“If we make it through together”
Songs was the debut album from Richard Beadle, a songwriter, composer and conductor of television and production music, as well as a well-established musical supervisor/director on a wide range of West End shows from Betty Blue Eyes, The Bodyguard to the forthcoming The Girls. I actually attended a concert showcasing Beadle’s music back in 2013 but it has taken me a little time to get round to properly listening to the album.
His style seems to sit somewhere equidistant between ‘traditional’ and ‘new’ musical theatre writing – the nervy angst of ‘The Wedding Song’, sung perfectly by Julie Atherton, owes a debt to Jason Robert Brown whereas Rachael Wooding’s beautiful declaration of love in ‘Here We Are’ has a much more classic feel to it. And what comes across these 12 tracks is a pleasing sense of confidence in musicality, these are songs that stand as well individually as in the musicals from which they come. Continue reading “Album Review: Richard Beadle – Songs (2012)”
There’s not many people I’d let have a guest review on here but Robert Foster, aka my father, is certainly one of them. I was (pleasantly) surprised when he (and my mum and Aunty Jean) declared that they had really enjoyed The Girls in Manchester and so I thought it would be fun to contrast our reactions – here’s my own review from Leeds and read on for his.
“Look in the eye of your dear fucker uppers”
There cannot be many of you out there who do not know the real-life story of the Calendar Girls. It made national news at the time; the film has been around for more than a decade; and the stage play followed not long behind. Now, author Tim Firth has joined forces with Gary Barlow of Take That (a popular beat combo, m’lud) in a musical version, which mysteriously has shed the ‘Calendar’ and is just called The Girls. For those recently returned from Mars, the story is set in a small Yorkshire town where Annie loses her husband, John, to cancer. Her best friend, Chris, and other Women’s Institute friends rally round to find a way to pay tribute to the man they all loved and decide on a nude calendar. The profits will buy a new settee for the Relatives Room at the hospital where John was treated.
Could this story stand yet another retelling? Well, my answer is a resounding if slightly surprised yes. Firth and Barlow have created a richly entertaining evening, at times gentle, sad and moving whilst being overwhelmingly joyous and funny. Continue reading “Guest review: The Girls, Lowry”
“It’s not naked, it’s nude”
If all you do each night is pray that you can see a Gary Barlow musical in the UK (I do find it surprising that Finding Neverland hasn’t made its way back over here from Broadway yet) then you’re in luck as The Girls has now arrived. Opting for a premiere at the Leeds Grand and then skipping over the Pennines to the Lowry in the New Year, the show is clearly testing the waters with regards to any potential future plans as it only takes a minute to end up with a big theatrical flop on your hands.
Not that that seems likely for The Girls (though whoever made the choice to lose the ‘Calendar’ from the title must be living in a world of fools). For it is a musical adaptation of the now-famous story of that group of Yorkshire WI women casting off their inhibitions, and their clothes, to create a nude calendar for a very personal fundraising campaign for Leukaemia Research. Tim Firth has already adapted his film into a successful play and remains onboard here – could it be magic third time round? Continue reading “Review: The Girls, Leeds Grand”
“With grace and poise, not hate and noise”
Nestled in the basement of the newly-built St James Theatre in Victoria is a studio with an ambitiously varied programme of events that runs throughout the week but at weekends, it turns into a cabaret space hosting a range of singers from the world of musical theatre and beyond. And this Sunday saw the turn of songwriter and West End musical director Richard Beadle to showcase his work in a concert mainly featuring songs from his album, simply entitled Songs, sung by a host of West End stars.
The show was split into two halves – the first taking in songs from his musical work-in-progress Today Is My Day and the second, an assortment of other numbers from his songbook and from the albums of other people with whom he has worked – but unifying the whole evening was Beadle’s clear gift for songwriting. His ear for a clean and uncomplicated melody is perfect for the effective telling of story through song and so the simple but powerful emotions behind songs like the traumatic ‘1967’ delivered beautifully by Niamh Perry and the melancholy ‘Here We Are’, Rachael Wooding revelling in the chance to show a subtler side to her voice, shone through with an impressive lyrical naturalism. Continue reading “Review: Richard Beadle – Songs , St James Studio”
“Am I wishing for too much?”
Stuart Matthew Price, currently to be found in the ensemble of Shrek The Musical, has long carried the (potentially) dubious honour of being named one of the brightest upcoming stars of British musical theatre since wowing people in Parade at the Donmar Warehouse in 2007 and since then has been quietly carving out an interesting career, more often than not choosing to highlight lesser-known musical theatre writing. And so too does he do here on his debut album, All Things in Time featuring a selection of the cream of new musical theatre writing, including himself as he is a composer as well as performer.
Dougal Irvine’s beautifully relaxed ‘The Touch of Love’ was a surprising highlight for me: I’d usually plump for piano arrangements every time but Irvine’s light touch (ba-dum) works wonders here to make this a great track. And followed by Laurence Mark Wythe’s Goodnight Kiss, the album really does come off as a fabulous showcase for interesting writing: both of these songs standing up excellently individually, but also suggesting interesting musicals that might accompany them. Likewise, Stiles & Drewe’s ‘Wishing For The Normal’, a characterful duet with Caissie Levy, and Grant Olding’s ‘Midnight Will Happen Without Us’ are other great signs of the health of new British musical writing. Continue reading “Album Review: Stuart Matthew Price – All Things In Time”