Two new music releases – Renée Fleming tackles Broadway classics in style, and The Quentin Dentin Show releases its cast recording
“Life is what you want it to be”
No matter what you think of Renée Fleming, you can’t accuse her of resting on her laurels. At this point in her career, she could well be taking the easy route but this decade alone has seen her tackle Broadway (most recently receiving a Tony nomination for Carousel) for the first time and release an album that featured interpretations of three Björk songs. Her newest release cleaves closer to musical theatre though, and Broadway is available now from Decca Classics. Continue reading “Album Reviews: Renée Fleming – Broadway & The Quentin Dentin Show”
Farinelli and the King
Harry Potter and the Cursed Child, Parts One and Two
Latin History for Morons
The Band’s Visit
SpongeBob SquarePants: The Musical
Best book of a musical
Itamar Moses for The Band’s Visit
Jennifer Lee for Frozen
Tina Fey for Mean Girls
Kyle Jarrow for SpongeBob SquarePants: The Musical Continue reading “The complete 72nd Tony nominations”
Tony Award winner Jessie Mueller, Tony nominee Joshua Henry, and Grammy-winning opera star Renée Fleming will headline a Broadway revival of Rodgers and Hammerstein’s Carousel. The production, helmed by Tony winner and Charlie and the Chocolate Factory director Jack O’Brien, is scheduled to begin performances Friday, March 23, 2018 at a theatre to be announced.
Mueller, a Tony winner for Beautiful: The Carole King Musical and recent star of Waitress, will take on the role of Julie Jordan, with Henry—currently playing Aaron Burr in the touring company of Hamilton—as Billy Bigelow. Fleming will play Nettie Fowler; the Grammy-winning soprano can be seen on the Metropolitan Opera stage this season in Der Rosenkavalier—a production that is said to mark her retirement from her traditional operatic repertoire.
The revival, produced by Scott Rudin and Roy Furman, will feature Amar Ramasar and Brittany Pollack—both of the New York City Ballet—as Jigger and Louise, respectively. New York City Ballet’s Justin Peck will choreograph the new staging on the 1945 musical. The resident choreographer promises “an even more dance-and-movement-focused production.”
Continue reading “Round-up of (international) news and treats and other interesting things”
Best New Play
Harry Potter and the Cursed Child – Palace
Elegy – Donmar Warehouse
The Flick – National Theatre Dorfman
One Night in Miami – Donmar Warehouse
Best New Musical
Groundhog Day – The Old Vic
Dreamgirls – Savoy
The Girls – Phoenix
School of Rock – New London
Yerma – Young Vic
The Glass Menagerie – Duke of York’s
This House – Garrick
Travesties – Apollo Continue reading “2017 Laurence Olivier Awards nominations”
“I have no thought of time”
Opera star Renée Fleming has dipped her toe into non-classical repertoire before and though she was tempted to take the classical route for her Christmas album, it is to jazzy lounge music that she has turned with somewhat mixed results. Her voice remains an undoubted pleasure but the insistence on maintaining the Christmas in New York jazz clubs feel makes the arrangements all feel too similar and lacking as they are in festive spirit or a real connection to Fleming herself, it’s disappointingly nondescript.
Too often, the music just feels flat, with little engagement either between Fleming and the music, or between Fleming and her duet partners. The ever-reliable Kelli O’Hara has all her personality leached by the deadly pace of ‘Silver Bells’, the gulf in singing styles between her and Rufus Wainwright never settles in ‘In The Bleak Midwinter’, the jazz take on ‘Winter Wonderland’ sits very uneasily with both Fleming and her instrumentalists with an unusual amount of awkwardness.
Where it does work is in the two numbers with Gregory Porter – ‘Have Yourself A Merry Little Christmas’ and ‘Central Park Serenade’ both showing a better vocal blend than anywhere else and a freedom of spirit on the latter in particular, a rare foray into something close to upbeat. ‘Sleigh Ride’ similarly offers a sprightly perkiness, albeit in an overextended manner, but the default mode of plodding sophistry weighs down songs like ‘Who Knows Where The Time Goes’, ‘Merry Christmas Darling’ and ‘Snowbound’. More miss than hit.