“Make it Sparklejollytwinklejingley”
First things first, it’s a really poor show on behalf of those in charge of this production at the Lowry that there was no announcement or any mention of the fact that the understudy for the main part was on. Not for any sniffy reason about wanting to see Ben Forster but rather that it denied Colin Burnicle his spot in the limelight on the first occasion that he got to play the role of Buddy the Elf.
I don’t think Burnicle will mind me saying he had an understandably slightly nervy beginning but he soon settled into the green felt boots of Buddy, working a slightly more frantic Jim Carrey-esque vibe than one might expect from a role originated on screen by Will Ferrell but it was one that worked. And he connected well with former Atomic Kitten Liz McLarnon as his putative love interest Juvie, as under-developed a part it is. Continue reading “Review: Elf, Lowry”
“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)”
“What is this that I see”
Robert J Sherman’s musical Bumblescratch played a high-profile charity concert at the Adelphi Theatre last year and keeping up the energy behind this piece of new writing, the original band and cast made this London Concert Cast Recording at Angel Studios, under the auspices of the folks at SimG Records. It’s a canny way to keep up the profile of a show that only a handful of people got to see and a useful tool for those that did to reassess the score.
Sherman’s extensive family legacy (A Spoonful of Sherman) means that the family friendly ethos is never far from the surface and it is something that has emerged in his previous work (Love Birds). And in some ways it is a blessing and a curse. A blessing in that he clearly has a gift for melody, sometimes gentle, sometimes nagging (in the best way); and a curse in that it is so ingrained in his musical identity that it is hard to escape it. Continue reading “Album Review: Bumblescratch (2016 London Concert Cast Recording)”
“Donna Noble has left the library. Donna Noble has been saved”
And here we are, my favourite series of Doctor Who. So much huge wonderfulness and even its less good moments are still more than halfway decent. Key to the series’ success is Catherine Tate’s Donna Noble – gobby and one-dimensional in her introductory episode the Christmas special The Runaway Bride, her character journey throughout this season is magisterially constructed, a true awakening of self (with thankfully no romantic inclinations towards our Time Lord) and one given unbearable poignancy due to its frustratingly tragic end.
It’s also one of the best constructed series in terms of its over-arching season arc, its warnings and clues layered meaningfully into several stories and building into a momentous and properly climactic finale, which lands just about the right level of grandiosity. There’s also the first companion-lite episode (the superbly creepy Midnight) to go with the Doctor-lite one (the achingly beautiful dystopian Turn Left); a typically brilliant Moffat double-header in Silence in the Library and Forest of the Dead with gorgeous work from Alex Kingston as the soon-to-be-hugely-significant River Song; and if the return of Rose undoes some of the emotional impact of the Series 2 finale, Billie Piper’s work is spikily powerful. These are episodes I can, and have, watched over and over again.
Continue reading “Countdown to new Who: Doctor Who Series 4”
“At least a rat ‘as got an excuse”
In the cut-throat world of the West End, introducing a new musical is an undoubted challenge so it is quite gratifying to see the backers of Bumblescratch going all out to make its mark with this gala concert launch. With merchandise available, a full-throttle social media campaign in train, and a top-notch cast and creative team making the most of their two week rehearsal period, there’s certainly no lack of ambition here.
Set in London during the Great Plague of 1665 and Great Fire of 1666, the show is told from the perspective of plague rat Melbourne Bumblescratch and the anthropomorphic nature of the musical should come as no surprise once you learn it was written by Robert J Sherman, who has both form of his own (Love Birds) and an impressive family history (A Spoonful of Sherman) to live up to when it comes to writing a tune or two. Continue reading “Review: Bumblescratch, Adelphi”
“You gotta remember that December is the time for glitz”
I have to say I was sceptical about Elf the Musical, not least because it was Bonfire Night (5th November for you heathens) when I saw it but to my pleasant surprise, I was soon won over by its classic charms. If you’ve seen the film, then you’ll know that its soundtrack was a dip into the Christmas chapter of the Great American Songbook – Ella Fitzgerald’s ‘Sleigh Ride’, Ray Charles’ ‘Winter Wonderland’ etc – but the score for the musical is original yet pays great homage to those standards.
