Have you seen this amazing video announcing the full line up for Part One of @OnHopeSongCycle put together by the multi talented @MattPowellicus with music by the equally multi talented @jimbarne of @TheSeason19 & @StilesandDrewe fame??? #community #newwriting pic.twitter.com/bFQl4YbHhC
— Victoria Saxton (@V_Saxton) April 24, 2020
“Jesus called me on his cellphone”
A huge off-Broadway hit, Altar Boyz has taken its time to cross the pond but now Paul Taylor-Mills’ production has settled into Greenwich Theatre for a short run to help us cast off our sins. Hailing from small-town Ohio, the Altar Boyz are a Christian boyband who have reached the end of their ‘Raise the Praise’ tour and have one last concert in which to save as many souls as possible through the gift of their cheesy pop moves, confessional anecdotes and the divine technology of their ‘soul sensor’.
It would be easy to suggest that the music is blandly forgettable, the book laboured rather than funny as it just trifles with the notion of skewering this take on religion instead of actually lampooning it (Kevin Del Aguila, Gary Adler and Michael Patrick Walker all share credit for book, music and lyrics). And there’s truth in both propositions, but the strength of Steven Dexter’s direction and some highly astute work by casting director Will Burton means that the performance level elevates the material to a higher plane.
The superb comic touches that Jonny Fines brings to virtually all of Mark’s movements as he battles with his feelings; the sheer commitment of Faisal Khodabukus’ Latin lothario Juan who just can’t turn his natural charm off and flirts outrageously with most of the audience at one point or another; Liam Doyle’s steadying presence as the group’s de facto leader Matthew; Alex Jordan Mills’ lyrical Jew; and the Jason Stackhouse of the group, Jamie-Ray Hartshorne’s ab-tastic Luke (who can lay hands on me any day of the week, not just Sunday) whose goofiness is more than mitigated for with some hugely impressive dance moves (choreographed by Ewan Jones).
Between them, these five likely lads ensure that the pace of the show never dips too much amidst songs that go on a touch too long too often and a script that just doesn’t possess enough killer lines. That they manage to pull out as much humour as they do is testament to their skill as nurtured here by Dexter and consequently Altar Boyz emerges as a lively, if undemanding, evening of theatre.
Running time: 75 minutes (without interval)
Programme cost: £2.50
Booking until 18th October
Photo: Claire Bilyard
Little is it known that Paris actually has 21 districts. And that in the 21e arrondisement, humans and animals live side by side. And that in that corner of Paris, they put on a show every day – the Carnival of the Animals. But the animals are tired, they’ve lost their enthusiasm for the theatre, their star turn has gone missing and they can’t stop arguing. It is only when a chimpanzee, a zebra, a parrot and a lioness arrive breathlessly in the square, determined to join the carnival, that they decide to carry on, but the newcomers are hiding a secret. And watching over all of them is neighbourly dress-shop owner Mademoiselle Parfait, who despite her friendly demeanour perhaps isn’t quite all she seems either.
Inspired by Saint-Saëns’ musical opus of the same name, this Carnival of the Animals maintains a similar family friendly ambience to create a really rather charming piece of musical theatre. Andrew Marshall’s book weaves a likeable story about finding one’s own self-worth and appreciating others’ differences in with the slightly darker sub-plot – nothing too sinister, think pantomime villainry – and the whole thing is peppered with a bunch of amiable songs from composer Gavin Greenaway and lyricist Roger Hyams. Continue reading “Review: Carnival of the Animals, Riverside Studios”
I find it hard to resist certain things, and albums showcasing new musical theatre writing with all-star ensembles singing them have been a particular weakness for me this year. The latest temptation was Gareth Peter Dick’s debut album The Music Box which I liked the look of mainly because it was nice to see a rather different line-up of singers rather than the usual suspects lining up and names like Richard Dempsey, Laura Pitt-Pulford and Katie Rowley Jones got me to part with my money quite easily.
Dick is a Nottingham-based composer who has a range of diverse projects on the go: Ancient Egypt, Jack the Ripper and wartime dramas all seem to feature in shows, though I’m not sure how widely they’ve been produced and his was a new name to me. But one I was instantly intrigued by and could well be one to look out for. His rather eclectic musical palate takes in driving power ballads, Gothic pop numbers and some atmospheric instrumental pieces and creates an album that is undeniably a tiny bit insane, but really rather entertaining with it. Continue reading “CD Review: The Music Box – the music and songs of Gareth Peter Dicks”