A trio of album reviews cover the (relatively) recently released cast recordings of Company, Follies and Mythic
“One more souvenir of bliss”
I adored Marianne Elliott’s reinterpretation of Stephen Sondheim and George Furth’s Companyon my many visits and so the news of a cast recording was of course ecstatically received. And perhaps inevitably it doesn’t quite live up to the thrill of seeing it live but maybe that’s because the production is still so fresh in my mind. I mean we’re only talking a 4 instead of a 4.5…
I swear Patti LuPone’s ‘Ladies Who Lunch’ was different every time I saw it but this version here is as good as any, with the glorious fullness of her voice pointedly sharpening its wit. Her contributions to ‘The Little Things We Do Together’ are inspired, Jonny Bailey’s ‘Not Getting Married’ is breathlessly affecting and the warmth of Rosalie Craig’s character and voice infuse the whole experience with real quality. Continue reading “Album Reviews: Company / Follies / Mythic”
Follies2019 remains the show that I need right now
“I’m so glad I came”
Just a quickie for this revisit to Follies, which remains as perfect a piece of musical theatre as I could hope for. I loved it then but I really love it now, Joanna Riding is just heartbreakingly perfect as Sally, she really brings something to the role that somehow eluded Imelda Staunton (for me at least), Alexander Hanson is superb in tracing Ben’s tragic fall, and Janie Dee and Peter Forbes maintain their stellar work as Phyllis and Buddy (seriously, Dee is a proper showstopper).
And as is surely appropriate in Dominic Cooke’s production, ghosts of the past interplay with what we’re seeing from top to bottom. It was great to see Dame Felicity Lott as Heidi, a different but no less affecting proposition than Dame Josephine Barstow (there truly ain’t nothing like a…). And the young talents of Gemma Sutton, Ian McIntosh, Harry Hepple and Christine Tucker are eloquently elegant as the younger incarnations of the central quartet. Continue reading “Re-review: Follies 2019, National Theatre”
The Olivier Award-winning Follies returns to the National Theatre in richer, deeper, more resonant form and just blows me away
“It’s the cat’s pyjamas”
Like the ghosts of their younger selves that haunt the characters in Folliesso beautifully in this production, for those who were lucky enough to catch its superlative Olivier Award-winning 2017 run, so too do our memories interplay with what we’re seeing, inducing some soul-shiveringly exceptional moments that are almost metatheatrical in the feelings they provoke.
The tingle of anticipation is never far away but the show somehow feels richer, deeper, more resonant in the note of melancholy it strikes as it exposes nostalgia for the rose-tinted self-delusion it so often becomes. Janie Dee’s Phyllis somehow feels more desolate, especially in her bitterly brilliant ‘Could I Leave You’; Tracie Bennett scorches the roof once more in ‘I’m Still Here’ in what feels like a more internal performance now; we’re all at least a year older… Continue reading “Review: Follies 2019, National Theatre”
Some of the beauty of Flowers for Mrs Harris gets lost at Chichester Festival Theatre but it remains a striking new musical
“It’s a work of art… something not real, made to make you feel”
I had much love for Flowers for Mrs Harris when it premiered in Sheffield a couple of years ago, and so I was delighted to see Daniel Evans deciding to revive it at his new abode over in Chichester. My only cavil came with the placing of this most heartfelt musical in the vast space of the Festival Theatre rather than the intimacy of the Minerva where it might perhaps have been better served.
So much of the beauty of the show (book by Rachel Wagstaff from Paul Gallico’s novel, music & lyrics by Richard Taylor) comes from the fact that it isn’t a bells and whistles epic. It is something far more subtle that truly celebrates the ordinary in extraordinary, as Clare Burt’s charlady Ada Harris dares to dream of owning a Christian Dior dress and in working to achieve that dream, illuminates the lives of those around her.
Andrew Lloyd Webber marks his 70th birthday with a new musical anthology – Unmasked: The Platinum Collection – taking in shows new and old with some surprises along the way (Beyoncé, Lana del Rey, Duncan from Blue )
“Oh what a circus, oh what a show”
Upon reaching 70 this year, Andrew Lloyd Webber is clearly in a reflective mood and hot on the heels of his autobiography Unmasked released last week, comes this new compilation album Unmasked: The Platinum Collection. Available physically as a 2CD or 4CD version (the latter with a 40 page book of liner notes and tributes), this collection looks back on a career spanning nearly 50 years and features some new twists on the material as well as reminding us of the old favourites.