Matthew Sklar’s music and Chad Beguelin’s lyrics succeed by being entirely both warm-hearted and open-hearted and in this recording, is powered by the practically Duracell-bunny-like enthusiasm of Ben Forster’s Buddy, the kid who found his way into Santa’s bag of presents and ended up being raised at the North Pole. The heart of the story is his re-entry into the human world to find his birth father and in tracks like ‘World’s Greatest Dad’, you realise just how big and real his emotions are.
And that feel-good feeling is carried across the whole record – Jessica Martin as his mum matches him for sincerity in both ‘I’ll Believe in You’ and ‘There Is A Santa Claus’, Kimberley Walsh’s velvety smooth voice sits well as sceptical love interest Jovie in Never Fall In Love (With An Elf) and the big band feel of Stuart Morley’s musical direction keeps ‘Nobody Cares About Santa’ from ever getting too dark for the (big) kids. Indeed in a world where things are often ‘Sparklejollytwinklejingley’ , everyone is a winner.
A strong cast recording that definitely bears repeated listens to its classic song-writing – it’s not just at Christmas that “singing loud for all to hear” spreads cheer.
“I always get a special glow when the snow comes falling down”
There’s something a little perverse about a show as intrinsically Christmassy as Elf the Musical opening on Bonfire Night but with a limited run finishing sharply on 2nd January, the time to get festive starts now. Based on the 2003 film starring Will Ferrell and directed by Jon Favreau, the musical capitalises on the feel-good charm of the movie to create something deliciously old-school in feel but with a definite contemporary spin on things. My four star review for Cheap Theatre Tickets can be read here.
Running time: 2 hours 40 minutes (with interval)
Booking until 2nd January
“”You seemed uplifted but a little upset”
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 Wonderful which 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”
“I’d be the first one to agree that I’m preoccupied with me”
Mack and Mabel reunites much of the creative team from last year’s very well received Parade at the Southwark Playhouse but sadly it also sees them go back into the same space of the Vault there. Despite its cavernous nature, it has become the default space for musicals at this London Bridge venue, although mystifyingly so as its first one – Company – was brilliantly played, unmiked, in the main house. To overcome the echoing acoustics of the Vault, shows tend to be heavily amplified and this has been something of a learning curve to say the least and for me undoes much of the point of going to see fringe musicals as it robs shows of the immediacy of hearing amazing voices up close and personal.
The show – book by Michael Stewart and revised by Francine Pascal – centres on the on-off relationship between Keystone Cops creator and silent film director Mack Sennett and the waitress he spotted, Mabel Normand, and turned into a star. Problem is, it isn’t a particularly gripping story, not even in its revised version, which tends towards a rather gloopy sentimentalisation, complete with annoying narration device, which never really addresses the fact that Mack is not someone you could imagine anyone ever giving the time of day to. Thom Southerland’s overlong production never really manages to overcome this deficiency in the story. Continue reading “Review: Mack and Mabel, Southwark Playhouse”
“Do something special, anything special…”
This charity shop malarkey is proving to be a veritable treasure trove of theatrical goodies, of variable quality I should stress, but after the delights of Ms Paige – which will be continued shortly with an upcoming DVD review – I was given this DVD of the 1998 Cameron Mackintosh extravaganza Hey Mr Producer which cost a whole 99p from a British Heart Foundation shop in north west London. A benefit concert ostensibly put together for the RNIB but also honouring and celebrating the work of producer Mackintosh (although oddly he was involved in putting the show together – honouring himself…) by bringing together excerpts from many of the most famous shows he has been involved in and pulling together an extraordinary cast of the musical theatre glitterati, many of whom originated the roles, the like of which has rarely been seen since.
And it really does come across as something special, at times a little frustrating but it is often the way with concerts like these that tantalise with little glimpses of shows and when the calibre of performer is such as it is here, one barely minds as there is much pleasure to be had. It is impressive how much was packed into the single evening, multi-song sections from shows were interspersed with single songs from others meaning that over 20 shows were showcased here. Whether it was shows I love – Little Shop of Horrors, Oliver!, Les Mis, ones I’m ok with – Phantom of the Opera, Company or even ones I’ve never actually seen – My Fair Lady, Miss Saigon, Martin Guerre, Carousel – the sequences that had more than one song worked surprisingly well, getting across something of the flavour of the shows even with the rapid pace and semi-staging. I would have loved to have seen and heard more from Anything Goes, Godspell and The Boyfriend and for Salad Days, Mackintosh’s favourite show apparently, to have gotten a proper treatment, but then I guess the three hour show would have gone on for days. Continue reading “DVD Review: Hey Mr Producer”