“The time has come for my dreams to be heard”
That it took so long for the UK premiere of Dreamgirls to arrive (35 years after its original Broadway opening), it is little surprise to see that it has taken a mere few months for the Original London Cast Recording to appear, released by Sony Masterworks Broadway today (Friday 12th May). Capitalising on the show’s extraordinary success at the Savoy (read my review here) and the two Olivier Awards wins for Amber Riley (Best Actress in a Musical) and Adam J. Bernard (Best Actor in a Supporting Role in a Musical), this double-album was recorded live in the theatre over four performances in February 2017 with no additional studio re-recordings or musical overdubs.
The choice to go for a live recording is an interesting one. There’s an undoubted raw energy that comes from the material not just being sung but being performed that makes certain numbers really pop. And then there’s the double-edged sword that is the audience reception – on the one hand it can be spine-tingling effective to hear how enthusiastically the work is being received but on the other, it doesn’t always translate without the accompanying visual and let’s be honest, the recording doesn’t gain anything from having Amber Riley’s entrance applause so volubly present. Continue reading “Album Review: Dreamgirls Original London Cast Recording (2017)”
“In the morning this feeling will be gone”
There’s over one million Swarovski crystals incorporated into this production of Dreamgirls which presumably explains why ticket prices go unashamedly up to £125 – Daddy’s crystal curtains, all 3 of them, don’t come cheap. In many ways, I don’t deny Dreamgirls the extravagance, it’s good to have a huge rollercoaster blowout of a blockbuster musical every now and then, it helps to balance the slightly more serious-minded ones about suicide and cancer. But it helps to be wary about that creeping top line, no matter how many five star reviews this show may garner, surely such pricing cannot be allowed to become the norm in the West End.
Part of the reason Dreamgirls can get away with it is that it has had a 35 year build-up. With book and lyrics by Tom Eyen and music by Henry Krieger, the original Broadway production premiered in 1981 and was a big success and though it may not have crossed the ocean, much of its music has, including cabaret staples ‘And I Am Telling You I’m Not Going’ and ‘One Night Only’. So it is hardly the risk of a new musical, though that it how is will be categorised, and thus it has been priced accordingly. Fortunately, the Savoy is not so big a theatre that the Grand Circle ain’t a perfectly decent to watch the show from. Continue reading “Review: Dreamgirls, Savoy”
“Jackie – a woman of a certain age”
I don’t remember reading my big sister’s copies of Jackie, nor could I say I’ve ever knowingly listened to a David Cassidy or a David Essex song. So I’m perhaps not directly in the target audience for Jackie the Musical, a 70s jukebox show that takes inspiration from the pages of that weekly magazine for teenage girls. That’s not to say that there isn’t plenty to be enjoyed by all but rather that this is a very particular kind of nostalgia.
Janet Dibley’s Jackie is picking through the pieces of her life – in her 50s, about to be divorced, teenage dropout son – when she comes across a stash of paraphernalia from her girlhood in the attic. Old schoolbooks are soon discarded though when she finds some old copies of Jackie (the magazine) and as this is Jackie (the musical), a younger version of Jackie (the woman) manifests itself in her mind, to act as a kind of spirit guide through this time of emotional turbulence as she dips a toe into the world of online dating, aided by sparky best friend Jill, an excellent Lori Haley Fox. Continue reading “Review: Jackie the Musical, Churchill Bromley”
“When I was growing up the poor were seen as unfortunates. Now they’re seen as manipulative. Grasping. Scroungers. It’s very sad”
Rebecca Lenkiewicz’s new drama The Invisible finds itself caught between two stools really – nominally a play about the effects of the decimating cuts to the Legal Aid system, it tries so hard not to be full of such dry legalese, instead focusing on the lives of the people who would use it – who desperately need it – that it almost goes too far in becoming something else entirely. Sponsored by The Law Society as it is with a supporting leaflet giving facts and figures, it’s thus a surprise that this is how it plays out.
At the heart of it all in Gail, an overworked solicitor working in a London law centre that is being threatened with closure due to Coalition cuts and from her spins the spider-web of stories. Like the Irishman who can’t pay his bills, or the Pakistani housewife being abused by her husband and mother-in-law. Gail tries to find some respite in online dating but even there she’s tracked down by a man looking for free legal advice – Lenkiewicz leaves us in no doubt as to just how many people have relied on this service and now find themselves in dire straits. Continue reading “Review: The Invisible, Bush Theatre”