CD Review: The Bodyguard – The Musical (World Premiere Cast Recording)


“Tell me what does it mean?” 
One of the more surprising recent returnees to the West End was The Bodyguard – The Musical – having played out about a year and a half at the Adelphi and then launching a subsequent UK tour, our appetite seemed sated. But where there’s an empty theatre, there’s a commercial hit to be planted therein and it arrived back in the capital at the Dominion, with Beverley Knight heading up the cast and it’s a cracker.
But as the production set out on its UK tour, that was the point at which First Night Records decided to release the world premiere cast recording of the show, meaning that it was X-Factor star Alexandra Burke who got to lay her vocals on this score of classic Whitney Houston songs and be recorded for posterity. Now I can’t lie, I enjoyed the show with Burke, with the help of a couple of bottles of wine it’s an ideal bit of Friday fun but on disc, it’s not quite the same story. 
Part of the problem – for me at least – lies in the familiarity of the score and the fact that very little is done to the majority of the songs. So the comparison between whoever is taking on the role of Rachel Marron is all the more direct with Whitney and when you’re dealing with the soundtrack of my youth in songs like ‘How Will I Know’, ‘So Emotional’ and ‘Queen of the Night’, you’d better do ‘em justice. But it doesn’t take more than 15 seconds before Burke starts to oversing, making the music ‘her own’ in the parlance de nos jours, and largely falling flat in the process. 
Houston may have become notorious for vocal embellishments, especially in her later live performances, but if you listen to the recordings, there’s a distinct purity that comes across in all parts of her register that is part of the reason why she was the success she was. Here though, you struggle to find a note Burke sustains for more than a couple of seconds, you struggle to hear her lower register as she lacks any real power there, something cruelly exposed in ‘I Have Nothing’ which lacks power even though (or maybe because) it has been transposed to a lower key. 
The saving grace of this record turns out to be Melissa James’ performance as Nicki, Rachel’s sister, as her takes on ‘Saving All My Love For You’ and ‘All At Once’ are the real deal, both outstandingly done and oozing the quality that Burke seems to be missing. And as the album closes with the iconic ‘I Wanna Dance With Somebody’, her charmless ‘come ons’ and ‘I wanna see your hands up’ stick out like a sore thumb. Definitely a show to be experienced live with Beverley Knight rather than listened to here – you might as well just put Whitney’s greatest hits on instead.

Review: Les Blancs, National

“Do you think the rape of a continent dissolves in cigarette smoke?”

To think that just a couple of weeks ago, I hadn’t ever seen a play by Lorraine Hansberry and now I’ve seen two – the extraordinary A Raisin in the Sun which has now completed its UK tour and this new production of Les Blancs at the National. The sad reality is that there isn’t much more to see now, pancreatic cancer taking her life at just 34, but what a startling legacy this writer left of theatre that delves uncompromisingly into issues of race and identity, that remains as pertinent today as it did the mid-twentieth century when she was writing.

Hansberry didn’t get to complete Les Blancs before her death and so this final text was adapted by her sometime husband and collaborator Robert Nemiroff and it is directed here by Yaël Farber, making her National Theatre debut after her highly acclaimed 2014 The Crucible for the Old Vic. And people who saw that production will instantly recognise Farber’s modus operandi as this show opens in a highly atmospheric manner – a group of matriarchs, led by musical director Joyce Moholoagae, chanting and singing in Xhosa to leave us in no doubt what continent we’re on. Continue reading “Review: Les Blancs, National”