The third series of Chris Lang’s Unforgotten is another corker, and not just because of Nicola Walker, honest!
“We’ve all done things of which we are ashamed”
The cold cases of Unforgottenhave rightly proved a success for their alternative tale on crime drama, putting a real focus on the victims rather than the crimes, a neat corrective to the sometimes exploitative gaze that can characterise this genre. And this third series maintained that strong record (quick review of episodes 1 and 2 here)
A measure of the regard in which Unforgotten is held is the sheer quality of its cast. With James Fleet, Alex Jennings, Kevin McNally and Neil Morrissey as its lead quartet, it added Sasha Behar, Emma Fielding, Indra Ové and Amanda Root as their partners, and then threw in Siobhan Redmond and Sara Stewart as exes as well. Continue reading “TV Review: Unforgotten Series 3”
Naturally, Stiles & Drewe are big in Singapore, why wouldn’t they be?! Goldilocks and the Three Bearswas originally commissioned by Singapore Repertory Theatre’s Little Company and slots into the composing duo’s trilogy of trios, which will eventually see three mini-musicals based on fairytales that can be performed by the same ensemble of five actors. The third, The Three Billy Goats Gruff, will come in 2016, the first The Three Little Pigs will be seen at the Palace Theatre throughout August having previously had a cast recording released and this, the second, now gets a similar West End studio treatment through SimG Productions.
As a family show, there’s something of a simplicity about the song-writing here but there’s certainly no dip in quality. Stiles & Drewe’s propensity for a bright, direct melody is ideal for this format and the decision to focus the book on the family of bears is a clever one, allowing for a cracking opening trio of songs. ‘A Family of Bears’ introduces the tight family unit of Mother Bear, Father Bear and Baby Bear, ‘Porridge’ neatly covers a breakfast cooking lesson but ‘Beware’ sets up the most interesting notion, the parents warning their child about the scary humans who sometimes invade the woods that make up their home. Continue reading “Album Review: Goldilocks and the Three Bears”
Molly Wobbly’s Tit Factory was originally scheduled to receive a full production at the Hackney Empire last year but a last minute financial crisis saw it cancelled. Now trimmed down to Molly Wobbly and slimmed down to a staged concert, it has resurfaced at the Phoenix Artists Club, with some of the cast returning together with some newcomers, to give Paul Boyd’s musical another chance at airing in London.
And it has to be said that the intimate venue feels a much better fit than the Empire would ever have been. The show clearly has visions of cult status, its bizarrely eccentric book incorporating boob jokes aplenty, cross-dressing angels and tales of sexual deviancy alongside the marital trials of three couples who live on Mammary Lane whose lives are changed with the arrival of a mysterious lime-green-haired stranger bearing a vial of orange potion. Continue reading “Review: Molly Wobbly, Phoenix Artists Club,”
“I really don’t think you have anything to worry about Charlie Brown”
Out in West London, the Tabard is a theatre that hasn’t really managed to work its way into my regular theatregoing: I’ve enjoyed things there, last Christmas’ Just So in particular, but it’s always been a bit on the wrong side of town for me to merit multiple trips, the nature of fringe theatre being essentially so variable.
It’s CHRIIIIST-MAAAS! Well not really, but in honour of Advent starting and all of the snow in London, I’d thought I’d write about two of my favourite Christmas albums with musical theatre connections.
There are certain performers who I really do want to see live at least once in my life and somewhere near the top of that list is Kristin Chenoweth (so any producers reading, get her over here pronto, please), not least because she seems so fricking adorable in everything I’ve ever seen her in and I would just die if she tugged my hair like she does at 5:18 in this clip of her and Idina Menzel performing ‘For Good’. So I’ve had to make do with her TV shows, YouTube clips and her CDs, the Christmas one of which, A Lovely Way To Spend Christmas, became a fast favourite when it was released a couple of years ago.
The best track, and if you only download one I’d make it this one, is a gorgeous version of ‘Do You Hear What I Hear’. Building slowly with an angelic vocal, enhanced by the insertion of the Gloria refrain from ‘Ding Dong Merrily On High’, it is sweet and perfect and often on repeat play on stressful December commutes. ‘What Child Is This’, to the tune of ‘Greensleeves’ and ‘I’ll Be Home For Christmas’, both staples of US Christmas albums are both well-performed but a slowed version of ‘The Christmas Waltz’ is really lovely and the medley of ‘Sleep Well Little Children’/’What A Wonderful World’ is another flawless wonder. Continue reading “Christmas Music Review: Kristin Chenoweth’s A Lovely Way To Spend Christmas & Christmas in New York”
Now for something a little different. Whilst on holiday, I listened to a lot of music whilst lying by the pool, and I’ve been raving about much of it since my return so I thought I’d pop a couple of brief cd reviews on here, mainly musical theatre records or at least cds by musical theatre people. And if it’s well received, I’ll work my way through my cd collection!
Continuing my obsession with all things Avenue Q or at least vaguely connected, we trotted off to the Lyric Theatre on Shaftesbury Avenue to Christmas in New York, a show of Christmas music ranging from traditional carols to thoroughly modern musical theatre numbers. The Q connection comes from Julie Atherton who alongside Paul Spicer is a founder member of Notes from New York, the company behind this annual show whose remit is to promote contemporary musical theatre composers.
It was a highly enjoyable evening in which the talent onstage was clear with a range of West End stars, singing a mix of solos, duets and group numbers accompanied by a large choir giving huge glorious voice to several of the songs. Spicer and Atherton fronted up the ensemble but they far from hogged the limelight as many others, like Emma Williams, Melanie La Barrie and Oliver Tompsett, got their turn too.
The only downside was our unfamiliarity with much of the material: it was akin to going to see a gig by someone you really like who just sings songs from a new album that you don’t know. Amongst the traditional carols and the Sondheim, Berlin and Rodgers number were intertwined with new composers like Michael Bruce, Charles Miller, Grant Olding and Ann Hampton Callaway whose material kind of passed me by a little without knowing more about it. There must have been over 30 songs performed in the big theatre and I would have preferred the stronger connection that might have developed in a more intimate venue.
The musical version of Twas the Night Before Christmas was great fun though and it was a highly entertaining night altogether. A great demonstration of fresh new talent working on the stage and a nice alternative to the endlessly repeated usual Christmas tunes.