the songs, meaning the singers are struggling to make themselves heard and the lyrics are difficult to make out. For me, the show’s worst feature by a distance is the song ‘Ball of Wax’. It is sung to the newly-dead Sam by a chorus of ghosts and is a jokey ‘you’re a ghost now’ number. Coming as it does after a dramatic murder scene, done with some clever special effects, the song is completely out of place and spoils the atmosphere they have worked hard to create.

Notwithstanding these reservations, ‘Ghost – the Musical’ is an engaging and entertaining watch. It is playing to packed houses in Manchester and every performance has apparently received a standing ovation (it certainly did the night I was there). Not sure I’d go that far but it was a thoroughly enjoyable evening.

Rob Foster

Review: Oliver!, Theatre Royal Drury Lane

This review marks a momentous occasion as it features the first appearance of Aunty Jean, one of my most faithful theatre companions, despite living nearly 200 miles from me in Wigan. We try to see at least one thing every time she visits whether for pleasure or work, but it has been a while since she has been down so Oliver marked her first 2009 London theatrical trip.

Fortunately it was well worth it, as this show did not disappoint on any level (and many levels it did have!). The sets for this show were truly awe-inspiring: Fagin’s underground lair was cleverly constructed; the depth of the alleyway for the street scenes was huge so it gave a great sense of scale to the proceedings, one which has been sadly lacking in many large recent productions, cost-cutting I guess, and the lighting from scene to scene could not have been more different, yet still highly effective. This all combined to give great energy and movement to the show, which scarcely needs it due to the highly familiar and zippy score. Continue reading “Review: Oliver!, Theatre Royal Drury Lane”

Review: Little Shop of Horrors, Ambassadors

Starting off at the Menier Chocolate Factory and transferring to the West End at the Duke of York’s, Little Shop of Horrors now has its third home in London at the Ambassadors and I have finally gotten round to seeing it. And boy am I glad that I did.

It is a very sweetly composed story, straddling that not-so-well-trodden boundary between sci-fi and romance. Seymour, a down-on-his-luck orphan just scraping by in grim urban Skid Row, finds a special plant which happens to appear during a solar eclipse and suddenly everything in his life starts to improve. The flower shop where he works becomes more successful, he sees a way to rescue the girl he loves from afar from a violent relationship, but as always, there’s a downside to all of this and in this case, it is that the plant is a living, carnivorous one with a particular yen for human blood. Continue reading “Review: Little Shop of Horrors, Ambassadors”