Rachelle Ann Go + Mark Baustista – How Did You Know
Continuing to explore the work of the Here Lies Love company, I love the fact that Mark Bautista is a bona fide pop star in the Philippines and this duet is with Rachelle Ann Go who can herself be found in London in Miss Saigon.
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Patti LuPone – Anything Goes
I got sucked into a LuPone YouTube spiral last week and this is one of my favourites that came out of that heady couple of hours – she is uh-mazing of course but the dancing is sensational too, (from 3.30)
Continue reading “Saturday afternoon music treats”
“The lady’s got potential”
Right, first things first, Marti Pellow’s name is deliberately bigger than Madalena Alberto’s on the poster. Really? He may have the greater name recognition factor, indeed Popped In Souled Out was one of the first cassette albums I ever owned, but is the show called Che? It is not, it is called Evita. And more significantly, in the role of Eva Perón, Alberto delivers an utterly magnificent performance (one which should give Anna-Jane Casey pause for thought in the recently rewritten Forbidden Broadway, star quality indeed…) which far outshadows Pellow’s perfunctory work. Simply put, this is not a West End-standard leading man turn and so demanding higher billing than the show’s true star feels even more inexcusable.
Andrew Lloyd Webber’s show has been touring the country since May 2013 and has now turned up at the Dominion Theatre to finish its run with a seven week stint in the West End. It’s quite a successful transfer too – Matthew Wright’s design holds up well on the vast stage and directors Bob Tomson and Bill Kenwright ensure a sense of grandeur infuses this story of the rise to power of Eva Perón under the auspices of her husband Juan who became the Argentine president. Creatively, the only disappointment comes in Bill Deamer’s choreography which lacks the organic Latin spirit that so elevated the last West End revival (the explosive power of that ‘Buenos Aires’ is one of my all-time favourite theatrical memories).
Continue reading “Review: Evita, Dominion”
With Evita about to open once again in London, this edition of Saturday afternoon treats is a Perón spectacular.
First up is a collection of ‘Don’t Cry For Me’s’ – I love the newer versions of Madalena Alberto (the incumbent Eva) and Elena Roger which are more subtle (at least at first) interpretations but there’s also something thrilling about the full-on diva mode it provokes in Patti LuPone and Elaine Paige and their wardrobes.
But then I delved a little deeper and was simply blown away by the clips of LuPone’s performance in the first Broadway production so there’s a hugely charming take on ‘Buenos Aires’ and a scorching version of ‘A New Argentina’ that is breathtaking. The stirring choreography of Elena Roger’s own ‘Buenos Aires’ remains an absolute delight so I thought I’d stick that on the end too.
Continue reading “Saturday afternoon Evita treats”
The Finborough’s Vibrant festival has been running for 3 years now, offering an opportunity to catch pieces of new writing and works-in-progress from the vast number of playwrights with some connection to the West London theatre. I’ve attended a few of these readings in the past and am loving the fact that I will soon have the opportunity to see a full production of one of them early next year as Mike Bartlett’s Bull makes its bow up in Sheffield.
Catching my eye this year though was the chance to see a musical version of Thérèse Raquin with music by Craig Adams and book and lyrics by Nona Shepphard. We were treated to the first half in its entirety and remarkably, a cast of 13 gathered to give full voice to this intriguingly pitched musical which lies, in the astute words of my companion for the evening, ‘between Les Mis and Sunday in the Park with George”. Continue reading “Not-a-review: Thérèse Raquin, Finborough”
“He does’t have to be a prince to give me butterflies”
Though she has performed in many shows before and since, Madalena Alberto is most likely to be recognised for playing Fantine in the hugely well-received 25th anniversary production of Les Misérables. She has since been in London in shows like Godspell and Jekyll and Hyde both at the Union, and now the Portuguese-born Alberto is taking the opportunity to stretch her wings as a singer-songwriter with the release of her debut EP Heart Condition.
