Album Review: The Clockmaker’s Daughter (2019 Studio Cast Recording)

Webborn and Finn’s cracking new musical The Clockmaker’s Daughter receives a delectable Cast Recording treatment that features the likes of Ramin Karimloo, Hannah Waddingham, Christine Allado and Fra Fee

“Come gather round!
Come gather young and old
Tall and small…
Come gather all!”

I was a huge fan of Michael Webborn and Daniel Finn’s musical The Clockmaker’s Daughter when it premiered at the Landor back in 2015, and loved getting to revisit the show when Trinity Laban’s final year students mounted the show a year later. So news of a cast recording was excitedly received in the Clowns household, especially once the company was revealed, featuring the likes of Ramin Karimloo, Hannah Waddingham, Christine Allado and Fra Fee. 

And with those stalwart supporters of new musical theatre Auburn Jam at the helm (Joe Davison producing) and David Ball Productions executive producing, the album sounds like an absolute dream. The show describes itself as “a musical faerytale” and the richness of the score reflects the considerable folk heritage of the British Isles, utilising Celtic influences as it is set in the fictional Irish village of Spindlewood but widening out its focus to produce something joyously universal. Continue reading “Album Review: The Clockmaker’s Daughter (2019 Studio Cast Recording)”

Review: The Clockmaker’s Daughter, Landor

“They try to figure out what makes her tick”

Described as a musical faerytale, Michael Webborn and Daniel Finn’s The Clockmaker’s Daughter aims to create the feeling of a story from the Brothers Grimm but in actual fact, has come up with an astonishingly assured piece of original musical theatre. Set in the fictional Irish town of Spindlewood, the story delves into the myth behind the statue of a young girl in the town square – a tale of grieving inventor Abraham and of Constance, a girl not like the others, and how she touches the lives of the townspeople around her despite their pettiness and prejudices. 

David Shields’ remarkable design work is some of the best the Landor has ever seen, an all-encompassing vision that properly transforms the theatre and transports the audience to a different, magical, place. Cleverly conceived and carefully constructed, its various pieces work…well…like clockwork. And this ambition is matched in the scope of the writing and the score, combining the epic with the intimate, the emotional with the entertaining, the folkloric with the universal in what emerges as a deeply moving tale. Continue reading “Review: The Clockmaker’s Daughter, Landor”

Review: Damn Yankees, Landor

“You gotta know what game to play and how to play it”

Faust via baseball, with songs – that’s Damn Yankees, the latest musical revival to hit Clapham North’s Landor Theatre, in a nutshell for you although the picture below gives a little more detail about the production… Hapless Joe Boyd blithely makes a deal with the devil to become Shoeless Joe Hardy who can save his beloved baseball team’s shockingly bad season even if it means leaving his wife behind. Sure enough though, as he helps the Washington Senators to victory after victory, suspicions about his sudden arrival are roused and it turns out he’s kinda missing his wife after all – can you go back on a deal with the devil?

It’s always a thrill to see choreography that tests the limits of this intimate space and Robbie O’Reilly’s work here is particularly striking in the group numbers – bringing to life the eternal conflict between obsessive sports fans and their spouses in the vibrant opening number ‘Six Months Out Of Every Year’, giving us the taut sensuality of a Latin dance club, or stripping the baseball team to their towels to show off their…ahem ‘Heart’. A show at the Landor also needs a director who understands the wide aspect of the stage and how to use it both efficiently and effectively.

Robert McWhir is of course that director (13 years and counting as AD) and there’s real skill in how he visualises scenes and stages them here – knowing exactly when to pull in focus or throw out wide (the staging of emotional trio ‘Near To You’ is particularly well done), how to move considerable groups of people around and still manage to get surprise reveals in there (keep your eye on the fireplace!) Aspiring directors could do a lot worse than come and get a masterclass in exploring and exploiting fringe stages here.

As in theatre as in life, the devil gets all the best lines (and songs) and whether in the Mephistophelean hands of Jonathan D Ellis’ Mr Applegate or the seductive allure of his able and willing assistant Lola as played by Poppy Tierney, it’s easy to see the appeal of some right good damnation. Tierney manages the not inconsiderable feat of bringing conviction to Lola’s journey through the show and Ellis is clearly at home as he chews the scenery up something rotten with devilish panache and a wicked sense of humour (as the gentleman who nipped to the loo midway through one of his songs soon found out).

Alex Lodge makes for a charming hero as the sweet-voiced younger Joe, a natural counterpart to Gary Bland’s older original, and Nova Skipp’s Meg – the ever-dutiful and way-too-understanding wife – has a beautifully straight-forward good-natured appeal and a lovely quality to her voice. Michael Webborn’s musical direction encourages this entirely straight bat from everyone which makes the Richard Adler and Jerry Ross’ score really pop in a good old-fashioned way and unmiked as the singing is, it really does create a glorious sound. Something of a home run then for the Landor (see, I knew I could get a sporting pun in there!)

Running time: 2 hours 30 minutes (with interval)
Programme cost: £2.50
Booking until 8th November
Note: the production is recognition of the 75th anniversary of US baseball player Lou Gehrig’s retirement from the sport after being diagnosed with Motor Neurone Disease (also known as ALS, they of the Ice Bucket Challenge, and actually as Lou Gehrig’s disease in the USA). Please do give generously if you can.