As Mrs Merton might have asked, what first attracted you to musical theatre supergroup The Barricade Boys…?
Clearly, it was their cumulative musical talent – between them, Scott Garnham, Simon Schofield, Craig Mather and Kieran Brown have racked up credits in pretty much every major musical from The Phantom of The Opera, Wicked and Billy Elliot to Jersey Boys, The Sound Of Music and Les Misérables. And now they’re bringing their cabaret show to The Other Palace’s Studio for a Christmas season which is enough to bring festive cheer to even the most Scrooge-like of hearts. Continue reading “The Barricade Boys announce a Christmas Cabaret season with an amazing guest cast”
“There is nothing in Nepal
More scary than the step from the kitchen to the hall”
So having not gotten round to seeing The Girls for whatever reason (mainly that I didn’t want to), I finally bit the bullet last week and within 24 hours, the show posted closing notices for its West End run. The Girls will then head out on a two year national tour from August 2018, aiming to visit 42 theatres across the UK and if that does perhaps seem a little ambitious, it is hard to shake the feeling that the musical might be more suited out on the road.
Gary Barlow and Tim Firth’s show started life in “the regions” – I saw it in Leeds and my family saw it in Manchester – and away from the cut-throat economics of the West End, it may well thrive again. The instant recognition of the Calendar Girls story has a different currency when there’s only a week’s worth of performances to sell; one gets the sense that the maxim about familiarity breeding contempt may have come into play at the Phoenix. Continue reading “Re-review: The Girls, Phoenix”
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”
“Because the lives of the wicked should be made brief.
For the rest of us death will be a relief.”
A handful of cancelled performances due to production design problems meant I missed Sweeney Todd in Derby but fortunately, it being a co-production with Colchester’s Mercury meant that I was able to fit it in to what has been a most hectic schedule this October. And I’m glad I did, for Sondheim and Hugh Wheeler’s musical proves once again to be an evergreen classic and Daniel Buckroyd’s production here makes that case, whilst still establishing its own spin.
Most notably, it comes in the casting of Hugh Maynard as the titular Demon Barber of Fleet Street, for much as I’d love us to be in a place where it doesn’t matter, it still feels important to note that he is the first black man to play the role professionally in the UK. And from his very first utterance, you’re left in no doubt whatsoever that he’s more than up to the task, giving us a viscerally angry Sweeney, his fury his defining characteristic right up until the finale. Continue reading “Review: Sweeney Todd, Mercury”
“It’s a little bit Punjab
And a little bit UK”
It’s been just about a month since Bend it like Beckham heard the final whistle at the Savoy so I thought I’d cast a reviewer’s eye over the Original London Cast Album which was released last year. I’ve long been a fan of Howard Goodall’s work and this score was no exception, hooking me from the first time I saw to the show to the second and the third with its fusion of his own inimitable British style and the Bhangra influences drawn from Gurinder Chadha’s book, aided in authenticity by co-orchestrator Kuljit Bhamra.
Recorded live in the theatre (although there’s minimal sound from the audience until the very end), it sounds a real treat and it really does give the best of both the worlds it represents. Whether individually as in Sophie-Louise Dann’s ‘There She Goes’ or Rekha Sawhney leading the bridal party in the gorgeous Punjab lament ‘Heer’, or multiculturally as the majority of the music, it is always highly tuneful and musically interesting, highlighting styles of music that are too rarely seen in the West End. Continue reading “Album Review: Bend it like Beckham (Original London Cast Album)”
“Just look at them now”
A third trip back to UB2 and Bend it like Beckham remains a real pleasure (original review / preview). It’s interesting how the release of a show’s cast recording can impact my feelings towards it – being a big Howard Goodall fan, I’ve listened to this OCR a lot and fallen more in love with its music than ever. And in this age of playlists, it’s quite easy to come up with edited highlights that skate over some of the weaker moments to give an idealised version of the production.
