“Today you have to learn to be a realist”
I wanted to love the London Palladium Cast Recording of The Sound of Music, I really did, but there’s just something missing, a magic ingredient or two gone awry which means that you can’t imagine it ever replacing the version of the score that you fell in love with, no matter which one that is.
This 2006 production was the first to use reality TV to cast its leading role – the BBC’s How Do You Solve a Problem Like Maria? proving to be a headline grabbing success and resulting in Connie Fisher winning the part of Maria, which she played for around 18 months in the end. She did experience the beginnings of vocal problems during the run, which have now pretty much put the kibosh on her musical theatre career, and it is hard not to feel that this recording does not capture Fisher at her best. Continue reading “Album Review: The Sound of Music (2006 London Palladium Cast Recording)”
“There’s only one thing one has to have
One has to have no shame”
Hitting the West End just before I moved to London and well before I started blogging, Andrew Lloyd Webber’s The Woman In White has the ignominy of being one of his less successful shows. With lyricist David Zippel and book-writer Charlotte Jones, this adaptation of Wilkie Collins’ novel failed to capture the ongoing attention of UK audiences, shuttering after 19 months, but downright flopped on Broadway where it lasted just 3.
The Woman In White has now been announced as Thom Southerland’s major project over Christmas, running for 12 weeks at the Charing Cross Theatre with Laura Pitt-Pulford onboard, and it got me to thinking that I hadn’t actually ever listened to the show at all. The cast recording was made on the opening night and as the show underwent considerable redevelopment even whilst playing, the ending on this record does not reflect the ending that audiences saw in theatres. Continue reading “Album Review: The Woman In White (2004 Original London Cast Recording)”
“Pour a double gin,
here’s to your double chin”
Back when Adam Sandler was, you know, tolerable, he did rom-coms like 1998’s The Wedding Singer and where even moderately successful films go, musical theatre adaptations surely follow. Tim Herlihy adapts his own screenplay along with lyricist Chad Beguelin, and original music comes from Matthew Sklar, and the result is a perfectly competent piece of musical theatre which is fun without ever really being fantastic.
Opening at Leicester’s Curve ahead of a 8 month long UK tour (dates and venue at the end of this review), you can see where Nick Winston’s production has made its key decisions – Francis O’Connor’s set has its eye on quick get-outs and so Jack Henry’s video projections do a lot of the heavy lifting in setting the 80s milieu. And the casting mixes West End reliability with TV name recognition, the cherry on the cake of course being Ruth Madoc. Continue reading “Review: The Wedding Singer, Curve”