2 quickies from a flying visit up north to Manchester to Dusty the Musical at the Lowry and Aspects of Love at the Hope Mill Theatre
“Left alone with just a memory”
Does the world really need another Dusty Springfield musical? I avoided the car crash at the Charing Cross a few years back, and wish I had avoided Son of a Preacher Man last year. But still they come and now we have Dusty the Musical which at least boasts a better pedigree than most, with Jonathan Harvey writing, Maria Friedman directing and Katherine Kingsley starring.
And with that level of quality, particularly from the mega-wattage of Kingsley’s titanic performance, it certainly emerges as the best of the bunch, relatively speaking. It is far from a great show though, its book weighed down with the tension between meticulously researched facts and figures and the greater freedom that comes from invented characters who allow story to flow. If it is to make it into the West End, more tinkering needed and Kingsley locked down. Continue reading “Review: Dusty, Lowry / Aspects of Love, Hope Mill”
“Come see the show,
She will neither know nor care”
It is always fascinating to listen to the cast recordings of shows that are regarded to have flopped, to see whether the writing was always on the wall or if some reason was responsible for the magic not happening. Lasting just four months at the Theatre Royal Haymarket in 2008, Marguerite is one such musical, despite (or maybe because of) the weight of expectation behind its writing team.
With a book by Alain Boublil, Claude-Michel Schönberg and Jonathan Kent (from the the Alexandre Dumas, fils’ novel La Dame aux Camélias) lyrics by Alain Boublil and Herbert Kretzmer, and music by Michel Legrand, the demands on these Gallic grandees were nothing short of recreating the exceptional success of Les Misérables (on which Boublil, Schönberg and Kretzmer collaborated) but it wasn’t to be. Continue reading “Album Review: Marguerite (2008 Original London Cast Recording)”
“Who could ask for anything more”
True to its name, An American in Paris premiered in 2014 at the Théâtre du Châtelet in the French capital to ecstatic reviews before transferring to the Palace Theatre on Broadway for another well-received (and Tony-winning) run there. It now rocks up at the newly refurbished Dominion Theatre, just ahead of another huge dance-heavy Broadway musical in 42nd Street, producers clearly banking on audiences wanting distraction from the realities of the outside world.
And that it certainly provides – director and choreographer Christopher Wheeldon’s reinvention of the 1951 film (new book by Craig Lucas) is an absolute feast for the eyes and ears. George and Ira Gershwin’s score is beyond classic (‘I Got Rhythm’, ”S Wonderful’, ‘They Can’t Take That Away from Me’ et al) and sounds luscious in Rob Fisher’s new arrangements musically directed by John Rigby, and Bob Crowley’s set and costumes look divine in all their old-school charm. Continue reading “Review: An American in Paris, Dominion”
“We muffle all the undertones,
The minor blood-and-thunder tones;
The overtones are all we care to play”
Even Rodgers and Hammerstein can have a duff moment. Allegro is a rarity amongst their catalogue in that its 1947 debut was not the equal of the shows that they wrote before and after – you may have heard of them, Carousel and South Pacific… – and so has languished pretty much in obscurity ever since. But in these content-hungry, revisionist times, nothing lays untouched for too long and it is the expert hand of Thom Southerland who has brought us Allegro’s European premiere to the Southwark Playhouse.
I reviewed the 2009 first complete recording of the show in the summer and was surprised at how musically strong it was (helped of course by a stellar cast) so was intrigued to see how the book played out alongside it. And for me, it is not too hard to see why this is a show that has collected dust rather than accolades on the shelf. Telling the life and times of an ordinary American Joe, called Joe, from birth to childhood (told by puppets, eeesh!) through to mid-life crisis but so ordinary is Joe, so everyday the details of his life, that it is hard to get too excited by it. Continue reading “Review: Allegro, Southwark Playhouse”
“Everything’s different, nothing’s changed, only maybe slightly rearranged”
Marking the first ever musical to play at the Southwark Playhouse, Stephen Sondheim’s Company is one of the few shows that didn’t receive an airing in London last year (aside from the Donmar concert version) but receives a fringe production here from Mokitagrit, who are riding high on the recent success of Double Falsehood which is now transferring to the New Players Theatre for a brief extended run. It contains some of Sondheim’s greatest songs, but with its tricksy structure and book by George Furth, I have found it a difficult show to love.
The story centres on eternal singleton Bobby who is just about to turn 35. He is juggling three girlfriends and the 5 sets of married couples that make up his best friends are keen for him to settle down, but as the show progresses through a series of vignettes that look at each couple in turn, we see that each couple has their own story, their own take on marriage and their exhortations for Bobby to give up his bachelorhood masks issues in their own lives. Continue reading “Review: Company, Southwark Playhouse”