The Original Cast Recording of Tina – The Tina Turner Musical captures much of what makes the show work so well, not least Adrienne Warren’s sensational lead performance
“Hot whispers in the night
I’m captured by your spell”
As Tina – The Tina Turner Musical opens on Broadway, what better time to take a look at the Original Cast Recording, which is now available worldwide – to stream, download or order the CD, then visit Ghostlight Records here. The show opened in the West End last year and while I may not have loved the book unconditionally, there is no denying the 24 carat gold quality of the score with its selection from Turner’s frankly amazing back catalogue which spans rock’n’roll to rhythm’n’blues to pop to straight up soul.
Rather cannily, the Broadway production has retained the lead from the West End production as Adrienne Warren deservedly took the lion’s share of the plaudits. And it is her personality, allied to that rip-roaring voice, that shines through this cast recording, elevating it from the mere karaoke of way too many other jukebox show cast recordings. Listen to the passion of the moan that opens ‘A Fool in Love’, the hunger of ‘Better Be Good to Me’, the aching tenderness of ‘I Don’t Wanna Fight’ – this is a star-making performance. Continue reading “Album Review: Tina – The Tina Turner Musical Original Cast Recording”
Adrienne Warren absolutely shines in Tina the Musical at the Aldwych Theatre, though the bio-musical form has its limitations here
“It gets bigger baby, and heaven knows”
Mamma Mia has a lot to answer for. The jukebox musical is clearly the legacy project that people are looking to once music stars have retired or disbanded (or not even then, in some cases). But whether they take a fictional route (a la Viva Forever or Son of a Preacher Man) or go bio-musical (a la All Or Nothing), it really isn’t easy to make it work that well.
Newly opened at the Aldwych Theatre, Tina the Musical has the credentials to make you hope it can do just that. Directed by Mamma Mia’s Phyllida Lloyd, written by Olivier winner Katori Hall with Frank Ketelaar and Kees Prins, and with the almighty back catalogue of Tina Turner to call on, there’s a thrilling sense of energy here which is perfectly encapsulated in the star-making performance of a fricking amazing Adrienne Warren. Continue reading “Review: Tina the Musical, Aldwych Theatre”
“I was a woeful looker-on”
On a night when the real drama was unfolding in Stockholm’s Globen arena and the main internecine conflict was between the juries of music professionals and the public vote as revealed by the new counting mechanism, the BBC’s decision to schedule The Hollow Crown against the Eurovision Song Contest didn’t work for me. Last week’s Henry VI Part 1 was a great reintroduction into these quality adaptations as it started the new series but the follow-up doesn’t quite match the same level.
Part of the issue lies in the seemingly accepted wisdom that the Henry VI plays are problems that need solving – I’ve still not managed to see a conventional production of the trilogy to use as a benchmark – and so the plays are often abandoned to the mercies of the vision of writers and directors. Such is the case with The Wars of the Roses: 1. Henry VI Part 2, chopped down and frantically paced, there’s a whole lot of fury but just not enough feeling (though if you’re a fan of battlefields and decapitated heads, you might fare better than I did). Continue reading “TV Review: The Hollow Crown – The Wars of the Roses: 1. Henry VI Part 2”
“Get ready for spooky time”
To criticise a film about time travel for not possessing the most stringent internal logic might seem perverse (though it has never stopped those who watch Doctor Who…); to criticise a Richard Curtis film for being utterly daft feels likewise misintentioned, his work is what it is. But there’s something really rather frustrating about his 2013 work About Time that is determined to have its cutesy cutesy pie and eat it, saccharine sweetness and all.
It is as much a father/son love story as it is a boy/girl romance in which Domhnall Gleeson’s nerdishly appealing Hugh-Grant-a-like Tim, is the son of an upper-class boho family – troubled-but-not-too-much sister (Lydia Wilson), check; slightly doolally uncle (Richard Cordery), check; perfect parents (Lindsay Duncan and Bill Nighy), check. And wouldn’t you know it, it turns out the men in this family have the power to travel back in time by closing their eyes and squeezing a fist. Continue reading “DVD review: About Time”
“For she is changed, as she had never been”
Despite featuring Samantha Spiro as Kate, the Globe’s production of The Taming of the Shrew held little attraction for me when it was announced, and even once it had started. Though, not considered a ‘problem play’ as far as Shakespeare’s canon is concerned, problems tend to arise when productions seek to make sense of its knotty gender politics from a contemporary perspective. Southwark Playhouse and the RSC have recently tried different updated versions but neither one really convinced me. After allowing myself to be persuaded to see it before it finished its run, Toby Frow comes the closest I have seen to making the play work, mainly by – against the above quote – simply leaving it alone.
