The curtains are lifted once again for Curtains as it is available to watch online again
“I’m sorry but this theatre is in quarantine”
I enjoyed the Kander & Ebb musical Curtains when it made its long-awaited West End debut over the festive period, and was saddened when its ambitious UK tour had to be curtailed once lockdown was enforced. The producers had filmed a performance from early in the run though for their archive and have generously made it available to watch through their website here. And for the completist in me, it has turned out well as it meant I have the opportunity now to see Ore Oduba in the role that Andy Coxon covered for the West End stint.
Paul Foster’s production is great fun, full of wryly comic performances (Samuel Holmes is a standout here), stunning dance (Alan Burkitt – swoon!) and musical theatre gloriousness (you’ll wonder how Rebecca Lock isn’t a bigger name). And I don’t know about other people, but I’ve been craving escapist entertainment much more than anything too serious and Curtains certainly fits the bill (it’s all the more impressive considering it was indeed early in the run for them). Move quickly and watch it tonight!
A Kander & Ebb premiere in the West End you say? Curtains makes its bow at the Wyndham’s Theatre and I had an arrestingly good time with it
“Shall we all observe a moment of silence…
to match the audience’s response to Jessica’s first number”
There’s no denying that theatre loves shows about theatre and on the Charing Cross Road right now, you’ve got a play within a play at the Garrick right next to a musical about a musical at the Wyndham’s. Curtains ups the ante though by throwing in a murder mystery as well for good measure and the result is a something of a good old-fashioned romp, blessed with that rarest of things, a barely-known Kander & Ebb score. Having only received a few drama school productions (I saw it at Arts Ed)
The show dates back to 2006 but had a tricky road to completion as original book writer Peter Stone died before finishing it, Rupert Holmes stepping in to rewrite, and Fred Ebb also passed away a year later, with Kander and Holmes completing the lyrical content. Curtains managed a relatively successful run on Broadway but for whatever reason, it never made the leap across the Atlantic (into the West End at least) until now, as Paul Foster’s touring production steps neatly into a scheduling gap to provide an alternative cup of Christmas cheer. Continue reading “Review: Curtains, Wyndham’s Theatre”
This trio of album reviews covers Peter Pan A Musical Adventure, The Confession Room and Marie Christine
“Would I oblige?
Michael John LaChiusa is one of those composers of the new American musical theatre mould, or maybe even beyond, in adopting a dense and complex compositional style that means his work hasn’t always had the credit it deserves. This original Broadway cast recording of his 1999 show Marie Christine feels like a case in point – a Tony-nominated book and score that has rarely been revived, never mind made it to the UK. An adaptation of the Medea story that relocates it to 1890s New Orleans, it is blessed by a stunning central performance from Audra McDonald as a remarkably vicious leading lady. The score is made up of fragmented pieces of music rather than conventional notions of what we would consider a song but its operatic drama hits the mark for me. And I’d love to see it the UK some time soon please… Continue reading “Album Reviews: Peter Pan A Musical Adventure / The Confession Room / Marie Christine”
“Part of me is saying I should go”
Like many others, I imagine, I did not leave Stephen Ward thinking I particularly want to hear this score by Andrew Lloyd Webber again anytime soon and so three years later, this is the first time I’ve revisited this musical. And as the strange melody of opening number ‘Human Sacrifice’ started, I began to wonder if I’d been overly harsh, Alexander Hanson’s story-telling experience imbuing this prologue of sorts with real interest and setting me up for a potential reimagining of my opinion.
But then track number 2 ‘Super Duper Hula Hooper’ kicks in, that title makes me die a little inside every time I hear it, and you soon begin to realise why the show barely managed 4 months in the West End. Lloyd Webber may have been a teenager in the 60s but he’s looking back at them like a man in his sixties, the air of rose-tinted corrective lenses and musical tweeness proving fatal to conjuring any kind of authentic sense of the period. Continue reading “Album Review: Stephen Ward (2013 Original Cast Recording)”
“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”
“Here’s to the girls who play smart”
There doesn’t seem to be a Sunday night that passes without some concert or another featuring a host of West End stars celebrating a composer or honouring a good cause and this weekend was no exception. West End Recast saw performers taking the chance to embrace roles that they would normally not be cast for, crossing gender and colour lines for a hugely entertaining couple of hours and some brilliant singing. The evening saw an interesting diversity of interpretations of the brief but predominantly, the feel was that it wasn’t so radical an approach – good songs are good songs no matter who sings them.