Over the four discs, 17 of Lloyd Webber’s shows are represented here (Jesus Christ Superstar tops the list with 8 tracks, Evita and Phantom just behind), alongside assorted one-off songs (such as ‘Amigos Para Siempre’ from the 1992 Barcelona Olympics, the Gary Barlow co-write ‘Sing’ from the Queen’s Diamond Jubilee). But for ALW fans it will be the unreleased stuff that makes the mouth water – five new orchestral suites and a smattering of new recordings featuring the likes of Lana del Rey (a winsome ‘You Must Love Me’ and Gregory Porter (a spirited ‘Light At The End Of The Tunnel’. Continue reading “Album Review: Andrew Lloyd Webber Unmasked: The Platinum Collection”
In celebration of his 70th birthday this March, new compilation ANDREW LLOYD WEBBER: THE PLATINUM COLLECTION will be available March 16th through UMC / Polydor.
The collection is personally curated and overseen by Lloyd Webber to include classics from his earliest work starting with 1968’s Joseph and the Amazing Technicolor Dreamcoat through his most recent School of Rock.
Newly recorded songs from superstar artists Nicole Scherzinger (“Memory”, Cats), Gregory Porter (“Light at the End of the Tunnel”, Starlight Express) and Lana Del Rey (“You Must Love Me”, Evita) add to the collection of his cherished works from the past five decades.
The set also contains recordings by world-class performers such as Barbra Streisand, Madonna, Michael Crawford, Sarah Brightman, Michael Ball, and released for the first time, Beyonce singing “Learn To Be Lonely” from the 2005 Academy Awards with Lloyd Webber accompanying on piano.
UNMASKED: THE PLATINUM COLLECTION is available as 2 CD and 4 CD editions. The 4-disc version contains an exclusive 40-page book with a personally penned introduction from Lloyd Webber and more in-depth notes on each track, written by respected theatre critic and Lloyd Webber biographer Michael Coveney, together with personally written tributes from Barbara Streisand and Glenn Close among others.
Bríd Brennan, The Ferryman
Thinking about this most well-received of plays, it is the role of Aunt Maggie Faraway who lingers most in my mind, the elegiac beauty of her speeches an elegant way of folding in traditions of Irish storytelling and emphasising the deep bonds of family. Breathtaking work from Brennan.
Honourable mention: Kate Kennedy, Twelfth Night (Royal Exchange)
When done well, Olivia is one of my favourite Shakespearean roles and the statuesque Kennedy didn’t disappoint with a highly-sexed take on the character which embraced all the physical potential of her height.
I’m a big fan of chocolate and an even bigger fan of Romantics Anonymous so naturally I had to head back to the Sam Wanamaker Playhouse for second helpings (and with somewhat less calories than your usual festive chocolate offerings!). Not too much more to add to my original review and I’d recommend booking in before it closes next week but there’s not a ticket to be had! Returns queue…?
Running time: 2 hours 20 minutes (with interval) Booking until 6th January
Like the squares of chocolates handed out for us to magically access automatic translation, there’s a bittersweet note to much of Romantics Anonymous. And it is perhaps predictably that Emma Rice scores one of her biggest hits on Bankside with a musical that couldn’t be more Emma Rice if it tried. As it is, it fits perfectly into the Sam Wanamaker Playhouse, shaking up the established order once again as she brings amplification and neon lights along with the huge generosity of spirit of this show, uncompromising to the end in her relationship with the Globe.
Romantics Anonymous was adapted by Rice from the French-Belgian film Les Émotifs Anonymes, and takes a wonderfully Gallic spin on your typical romantic comedy. Jean-René has inherited a chocolate factory, Angélique is a chocolatier par excellence in need of a job, they seem perfectly suited for each other but both are chronically, painfully shy. She faints if she has to speak to people, he has precisely zero confidence and even in the act of finally striking up a relationship together, both working and personal, their awkwardness is a constant threat to their happiness.