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.
Continue reading “Review: Flowers for Mrs Harris, Chichester Festival Theatre”
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.
Pre-order 2 CD Edition
Pre-order 4 CD Edition
Continue reading “Andrew Lloyd Webber celebrates 70 years with ‘Unmasked: The Platinum Collection’”
Best Supporting Actress in a Play
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.
Sheila Atim, Girl From the North Country
Laura Carmichael, Apologia
Romola Garai, Queen Anne
Lashana Lynch, a profoundly affectionate, passionate devotion to someone (-noun)
Kate O’Flynn, The Glass Menagerie
Susan Brown, Angels in America; Jessica Brown Findlay, Hamlet; Denise Gough, Angels in America
Best Supporting Actress in a Musical
Tracie Bennett, Follies
All I have to say is ‘I’m Still Here’. I’M STILL HERE!
Honourable mention: Rachel John, Hamilton
Only the tiniest of margins separated these two and it’s only really the fact that she’s not Renée Elise Goldsberry that held John back from the title.
Christine Allado, Hamilton
Julie Atherton, The Grinning Man
Sharon D Clarke, The Life
Joanna Riding, Romantics Anonymous
Lucie Shorthouse, Everybody’s Talking About Jamie
Nicola Hughes, Caroline or Change ; Cathy Read, Little Women; Sharon Sexton, Bat Out of Hell
“Je suis émotif
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
“Prenez vos chocolats…et mangez-les”
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.
Continue reading “Review: Romantics Anonymous, Sam Wanamaker Playhouse”
“The feelin’ is gettin’ so intense”
Nick Hytner’s production of Carousel began 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)”
In the wake of a global shift in politics that saw reality star Donald Trump become the 45th President of the United States of America, Nigel Farage’s Brexit campaign win the majority and the Conservative party seek out a deal with the DUP, Theatre Renegade is proud to present a one-off gala, In Response To… Politics.
>With performances from critically acclaimed performers including Pippa Nixon, Madalena Alberto, Gloria Onitiri and Nigel Richards, In Response To…Politics will take place on 24th July at The Other Palace Studio and feature a number of pieces each designed to directly respond to the current political turmoil. Continue reading “Round-up of news and other interesting things”
“There is nothing in Nepal
More scary than the step from the kitchen to the hall”
So having not gotten round to seeing The Girls for whatever reason (mainly that I didn’t want to), I finally bit the bullet last week and within 24 hours, the show posted closing notices for its West End run. The Girls will then head out on a two year national tour from August 2018, aiming to visit 42 theatres across the UK and if that does perhaps seem a little ambitious, it is hard to shake the feeling that the musical might be more suited out on the road.
Gary Barlow and Tim Firth’s show started life in “the regions” – I saw it in Leeds and my family saw it in Manchester – and away from the cut-throat economics of the West End, it may well thrive again. The instant recognition of the Calendar Girls story has a different currency when there’s only a week’s worth of performances to sell; one gets the sense that the maxim about familiarity breeding contempt may have come into play at the Phoenix. Continue reading “Re-review: The Girls, Phoenix”