I’ve long admired Jon Robyns and his new album Musical Direction reflects on his career so far beautifully, as well as suggesting what fun lies ahead
“You can get what you want or you get old”
Having fallen in love with Jon Robyns in parallel with tumbling hard for Avenue Q, he really is the leading man of my (entirely platonic) dreams, so news of a new solo album was certainly up my strasse. And Musical Direction manages an excellent job of balancing many of the aspects of that come with musical theatre performers making their own recordings.
There are nods to his performance past – a chirpy take on The Last Five Years’ ‘Moving Too Fast’ and a delicately beautiful glide through Chitty Chitty Bang Bang’s Hushabye Mountain – and a perfectly timed look to the future too. And this is where the cleverness kicks in as you may not think you really need another version of ‘Bring Him Home’ but this acoustic, cello-drenched arrangement is spine-tingling good, certainly whetting the appetite for his imminent debut as Jean Valjean when Les Misérables reopens the Sondheim Theatre. Continue reading “Album Review: Jon Robyns – Musical Direction”
“A cheeky drink, a naughty wink,
we’ll loosen up alright”
Just like a wise man, I came late to Nativity, only getting round to watching Debbie Isitt’s film a couple of years ago but oh, how it won me over, feeling like an instant Christmas classic. (The less said about the sequel and the shocking third film, the better). So it was little surprise to hear that Isitt was adapting her film for the stage, in the form of Nativity! The Musical. And though I have once again embraced my inner Scrooge and won’t be reviewing much, if any, festive fare this year, I couldn’t resist the chance to sparkle and shine.
And I’m glad I did, even if it is a full month too early to be even thinking of anything Christmassy. Nativity remains a beautifully heart-warming story and if anything, has even more of a feel-good factor about it through all the liveness of this production. The story centres on Coventry primary school St Bernadette’s, trying to escape Ofsted-imposed special measures by beating a rival school to putting on the best Christmas show which, through the most tenuous of links, might just attract Hollywood interest and get turned into a film. Continue reading “Review: Nativity! The Musical, Birmingham Rep”
“Although we’re armed with many prickles
They’re no match for large vehicles”
The Wind in the Willows took quite the critical battering when it opened at the Palladium last month and whilst it may not be the greatest show in the world, it does feel to have been a rather harsh treatment (I quite liked it for what it was). I’m not entirely sure what critics thought they were going to get from this revival of Kenneth Grahame’s classic story but it was clearly a darn shot edgier than anything Julian Fellowes and composing duo Stiles and Drewe were ever going to create.
Listening to the Original London Cast Recording which has now been released, you very much get a sense of the gently bucolic charm that they were aiming for and which, by and large, they achieve. Their strengths lie in the grand musicality of the ensemble numbers that pepper the score at its key moments. The cumulative choral power of ‘Spring’, the irrepressible energy of ‘We’re Taking Over The Hall’, the thrill of the fun-loving finale – this what they do so well. Continue reading “Album Review: The Wind in the Willows (2017 Original London Cast Recording)”
Arriving at the London Palladium just in time for the summer holidays, new family musical The Wind in the Willows (seen on tour late last year) is a respectfully traditional treatment of the Kenneth Grahame classic with which so many are familiar. And with kings of musical theatre nostalgia Stiles & Drewe on composing duties, Rachel Kavanaugh’s production is clearly the kind of show that wants you to wistfully remember childhoods past.
Julian Fellowes’ book undulates gently rather than creating any particularly dramatic waves – Rat and Mole’s growing friendship is quietly but effectively done, Toad is characterised as a Boris Johnson-like would-be-lovable-rogue, and the biggest ripples of the first half come in the introduction of various creatures of the forest – like an Andrews Sisters-esque trio of sonorous swallows and an enormously cute family of hedgehogs. Continue reading “Review: The Wind in the Willows, Palladium”
“That doesn’t look good,
it doesn’t bode well, kid”
The reinvention of the St James Theatre into The Other Palace continues, but with the curious choice of another US musical, this time the European premiere of Whisper House, written by Duncan Sheik and Kyle Jarrow. Curious because it is an oddity of a show that rarely makes the case for its place in this new home for developing musical theatre, heaven knows there’s British musicals aplenty that would have benefited from this slot in the programme.