Over the four tracks recorded in Lisbon with producer José Canela, there’s just a snapshot of this artist here but an intriguing one at that as her self-penned songs embrace a wide range of styles. The layered theatricality of the title track bursts with a surprising complexity as it incorporates globe-trotting influences and a most alluring honeyed vocal, but this is neatly contrasted with the relaxed simplicity of the guitar-led ‘Fairytale’ and the beguiling ‘Rainbow and the Sky’, the highlight of the collection with its gorgeously crafted lyrical imagery and captivating melody. Continue reading “EP Review: Madalena Alberto – Heart Condition”
“C’mere Jesus, I got something to show ya”
Godspell occupies a strange place in my personal history in that it is a show whose soundtrack I have known intimately for such a long time, I had it on cassette as a boy, we even sang songs from it in our primary school choir, and yet I had never seen it on stage until earlier this year in a theatre pub production in Walthamstow. I wasn’t quite sure what to make of that one, but when the Union Theatre announced a production directed by Michael Strassen, I decided to give it another shot. That the highlight of the previous show was the sexy gay Judas (yes, I know he wasn’t really gay) and that I happened to notice there was another sexy potentially gay Judas in this one who I’ve seen naked recently had nothing to do with it.
It is the 40th anniversary of the show, conceived by John-Michael Tebelak with music and new lyrics by Stephen Schwartz, which is based on parables from the Bible and leading up to the end of Jesus’ life, set to a pop-rock soundtrack. I wouldn’t say it is overtly religious as much of the messages that it portrays are ones with universal meaning of love, compassion for others and the strength of community. As well as directing, Strassen is also responsible for the minimal staging which shears it of the 1970s flower-child feel which the show is often associated with, and in conjunction with Steve Miller’s lighting design, provides an arresting visual aesthetic with its use of stylised posing and shadows, and I loved the motif of the eclipsed sun which prefigured the darkness of the relationship between Jesus and Judas. Continue reading “Review: Godspell, Union Theatre”
“There’s a reckoning to be reckoned”
Forming the culmination of the 25th Anniversary celebrations of Les Misérables was a pair of concert versions of the show taking place at the O2 centre in Greenwich which brought together the company of companies, over 500 actors and musicians joining forces to pay tribute to this enduing classic of a show. The cast and companies of the touring production and the West End production joined with a massive choir and orchestra and a hand-picked international cast performed the lead roles in this concert presentation which was also relayed live into cinemas and later released on DVD to be enjoyed by those who chose not to go (or couldn’t get tickets).
Concert versions of shows are always a bit funny, performers singing songs to each other but looking straight out at audiences and limited opportunity for acting so they can often feel a little constrained in their presentation. Here, the cast were in full costume and projections and clips from the show used to fill in some of the gaps that the songs could not fill. And it is all really rather good if not quite the self-proclaimed “musical event of a lifetime”. Continue reading “DVD Review: Les Misérables in concert: The 25th Anniversary”
“Will you join in our crusade? Who will be strong and stand with me?”
When I first started this blogging lark, I thought that what I wanted was to be ‘respected’ as a ‘serious’ theatregoer and whilst I’ve never been ashamed of being a huge fan of musical theatre amongst many other things, I’d always been uneasy about demonstrating that too much. But after great conversations with so many of my new friends in the online reviewing community, I’ve come to fully appreciate that integrity really does come from being truly honest about things that I see and the things that I love and this could not have been better illuminated than in the last two days: an obscure Sondheim revival at the Donmar and the umpteenth time of seeing Les Misérables, albeit in a new production and I can proudly say that it was Les Mis that came out as a clear winner for me despite what my inner snob may have wanted me to say!
Based on Victor Hugo’s novel, Alain Boublil and Claude-Michel Schönberg adapted it for the stage in 1980, and it first played in London at the Barbican, produced by Cameron Mackintosh and directed by Trevor Nunn, transferring to the Palace and then the Queen’s Theatre where it is still running after 25 years. And to mark that 25th anniversary, Mackintosh conceived this touring version of the show, directed by Lawrence Connor and James Powell (a decision which sadly left Nunn’s nose out of joint) and after touring the country, it has now arrived back at its original home at the Barbican for 22 performances only. Continue reading “Review: Les Misérables, Barbican”