CD Review: Thérèse Raquin (2014 Original London Cast)

“You are not still, you are not still Thérèse”

There are times when listening to cast recordings can sometimes feel like a chore, and others when they are a glorious reminder of shows gone by. For me, hearing the utterly gorgeous waterfall of voices on ‘You Are Not Still Thérèse’ from Craig Adams’ Thérèse Raquin is very much in the latter category, one of those moments of musical theatre perfection that work as music, as drama, as theatre, as pure art.
Adams and Nona Shepphard’s adaptation of Zola’s novel played at the Finborough in 2014 and then transferred to the larger Park in one of those really sensible moments theatreland sometimes has. Musically complex and dramatically interesting as a radical interpretation of the book, it delved deep into Thérèse’s psychology and aided by a stunning performance from Julie Atherton, worked beautifully.

The score stands up well on disc, its through-sung narrative clear as a bell and really assisted by the introduction of a sonorous Greek chorus of Claire Greenway, Ellie Kirk and Lucy O’Byrne who provide commentary and alternative takes on the tragic events. Atherton connects viscerally with illicit love Laurent, a virile Greg Barnett and contemptuously with husband Jeremy Legat’s Camille to bring real fire to their love triangle and its consequences, the climactic ‘If I Had Known’ is just devastatingly good.
But it’s the combination of them with the complex choral work of the company that really makes this an extraordinary musical, rich and evocative in a way that is all too rarely seen in new musicals, certainly on larger stages, and so it’s a real boon to have this recording to remember the show by and hopefully spearhead a fine set of revivals to come.

Re-review: Thérèse Raquin, Park Theatre

“They are drawn by the inescapable promptings of their flesh!”

A well-deserved transfer for this hit Finborough musical although coming a few months after that original run, the production has had to be recast a bit along with being reconceived for the larger space of the Park Theatre. On a personal note, whilst I loved being able to listen to the pleasingly textured score once again, it was also interesting to come back to the show with a much greater knowledge of the story, having recently seen both a play and a film of Thérèse Raquin, thus enabling me to compare and contrast adaptations.

This version hedges its bets from the beginning by describing itself as a “radical adaptation” by Nona Shepphard but what is interesting is that Shepphard is the only one who tries to replicate something of Thérèse’s interior life, which is so richly portrayed in the novel, by using a chorus of three river women. It works both dramatically and musically, creating additional layers to the vocals and these hints of Greek tragedy with its chorus passing commentary is used effectively elsewhere, most notably in reporting the news of Camille’s tragic ‘accident’.

Continue reading “Re-review: Thérèse Raquin, Park Theatre”

Review: Thérèse Raquin, Finborough

“Blood and nerves…blood and nerves”

Rather oddly, I’ve already seen the first half of Craig Adams and Nona Shepphard’s powerful new musical Thérèse Raquin. It was featured as part of the Vibrant play readings festival in 2012 with the promise that the rest of the show would follow swiftly and sure enough, the full production has now materialised in the intimacy of this West London venue (supplemented once again with a drinking venue beneath).

Musically, it is a beautifully rich and pleasingly intricate piece. Adams’ score has near-operatic quality, a denseness of recitative that conjures up worlds of feeling more effectively than traditional song-writing could ever do. It can be challenging at times, especially on first listen, but there’s something exciting about the scope of ambition here, a determination to tread a singular path that bodes well for British musical theatre writing. Continue reading “Review: Thérèse Raquin, Finborough”