Featuring a pleasing amount of new musical theatre writing, Carrie Hope Fletcher releases her debut album When The Curtain Falls
“Who you are is how you’re feeling”
Fresh from winning her second What’s On Stage Award, racking up her third novel, vlogging regularly and quite possibly plotting world domination, Carrie Hope Fletcher has now released her debut album When The Curtain Falls. A pleasingly varied tracklisting sees her cover as much new musical theatre writing (shoutout for the brilliant Natasha, Pierre & The Great Comet of 1812) as age-old classics, combined with a few family favourites to make an engaging collection.
There’s a innate prettiness to Fletcher’s voice that makes it extremely easy to listen to. And it is an over-riding characteristic across the album, which is fine when it comes to the likes of the sweetly lovely ‘Times Are Hard For Dreamers’ from the short-lived Amélie or the Disney tracks here, or smoothing the edges off of Jason Robert Brown’s ‘What It Means To Be A Friend’. Continue reading “Album Review: Carrie Hope Fletcher – When The Curtain Falls”
“The critics won’t like it”
Sometimes, returning to shows that might not have lived up to original expectations can reveal real treasures and several of London’s fringe theatres have built up a reputation in doing just that, notably the Finborough and the Union. And it is the latter who have opted to tackle notorious 90s flop musical Moby Dick, a frankly batshit meta-adaptation of the Herman Melville novel by Hereward Kaye and Robert Longden.
Moby Dick’s conceit is that it is a show-within-in-a-show, the students and staff of St Godley’s Academy for Girls putting on a performance in order to save their school, and what a frantically high-energy performance it is. So much so that it’s frightfully difficult to work out exactly what the hell is going on – a tongue-in-cheek synopsis of Moby Dick (the novel) is helpfully provided but there’s no guide to navigating the whirlpool of this production. Continue reading “Review: Moby Dick, Union”
“Seymour sweetheart, tell me darling, what’s been going on?”
Much like the plant at the heart of its story, Little Shop of Horrors has become something of a monster success rising from its Off-Broadway beginnings to cult classic to household name, thanks in no small part to Alan Menken’s sparkling score and Howard Ashman’s sharp lyrics and witty book. A spoof of 50s sci-fi films, it follows shy young Seymour, a florist with a huge crush on his colleague Audrey, trapped in an abusive relationship with a laughing-gas-guzzling dentist. When a mysterious plant lands on his doorstep offering him the solution to his problems in return for food, things seem like they might finally start to look up for this downtrodden couple, but Seymour fails to recognise the Faustian dangers of selling his soul as the plant, Audrey II, gets hungrier and hungrier.
It is silly and fun, but the show has endured due to its gigantic heart, one cannot help but root for this couple grasping at their chance of happiness and thwarted by a renegade flesh-eating vegetable, all to the tune of Motown-inspired ditties. This production at the White Bear Theatre in Kennington, South London has taken the unusual step of pulling together two teams of actors who will alternate performances, the key difference being that the three Ronettes who also double up as Audrey II between them are guys the one night, and girls the next meaning there’s different experiences to be had here from one night to the next. Continue reading “Review: Little Shop of Horrors, White Bear Theatre”