Matt Lucas’ ‘Thank You Baked Potato’ reaches its apotheosis with this West End frenzy
Just the 70 or so performers coming together for ‘Do You Hear The People Sing’…!
Les Misérables – The Staged Concert is released on digital download, along with a bonus featurette which is highly amusing
“Minutes into hours, and the hours into years”
Striding over the barricades to alleviate lockdown tedium, Les Misérables – The Staged Concert has now been released on digital download. The release will raise funds for performers, musicians and the NHS as well as incurring additional donations (an extra £5 for every purchase) from The Mackintosh Foundation which will go to the charity Acting for Others, the Musicians Union Coronavirus Hardship Fund and Captain Tom Moore’s Walk for the NHS fund
You can actually watch Bringing It Home – A Les Miz Stay at Home Special below but I thought I’d give you fair warning as it has its pros and cons. Continue reading “Lockdown review: Les Misérables – The Staged Concert”
I revisit long-runners The Mousetrap, Les Misérables and Wicked, and come to a decision (of sorts) about the future of this blog
“Here’s to you and here’s to me”
Well 2019 has been an interesting year so far and one full of significance – I’ve turned 40, this blog has turned 10 and it’s all got me in a reflective mood. Personally, professionally, is this what I want to be doing? Do quote a Netflix show I haven’t even seen, does all this bring me joy…? Over the last couple of weeks, I’ve revisited a few long-running shows in the West End to consider what cost longevity.
The longest running show in the West End is The Mousetrap – 66 years old with over 27,000 performances and their answer to keeping going is to not change a single bit – has the show even ever cast a person of colour? My limited research suggests not… On the one hand, it’s a policy that does seem to have worked and that record is a mighty USP, although does the number of empty seats at the St Martin’s that afternoon suggest a waning of interest finally? Continue reading “Blogged: long-running shows and long-running blogs – what does the future hold”
“She screamed, I think – it was hard to hear”
Surrounded by the Sounds – the music of Tim Prottey-Jones is the second of actor/writer Prottey-Jones’ albums featuring a whole array of his West End pals, but the third that I’ve reviewed (see reviews of More With Every Line and To Do. To Be.) It features songs from two of Prottey-Jones musicals – Once Bitten and After The Turn – and has a decidedly more pronounced rock feel to it than either of his other collections.
As such, it didn’t quite tickle my fancy in the way that I might have liked, especially since To Do. To Be. had impressed me. And it’s not that this is a collection of bad songs, they’re just not my cup of tea. Such guitars, much rock, so not wow. Even when the tempo slows a little into ballad territory, as with Michael Xavier’s ‘Chance In A Lifetime’ or Jodie Jacobs’ ‘Colour Me’, it is still just too monotonely guitar-heavy for my liking.
“Now is the time when the people of Chile come together”
I’m going to put it out there, I have no idea why new musical The Postman and the Poet hasn’t received a major production yet. This concept album was recorded in 2011 and has to rank as one of my favourite things I’ve listened to over the last few weeks of all these cast recordings, if not the whole year. It’s even based on source material that has Oscar-winning connections to endear it to risk-averse audiences – if From Here To Eternity can make it to a West End theatre, I’m sure The Postman and the Poet could make a decent stab at it too.
The show is based on Antonio Skármeta’s novel Ardiente Paciencia, on which the 1994 Oscar-winning film Il Postino was based, but Trevor Bentham and Eden Phillips’ book keeps the story of the musical in Isla Negra, a small fishing village on the Chilean coast and in the early 1970s, when political turmoil threatened to overwhelm this South American country. And Michael Jeffrey, a composer new to me, has pulled together a hugely exciting and accomplished score that blends its Latin influences seamlessly into a grand musical theatre style. Continue reading “Album Review: The Postman and the Poet (2011 Concept Album)”
“He came so close to me”
I first became aware of Gareth Peter Dicks’ music through The Music Box, a compilation of some of his musical theatre tracks sung by a ton of West End faves, which served as a neat introduction to this composer. It’s a tough old world out there for new musical theatre and so people have to find the best way they can to get their music out there and noticed – showcase CDs are one, and concept albums are another, what Dicks did with his musical Bluebird a few years ago.
A love story set throughout the turmoil of WWII, Sarah Lark’s nurse Roberta Jones is like so many others in having to bid farewell to her husband Pete as he leaves for the frontline and her daughter who is evacuated to the country. Pete keeps in touch via regular letter-writing but a charming US serviceman Ben fills the void for companionship in her life but as their relationship intensifies, Roberta is forced to question what and who she wants. Continue reading “CD Review: Bluebird (2009 Concept Album)”
“Waiting for the music to begin”
Throughout this whirlwind tour of cast recordings, one of the more interesting things has been listening to shows that closed early, or at least relatively so. The Witches of Eastwick managed a 15 month run in 2000-1 at the Theatre Royal Drury Lane and then the Prince of Wales in a slightly revised version and I have to say that on the evidence of this original London cast recording, it deserved more.
Dana P Rowe’s score and John Dempsey’s lyrics captures much of the small-town mania of John Updike’s source novel and performed by a crack cast as it is here, it is often thrilling to listen to. Ian McShane may have been cast as the devilish Darryl but it is Joanna Riding, Maria Friedman and Lucie Arnaz as the titular triumvirate whose innate powers are unleashed by the nefarious influence of this charismatic stranger, with troubling results for both themselves and those around them – the harmonies that accompany their joint numbers are just scintillating. Continue reading “CD Review: Witches of Eastwick (Original London Cast Recording)”
“Why do whores only sing in musicals?”
Showcasing the work of a lyricist is a different prospect from that of a composer, something that is immediately apparent from glancing at the cover and booklet of Love, Lies & Lyrics – The Words of Lesley Ross, the latest new musical theatre CD emerge from the nurturing cocoon of SimG Records. This album features music from 4 different writers, taken from over a dozen musicals, with the now customary array of West End stars – over 30 in number here – so it can’t help but be highly eclectic as a collection, in something of a similar vein to Robert Gould’s collection from last year.
The diversity of this approach certainly has its benefits, especially as man of the songs are around the 2 minute mark, as it means the album can bounce around wryly comic observation songs like ‘Pick A Ticket!’ and ‘Him in 23B’ to the more heartfelt but still story-led balladry of Nigel Richards’ ‘And In My Heart’ and Annalene Beechey’s ‘Song for Someone’. If I had to pick, Madalena Alberto’s plaintive lullaby ‘I Will Be There’ is the highlight of the record – its gorgeously delicate emotion coming from a perfect confection of lyric, music and performance. Continue reading “CD Review: Love, Lies & Lyrics – The Words of Lesley Ross”