That’s not to say that there isn’t an immense amount of work that has been done, but rather that this production just takes the play for what it is – a piece of sixteenth century fiction presented as such. And instead of the furrowed brow that often comes with trying to work how misogynistic or otherwise the play or the production is being, there’s a sense of joyous fun as high-octane slapstick, capering about and unbelievably destructive capabilities are the order of the day. Continue reading “Review: The Taming of the Shrew, Shakespeare’s Globe”
“I’m stupefied by the suffering I’ve seen”
I started the year with the best of intentions to try and cut down on the number of shows I’m seeing and specifically to stop going to things I know I won’t like (mainly because of the cast). In this respect Bingo at the Young Vic was a double whammy as it had some of the worst word-of-mouth I’ve ever heard from fellow theatre-goers and I don’t even particularly like Patrick Stewart. But I allowed myself to be suckered into getting £10 tickets for a Wednesday matinee (by someone who then bailed at the last minute!) and safe to say, it was not a good experience.
Edward Bond’s play looks at the final years of Shakespeare’s life as the playwright returns to Stratford-upon-Avon having given up on writing, given up on his daughter and wife whom he loathes and generally given up on life. In the midst of his depressed funk is the enactment of the Enclosures Act which enabled the landed gentry to evict many of the poor and in which Shakespeare is complicit as he allows himself to turn a blind eye – though he is not completely without conscience as he sees the wider impact of these actions on a runaway girl who is brutalised by society. But even this makes it seem more interesting than it actually was as the first half was just criminally dull. I found it extremely hard to stay awake and there were a ton of walkouts. Continue reading “Review: Bingo – scenes of money and death, Young Vic”
“All I want for Christmas is to meet my real Dad”
A bit of a random choice for January, but when an offer of £5 tickets for Get Santa! came into the inbox, I couldn’t resist a sneaky trip to the Royal Court, plus I’m still on leave for a week so technically I’m still on my Christmas holiday. Aimed at the 7-11 age range, this non-traditional Christmas show comes from the pen of Anthony Neilson with music by Nick Powell, offering a distinct alternative to pantomime which is recognisably suffused with the spirit of the Royal Court as much as it is with Christmas.
Holly Finnegan has the same Christmas wish every year, to meet her father for the first time, but frustrated with his lack of response, she hatches a plot to, well, get Santa and have him fulfil her demands. For though she is a relatively normal, if stroppy, 10 year old, her stepfather is a dog and her mother and grandmother are a bit batty, but not even she could forsee the wacky turn of events. For she manages to trap Santa’s son Bumblehole instead of the man himself and when the spirit of her father manifests itself in a malevolent Russian teddy bear who hoodwinks her, an absurd groundhog day situation emerges as Holly begins to realise that getting everything you want is not always as good as it sounds. Continue reading “Review: Get Santa, Royal Court”
“This room is significantly different because you’re in it”
And boy is it different! The first thing that strikes you as you enter the Cottesloe for Earthquakes in London is not the light jazz elevator music, but the complete reconfiguration of the auditorium inside. An inverted S-shaped catwalk-stage dominates, with bar stools either side for the audience, two raised letterbox stages at either end and a DJ in the corner.
A new play from the pen of Mike Bartlett (he of Cock and also Bull) and a co-production with Rupert Goold’s Headlong company. With a timeline switching around from 1968 to 2525 (though predominantly in the present day), it deals with the threat of climate change and impending planetary collapse by looking at the impact on a family of three sisters each with their own issues and the same estranged father. Continue reading “Review: Earthquakes in London, National Theatre”
Premiered this summer in Chichester and now making the move to Sloane Square’s Royal Court, Lucy Prebble’s second play Enron has achieved a quite astonishing level of success. Bolstered by four- and five-star reviews earlier this year, the entire run at the Royal Court sold out before opening and a West-End transfer has already been announced. Fortunately, the play lived up to its billing and provided a highly entertaining and educational evening.
Telling the story of Enron, a much-feted energy corporation whose surprise collapse in 2001 leaving billions of dollars of debt, Prebble has done a fantastic job in making the subject of financial manoeuvring very accessible and engaging, whilst never patronising her audience, and her work is given extra strength due to the current state of the economy and our subsequent realisation that this was not an isolated incident as first believed. Continue reading “Review: Enron, Royal Court”