For Adam Lenson’s production certainly tries its creative best with the material. Andrew Riley’s circular design is an arresting and inventive use of the space, projections are thrown onto the back wall to transport us to Maine in the midst of the Second World War, illusions attempt to conjure the supernatural. But the problem lies in a story that is far too slight and a pop-rock score that is jauntily loud for something trying to be a ghost story. Continue reading “Review: Whisper House, The Other Palace”
“Time will tell, it always does”
Phew, the Doctor Who rewatch comes to an end with the most recent series, another that I hadn’t seen any of since it originally aired. And again it was one of highs and lows, a frustrating sense of pick and mix that never settles. So from the astonishing bravura of the (practically) solo performance in Heaven Sent to kid-friendly quirks of the sonic sunglasses and guitar playing, Capaldi took us from the sublime to the silly. Fortunately there was more of the former than the latter (although it is interesting that my memory had it the other way round).
Part of it comes down to knowing in advance how the hybrid arc plays out (disappointingly) and a little perspective makes Clara’s departure(s) a little less galling. This way, one can just enjoy the episodes for what they are, free from the weight of the attempted mythologising. The Doctor raging against the futility of war, the wisdom (or otherwise) of forgiveness, the repercussions of diving in to help others without thinking through the consequences…it is often excellent stuff. It’s also nice to see Who employ its first openly transgender actor (Bethany Black) and a deaf actor playing a deaf character (Sophie Stone). Continue reading “Countdown to new Who: Doctor Who Series 9”
Several shows in the running for this year’s Olivier Awards, announced next Sunday 9 April, are also recognised this week in the third-annual Also Recognised Awards – in some notably different categories. The full list of winners is announced today in this audience-voted, industry accolade set up by theatre commentators Mark Shenton and Terri Paddock to celebrate lesser-known but equally worthy talent in fields overlooked by other awards bodies.
Continue reading “Winners announced for the #AlsoRecognised Awards 2017”
“I am not making friki-friki”
The London Musical Theatre Orchestra’s arrival on the scene has not gone unnoticed by me but their previous concerts have always fallen on days when I couldn’t make it. So finally putting a show on on a Sunday night meant I was able to put it in the diary and to mark the occasion, they only went and invited their first guest conductor along, Mr Jason Robert Brown himself to helm the UK premiere of his show Honeymoon in Vegas.
And in the swish surroundings of the London Palladium, it was hard not to be entirely seduced by the lush sound of a 30-strong orchestra (under the musical direction of Freddie Tapner), a chorus of 16 up-and-coming performers and a main cast of bona fide West End stars directed by Shaun Kerrison. The concert staging allows for an amusingly slapdash approach which really suited the joie de vivre exuding from pretty much everyone involved here, a real passion project. Continue reading “Review: Honeymoon in Vegas, London Palladium”
Manchester’s Royal Exchange have announced the details for their production of Twelfth Night
which arrives this spring. It is directed by the award-winning Jo Davies
who makes her Royal Exchange debut with Shakespeare’s whirlwind comedy. Faith Omole, Kevin Harvey and Mina Anwar
return to the Exchange as Viola, Orsino and Maria, Kate Kennedy
takes on the role of Olivia and Anthony Calf
And in its own spin on the gender, identity and love issues at the heart of the play, award-winning Manchester-based transgender artist and activist Kate O’Donnell makes her Royal Exchange debut in the role of Feste, the wise observer in this foolish, lovesick kingdom. Live music from the critically acclaimed folk musician Kate Young and lap-tap guitarist Joe Gravil adds to the complexity of this intricate comedy which probes gender-politics and ideas of belonging. The play runs from 13 April – 20 May.
The cast is completed by Aaron Anthony, Simon Armstrong, Harry Attwell, Daniel Francis-Swaby, Tarek Merchant and Jill Myers. The creative team includes Designer Leslie Travers, Lighting Designer Jack Knowles, Sound Designer Pete Malkin and Composer Alex Baranowski.
Continue reading “Round-up of news and treats and other interesting things”
Shortlists for the third annual Also Recognised Awards
have been announced by MyTheatreMates, founded by Mark Shenton and Terri Paddock. These audience-voted industry accolades celebrate talent in fields often overlooked by other award bodies. Voting is now open for all categories and closes on Sunday 26th March 2017
. Cast your vote at: www.mytheatremates.com/AlsoRecognisedAwards-2017/
The aim of the awards is to recognise some of those categories that are sometimes overlooked in other awards – for example, Best Musical Direction is one that is sadly unique to the Also Recognised roster. There’s also a nod to the behind-the-scenes folk with awards for Best Twitter Engagement, Show Trailer and Show Poster recognising the invaluable part that marketing, especially digitally, has to play in the industry.
So find the shortlists below and head over to My Theatre Mates
to cast your vote. I helped to draw up these lists along with Mark and Terri, Andrew Keates and Mike Dixon, and the rest of the My Theatre Mates collective, and I think the blend of West End, Off-West End, fringe and regional nominees reflects that, so I’ll be most interested to see how the results pan out.
Continue reading “News: #AlsoRecognised Awards shortlists announced”