Some performers went for straight-forward renditions (Daniel Boys’ ‘Send in the Clowns’, Katie Rowley-Jones’ impassioned Rent double header), several of the boys opted for costumey props with mixed results (Boys teaming up with Leon Lopez for a lovely low-key version of ‘For Good’ complete with tiara and green facepaint, Simon Bailey’s Ariel wig not proving as much as an obstacle to ‘Part Of Your World’ as his simpering delivery which flew in the face of the musical integrity pretty much everywhere else). But I have to say I preferred the moments that felt genuinely subversive with their gender-flips and the performances that exploded off the stage (or both at the same time). Continue reading “Review: West End Recast, Duke of York’s”
“Manipulation, that’s the technique,
This conversation must not leak”
It’s a curious thing, to take a relatively obscure figure, base a musical on him that is then named after him, yet leave a vacuum where his central presence ought to be the driving force. For all that Andrew Lloyd Webber, Don Black and Christopher Hampton place the character of Stephen Ward at the centre of Stephen Ward the Musical, he remains far too inscrutable, far too unexplored for us to buy into the main premise of the show which is that Ward, who committed suicide after being made the scapegoat for the Profumo scandal of 1963, is a tragic victim of Establishment hypocrisy.
But for all Alexander Hanson’s sterling efforts as the osteopath-turned-social fixer who engineered the first meeting of Secretary of State for War John Profumo and wannabe showgirl Christine Keeler, the show suffers from making him narrator as well as protagonist. So he is lumped with huge swathes of exposition, made increasingly worthy due to a slavish attention to real-life events, as a huge cast of characters flash by momentarily in the service of telling a story, but leave us none the wiser as to what Ward was like as a person, what motivated him, what moved him. Continue reading “Review: Stephen Ward The Musical, Aldwych”
“I invented a new way of lie, some might call it unconventional,
All that stuffy post-war Englishness, I liked something more consensual”
With such a busy couple of weeks, I’ve only just gotten round to having a listen of the sneak preview of four songs offered at the launch of Andrew Lloyd-Webber’s new musical Stephen Ward. I was prompted by an offer to download two of them for free (for a limited time only) but you can also listen to them online and/or watch the videos below. The story is undoubtedly a little niche, exploring the 1963 Profumo scandal from the point of view of Ward who was smack bang in the middle of it, he being the one who introduced MP John Profumo to Christine Keeler and setting in motion events that rocked the government.
As for the music, there’s something rather endearing about Lloyd-Webber’s continued contributions to British musical theatre, he could so easily have decided to retire yet he carries on writing to the beat of his own drum, safe in the knowledge that a devoted fanbase will lap it up. Unsurprisingly, the four songs previewed do not reveal any major change in direction and so it will be interesting to see if the show is able to transcend the attentions of musical theatre devotees and appeal to a wider audience. Joanna Riding’s simple ballad ‘Hopeless When It Comes To You’ is the pick of the bunch but Alex Hanson, playing Ward himself, runs her close with the sinuous storytelling of ‘Human Sacrifice’. Continue reading “Preview: Stephen Ward The Musical”
“Me with music and you the words“
Menier Chocolate Factory Christmas musicals have a habit of making the leap into the West End and given the rapturous reception that Sondheim’s Merrily We Roll Along received last year, it was no surprise to hear that it would make the well-deserved transfer into the Harold Pinter Theatre for a 12 week engagement. My original review of the show can be read here and perhaps not unexpectedly, very little has changed of my feelings about this rather magnificent production. But more surprising was how little I felt it had changed in the considerably larger space of this new theatre.
It’s a good six months since I saw it so perhaps my memory isn’t too reliable but it really does feel very similar indeed, Soutra Gilmour’s design slots into the theatre in a similar fashion and the staging – although expanded to fill the space – moves around it in the same way. Not that this is a bad thing, but rather that I’m not exactly sure about how it might play from further back or up in the theatre than you’d ever be in the Menier. Where the lack of discernible difference is a definite boon though is in the performance level. Continue reading “Re-review: Merrily We Roll Along, Harold Pinter”
“We go way back, never forward”
Sondheim’s Merrily We Roll Along famously flopped on Broadway when it opened in 1981 but now refined and reappraised, it is considered amongst his finest work and this Menier Chocolate Factory production serves to bolster that reputation. Directed by Maria Friedman, no stranger to Sondheim’s work as an actor but making her professional directorial debut here, the story traces the fortunes of Franklin, Mary and Charley, three writer friends buzzing with creative energy and determined to make their mark on the world. Real life intervenes though and the mistakes, sacrifices and compromises made in their lives as success changes them in unexpected ways are highlighted and heightened by a reverse timeline which sees Sondheim and book writer George Furth move scene by scene from 1976 to 1957.
It is Franklin who lies at the heart of the story. An unsympathetic figure who we meet as the height of his unlikeability in the midst of a soulless Hollywood party, it is to Mark Umbers’ immense credit that he makes this man such an intriguing person, transcending the limitations of the book which provides little clue as to his motivations. Umbers’ Franklin sparkles with a seductively easy charm that makes him understandably hard to resist and suggests that it not with malice that he rides roughshod over others, but rather that his head is simply too easily turned by the next new bright thing. Jenna Russell’s Mary’s slow self-destruction as unrequited love eats her from the inside is just devastating to watch, all the more so for being played in reverse and realising just how long she has held a flame for her friend, and Damian Humbley’s well-judged Charley has a geeky reticence that explodes in fine style with a delicious rip through ‘Franklin Shepard, Inc’. Continue reading “Review: Merrily We Roll Along, Menier Chocolate Factory”