West End chanteuse Emma Lindars channels some seriously impressive vocal power on album As We Grow Older
“You were the one who said forever from the start”
Anyone who was in Made in Dagenham scores points with me, so spotting that Emma Lindars had released an album earlier this year – As We Grow Older – which features a mixture of musical theatre and contemporary pop. Lindars’ resume takes in all sorts of West End credits over the last decade or so, but I do remember being particularly impressed with her in cabaret act The IDolls.
And that impassioned power I remember is on fine display throughout,. whether a gorgeous take on ‘With Every Breath I Take’ from City of Angels, or Céline-esque power ballads ‘Before I Fall’ and ‘As We Grow Older’. There’s a beautiful pairing with Alice Fearn on ‘When You Believe’ from The Prince of Egypt (though as ever, it’s the delicate interplay of that middle chorus rather than the epic finale that really captures the heart). Continue reading “Album Review: Emma Lindars – As We Grow Older”
A vital piece of gay history is unearthed in LGBT+ musical The View UpStairs at the Soho Theatre
“In this kingdom we’ve found
Where the queens and clones collide
And though it reeks of cheap cologne
It’s my favorite escape from the world outside”
There’s something so powerful about the power of theatre to educate as well as ilustrate. The 1973 arson attack that took the lives of 32 people in a New Orleans gay bar was actually the most tragic hate crime until Orlando but it remains comparatively little known. So Max Vernon’s choice to use it as inspiration for his musical The View UpStairs is freighted with significance from the off.
And at its best, it is hugely powerful. A cross between a kind of oral history and musical theatre, it fleshes out the lives of gay people in 1970s USA in all its multi-faceted nature through its collection of what might at first be mistaken as stock characters. The aspiring drag queen, the sharp-edged hustler, the dreamy twink, the closeted musician, the lesbian ‘mother’, all are present and correct. Continue reading “Review: The View UpStairs, Soho Theatre”
Best Actor in a New Production of a Musical
Andrew Polec, Bat Out of Hell, London Coliseum
John McCrea, Everybody’s Talking About Jamie, Sheffield Crucible
John Partridge, La Cage Aux Folles, UK Tour
Jon Robyns, The Wedding Singer, UK Tour
Michael C. Hall, Lazarus, King’s Cross Theatre
Robert Fairchild, An American in Paris, Dominion Theatre
Best Actor in a New Production of a Play
Andrew Scott, Hamlet, Almeida Theatre
Arinzé Kene, One Night in Miami…, Donmar Warehouse
Brendan Cowell, Life of Galileo, Young Vic
Conleth Hill, Who’s Afraid of Virginia Woolf?, Harold Pinter Theatre
Lucian Msamati, Amadeus, National Theatre
Nicholas Woodeson, Death of a Salesman, UK Tour Continue reading “2017 BroadwayWorld UK Awards Shortlist”
“It’s rather gaudy but it’s also rather grand”
It doesn’t feel like that long since La Cage aux Folles was strutting its stuff in London as I made several visits to the Playhouse as it rotated its main cast on a regular basis (Douglas Hodge and Denis Lawson, Philip Quast and Roger Allam, John Barrowman and Simon Burke) but it has a good few years. So the time is clearly ripe for a revival and Kenwright and co clearly agree as they’ve mounted the show’s first ever UK tour.
And with John Partridge and Adrian Zmed at the helm, it remains as gloriously entertaining and heart-warmingly lovable as ever. A story about love and acceptance always has things to teach us, gay or straight, now more than ever and the story of St Tropez nightclub owners Georges and Albin is a touching one as through dealing with Georges’ son’s fiancée’s parents’ homophobia, they learn more about themselves and their own identities. Continue reading “Review: La Cage aux Folles, New Wimbledon”
“The economy, crime, taxes!”
I’ve seen The Fix twice now – once at the old Union and once at the new and to be honest, it’s not a show I particularly love. With a rock/pop score by Dana P Rowe and book and lyrics by John Dempsey, its political shenanigans schtick has now been overtaken by the real-life ridiculousness in the political spheres on both sides of the ocean and in any case, aimed for a kind of melodrama that never really worked for me as far back as the comparative calm of 2012.
A big issue for me is the score and its magpie nature, beginning with the power-pop chorus of ‘One, Two, Three’ with its forceful guitars and then dipping in and out of the worlds of vaudeville, lounge jazz, straight-up balladry, even folk songs. Sprawling in such a manner means we never really get a sense of the kind of world that the show is trying to conjure – only in Philip Quast’s charismatic ‘First Came Mercy’ with its Kander + Ebb sharpness does The Fix express its identity.
It’s interesting to hear John Barrowman here at an early stage in his career, clearly expressing a rock edge to his voice which has now long been smoothed out in the name of showmanship and Kathryn Evans is a Machiavellian delight as his manipulative mother Violet. Krysten Cummings as the jazz singer mistress also sounds lovely but incongruous, in a cast recording that doesn’t really do it for this listener.
“Step, kick, kick, leap, kick, touch…again!”
When I was learning to play the piano as a young’un, we had a book of tunes from the movies which included ‘One’ and ‘What I Did For Love’, both from A Chorus Line. I’d never seen the film (and still have not) but I loved both of those songs and so practiced hard to be able to play them well. But even when a new production of the show was announced earlier this year, the temptation to go and see it was never too strong. Part of that came from the venue – the Palladium is a most unforgiving of theatres if you don’t have a front centre stalls seat – but there was also a sense that its conglomeration of backstage stories might be a little dated in a world where the audition process has repeatedly been laid bare on our television screens.
I perhaps wasn’t alone in feeling this way as the production was forced into publishing early closing notices, meaning it shutters at the end of this week. But in forcing my hand and making me book via a bargainous deal that got us into the middle of Row C of the stalls, I belatedly came to realise that the show is much better than I thought it would be and perhaps deserves a longer life than it has had. Its set-up is simplicity itself – seventeen Broadway dancers audition for eight spots on the chorus line for a musical and as the director takes them through their paces, we get to hear the tales of these hopefuls, their dreams and aspirations, their fears and frailties, in some cases their most intimate stories about what dance and being a dancer means to them. Continue reading “Review: A Chorus Line, Palladium”
Direct from Broadway and originally written as a skit for a stag party, The Drowsy Chaperone (a musical within a comedy it claims) comes to London delivering 90 minutes of huge amounts of fun, though not quite the Elaine Paige star vehicle one might have imagined.
The show itself has a relatively simple plot, following the wedding day of pampered starlet Janet Van De Graaff who is about to give up show business to marry the dashing Robert Martin on the estate of ditzy Mrs Tottendale. Making life a little difficult for them is an array of odds and sods each with their own agendas, Janet’s producer who wants to stop the wedding, the outrageous Adolpho, Janet’s gin-drinking titular chaperone and a whole load of others beside. But where the show stands out is having it all narrated by Man in Chair. Continue reading “Review: The Drowsy Chaperone, Novello”