2 quickies from a flying visit up north to Manchester to Dusty the Musical at the Lowry and Aspects of Love at the Hope Mill Theatre
“Left alone with just a memory”
Does the world really need another Dusty Springfield musical? I avoided the car crash at the Charing Cross a few years back, and wish I had avoided Son of a Preacher Man last year. But still they come and now we have Dusty the Musical which at least boasts a better pedigree than most, with Jonathan Harvey writing, Maria Friedman directing and Katherine Kingsley starring.
And with that level of quality, particularly from the mega-wattage of Kingsley’s titanic performance, it certainly emerges as the best of the bunch, relatively speaking. It is far from a great show though, its book weighed down with the tension between meticulously researched facts and figures and the greater freedom that comes from invented characters who allow story to flow. If it is to make it into the West End, more tinkering needed and Kingsley locked down. Continue reading “Review: Dusty, Lowry / Aspects of Love, Hope Mill”
“Sometimes I stand in the middle of the floor”
With the National’s highly anticipated production of Follies (Dominic Cooke directing a cast of 37 and an orchestra of 21, lest you forget) about to start previews in a week’s time, I thought I’d listen to about a hundred different versions of perhaps its most famous song – ‘Losing My Mind’ – and try and decide on a top ten, with the assumption of course that whatever Imelda Staunton will do with the song will be completely, utterly, life-changingly extraordinary (no pressure Meldz).
Continue reading “Losing my mind over Losing My Mind – 10 top interpretations of the Sondheim classic”
“There’s only one thing one has to have
One has to have no shame”
Hitting the West End just before I moved to London and well before I started blogging, Andrew Lloyd Webber’s The Woman In White has the ignominy of being one of his less successful shows. With lyricist David Zippel and book-writer Charlotte Jones, this adaptation of Wilkie Collins’ novel failed to capture the ongoing attention of UK audiences, shuttering after 19 months, but downright flopped on Broadway where it lasted just 3.
The Woman In White has now been announced as Thom Southerland’s major project over Christmas, running for 12 weeks at the Charing Cross Theatre with Laura Pitt-Pulford onboard, and it got me to thinking that I hadn’t actually ever listened to the show at all. The cast recording was made on the opening night and as the show underwent considerable redevelopment even whilst playing, the ending on this record does not reflect the ending that audiences saw in theatres. Continue reading “Album Review: The Woman In White (2004 Original London Cast Recording)”
“I just popped into Pineapple for this”
There may be few real surprises to be had at Stepping Out but what Maria Friedman’s production here at the Vaudeville does, is to conjure a marvellously congenial atmosphere which is ideally suited to the play. Written in 1984 by Richard Harris and set the year before, to call this period comedy dated is beyond stating the obvious, its female characters wafer-thin, its gender politics non-existent.
But if it isn’t feminist with a capital F, there’s certainly lower-case feminism at work here, not least in the fact that it offers up 8 out of its 9 roles to women – bucking the male:female ratio that is stubbornly persistent in the West End. We follow this group of women, and the solitary man, as they muddle their way through a weekly tap class, building to the inevitable performance that they have to pull off. Continue reading “Review: Stepping Out, Vaudeville”
“It’s quite different after you’ve grown up”
The hills are alive, with the sound of questions. Like, why. The UK’s first fully live musical theatre television broadcast saw ITV produce Rodgers and Hammerstein’s The Sound of Music though the result was a curious experiment that fell uneasily between two stools. Lacking the crucial energy that propels the best live theatre (which comes from an audience too), the production values (though often impressive) naturally fell short of the opportunities of filmed work
Which ultimately begs the question, what’s the point. Is the UK hankering for a new production of the show? It’s hardly as if we’re lacking for productions popping up regularly in theatres across the land. Is it showcasing the best of British musical theatre talent? In that case why cast someone like Strictly winner and former Eastender Kara Tointon as Maria and shunt the likes of Julie Atherton (one of the most outstanding performers we have, bar none) into the nun ensemble. Continue reading “TV Review: The Sound of Music Live”
“Waiting for the music to begin”
Throughout this whirlwind tour of cast recordings, one of the more interesting things has been listening to shows that closed early, or at least relatively so. The Witches of Eastwick managed a 15 month run in 2000-1 at the Theatre Royal Drury Lane and then the Prince of Wales in a slightly revised version and I have to say that on the evidence of this original London cast recording, it deserved more.
Dana P Rowe’s score and John Dempsey’s lyrics captures much of the small-town mania of John Updike’s source novel and performed by a crack cast as it is here, it is often thrilling to listen to. Ian McShane may have been cast as the devilish Darryl but it is Joanna Riding, Maria Friedman and Lucie Arnaz as the titular triumvirate whose innate powers are unleashed by the nefarious influence of this charismatic stranger, with troubling results for both themselves and those around them – the harmonies that accompany their joint numbers are just scintillating. Continue reading “CD Review: Witches of Eastwick (Original London Cast Recording)”
“Not bad for a 35 year old”
Kevin Spacey’s swansong as artistic director at the Old Vic doesn’t open officially until next week but I only have a handful of days left for the above quote to remain pertinent to myself so I’m writing up High Society now – the usual disclaimers about previews apply. Maria Friedman’s directorial debut was the highly critically acclaimed Merrily We Roll Along so it makes sense for her to return to the world of musical theatre with this Cole Porter classic, given added spin here as the venue remains in the round.
It’s a funny old piece though, Arthur Kopit’s book is based on Philip Barry’s 1939 play The Philadelphia Story and follows the trials of Tracy Lord (I didn’t know they had Tracys in the 1930s), a rich socialite about to get married who suddenly finds herself with three suitors – her dull fiancé, a charismatic tabloid journalist and her dashing ex-husband. As the pre-wedding parties start and the champagne flows liberally, there’s decisions to be made and some of Porter’s finest songs to be sung but little real fizz, to start with at least. Continue reading “Review: High Society, Old Vic”
“How we miss his entertaining dreams”
An impromptu Easter treat came courtesy of a charity shop in Stratford-upon-Avon with this daft filmed version of Andrew Lloyd Webber and Tim Rice’s Joseph and the Amazing Technicolour Dreamcoat featuring Ken-doll-in-human-form Donny Osmond as the titular entitled brother. It’s a rather odd screen adaptation, using a school show conceit to pay tribute to its theatrical origins/get away with a micro-budget (delete as you see appropriate).
This approach does allow for one genius moment as we see Joan Collins’ music teacher indulging in some amazing fake piano playing as the production starts, and from then we go way way back and enter the land of Canaan in the stagey but safe hands of Maria Friedman’s Narrator. I like Friedman, I really do, but she is so hammy here that she makes sitting in the back row of the upper circle seem like a sensible option to avoid being blinded by its glare. Continue reading “Easter DVD Review: Joseph and the Amazing Technicolour Dreamcoat”
Friedman – As If We Never Said Goodbye/With One Look (from Sunset Boulevard)
Not content with stopping the world from turning with an amazing rendition of
the first song, Friedman then nails the second without stopping for breath – a
truly iconic performance.
Beverley Knight – Colored Women (from Memphis)
One of my favourite songs from the show sung live at the launch gig and reason enough to book for Memphis now if you ask me 😉
Continue reading “Saturday afternoon music treats”
Madalena Alberto – Climbing Uphill (from The Last Five Years)
Accompanied by a cute anecdote about auditioning.
Continue reading “Saturday afternoon music treats”