That said, going back to the Phoenix Theatre was still highly enjoyable and it’s always fascinating to see how different emphases come through after repeated views. For me, it has been the realisation that the heart of the show lies as much with Jess’ parents, the under-rated Natasha Jayetileke and Tony Jayawardena making us care so deeply about their experiences that have allowed second-generation Jess to reach for the freedom she craves. Continue reading “Re-review: Bend it like Beckham, Phoenix”
“Life is like opera, it’s hard to keep the drama from seeping through”
The West End is a tough nut to crack at the best of times and despite its best efforts, the musical version of Ken Ludwig’s Lend Me A Tenor lasted barely 2 months at the Gielgud in 2010. It’s strange, especially in light of Dirty Rotten Scoundrels’ relative success, as it occupies a similar groove with its traditional, even old-school, vibes, aping a classic era of musical theatre with japes and jolliness but somehow, it just didn’t connect with audiences – not everyone loves a farce…
Its old-fashioned humour and madcap antics are well served by Brad Carroll’s score and Peter Sham’s lyrics and book, which follows the trials of the Cleveland, Ohio Grand Opera Company as a world famous tenor scheduled to sing in their Otello goes AWOL in the hotel just hours before he’s due onstage. Is there a schmuck who can step in at the last minute and pretend to be Merelli, of course there is, but there’s also jealous wives, lovelorn girlfriends and conniving co-stars aplenty to thicken the plot. Continue reading “CD Review: Lend Me A Tenor (Original London Cast Recording)”
“It’s bound to be right on the night”
I remember being thoroughly enamoured of Gay’s The Word at the Finborough back in 2012 and its leading lady Sophie-Louise Dann before I really knew who she was. Now I’m a full paid-up member of her fan club, I wish I had been able to appreciate how great (and rare) a leading lady performance it was. This 1951 Ivor Novello show received its first ever revival here but whereas sometimes one can tell exactly why something has been collecting dust on the shelf, Stewart Nicholl’s production revealed a hidden gem.
As with much of Novello’s work, it is sparkly and silly but sweetly and sincerely done so that its genuine warmth elevates the whole affair. It helps that he was poking fun at his own reputation for daffiness in his writing and the show-in-a-show conceit allows for a wider variety of musical styles to be incorporated. But it is classic, old-school musical theatre through and through with songs that sound as instantly recognisable as if they’ve been played over and over in music halls and theatres across the country for decades. Continue reading “Album Review: Gay’s The Word (Original 2012 London Cast)”
“And still we’re only dreaming for change, change, change…”
Any semi-regular reader will know the love I had for the late lamented musical of Made in Dagenham so my pleasure at a live cast recording being released was boundless indeed as I always thought that David Arnold’s score was one of the more under-rated parts of the production. And it is so nice to have this kind of full reminder of a much-beloved show although I have to say the first couple of times I listened to this soundtrack, I was still too filled with sadness at its early closing.
But now I’m fully in the appreciating stage and there’s lots to love here. This recording really emphasises the female voice(s) and picks out the sophistication of much of the harmony that wasn’t always immediately apparent at the Adelphi. The spit-wielding mothers of ‘Busy Woman’, the wary onlookers of ‘Storm Clouds’, the weary strikers of ‘We Nearly Had It All’, the depth of the female ensemble just sounds like a dream. Continue reading “Album Review: Made in Dagenham (Original London Cast Recording 2015)”
“Who wants to cook aloo gobi when you can bend a ball like Beckham”
As anyone who has ever been to my parents’ annual Bonfire Night party can attest, a good aloo gobi is nothing to be sniffed at (nor my mum’s lamb saag for that matter) but when you’re a teenager, such things are far from your mind. So it is for Jesminder Bhamra – her older sister has just gotten engaged, her parents are keen for her to keep close to her Punjabi Sikh heritage but all she wants to do is play football in the park. And when she gets spotted by the captain of the local girls’ team, Jess finds herself torn between her family and following her heart’s desire.
Based on Gurinder Chadha’s enormously successful film of the same name, this musical version of Bend It Like Beckham is a ball-bouncing, cross-cultural match-up of a show. Adapted by Chadha and Paul Mayeda Berges, the story maintains its vivacious energy as Jess weaves her way through wedding prep and vibrantly staged parties with the extended family whilst tackling the rigours of life with new pal and teammate Jules in the Hounslow Harriers where her footballing prowess is soon spotted by the keen coach Joe, someone else Jules also has her eye on. Continue reading “Review: Bend it like Beckham, Phoenix”