Elton John It's A Little Bit Funny - Review

Upstairs at the Gatehouse, London


***


Written by Chris Burgess
Musical arrangements by Andy Collyer

Martin Kaye

Martin Kaye enthrals his audience at Upstairs at the Gatehouse as he spins the tale of Elton John’s ascendance into global super stardom, complete with pitfalls along the way. Kaye’s enthusiasm for Elton is infectious, weaving in his own autobiographical detail into his recantation of the singer’s journey from the lonely Reginald Dwight in grey flannel trousers through to the sensational Elton John in spangled hot pants. 

The show is centred around a night in Las Vegas where Kaye, during his time performing in Million Dollar Quartet, bumps into his ultimate hero Elton John in a hotel lobby where the two then spent an eventful, confessional, evening together. The evening’s narrative however seems minimal, especially when contrasted with Kaye’s excellent singing talent and with the Rocketman movie having only recently graced our screens, there is not much here that we do not already know. But the songs are great and undoubtedly the best part of the performance is a finale that sees Kaye getting the whole audience to sing along with Crocodile Rock.

Ben M Rogers’ set is striking, with huge illuminated lettering and the piano being put front and centre (literally with some incredibly inventive live projection of Kaye’s finger work), giving the feel of being front row at an actual Elton John concert. The lighting was effective, helping to create atmosphere and tone, as the sparse set and limited props allowed Kaye’s showmanship, with his odd socks and wild piano playing, to be the main focus of the event. 

Clever and entertaining, the show is a musically brilliant tribute to one of our greatest showmen.

Runs until 1st March

Reviewed by Dina Gitlin-Leigh

Photo credit: Ben Hewis

A Night At The Oscars - Review

Upstairs At The Gatehouse, London

****

Written by Chris Burgess

Directed by Bronagh Lagan

Laura Sillett, Kieran Brown, Steven Dalziel, Natalie Green

A Night At The Oscars is the latest revue to showcase some of the last century’s finest songs. In two hours (and two acts) Bronagh Lagan’s cast whirl their way through snatches of 60 songs all of which have an association with either Academy Award nominees or winners.

Chris Burgess has weaved a well-researched narrative that interjects moments of history and comment along the way. The strength of the show though rests in the talents of the 4 performers who make this snapshot tour of much of the American Songbook (and indeed, beyond) such a polished gem.

Kieran Brown, Steven Dalziel, Natalie Green and Laura Sillett are all on top form. Amidst so many classic songs it is hard to highlight the (many) treats, but the stand out moments from the women were both Judy Garland numbers from the first half. Sillett delivered an exquisite take on Yip Harburg’s Over The Rainbow that captured the song’s powerful fragility. The act’s closing number saw Green sing The Man That Got Away with a handling of the song that made for a spine-tingling heartbreaker, a reminder that this is a number that’s not heard often enough.

Dalziel and Brown offered a memorably tight duet of Brother, Can You Spare A Dime? (Harburg again) and also an unexpected close harmony of What’s New Pussycat. The tongue in cheek highlight of the gig however was undoubtedly Brown’s powerful delivery of Live And Let Die – he was magnificent!   

It is a credit to producer Katy Lipson for assembling such spot-on talents for her quartet who are well supported by musical director Ben Ferguson and choreographer Chris Cuming, who has produced well drilled excellence from his tiny cast in the Gatehouse’s compact space.

Carefully curated by Burgess, A Night At The Oscars is a charming production of a delightful idea.

Runs until 4th March, then playing at the Radlett Centre on 11th March

Photo credit: Tim Hall

That's Jewish Entertainment - Review

Upstairs At The Gatehouse, London

****

Written by Chris Burgess

Musical Arrangements by Andy Collyer

Directed by Kate Golledge

The Cast

Katy Lipson's Aria Entertainments unveils its latest revue drawn from the world of Jewish melodies at Highgate's Gatehouse Theatre for a month's residency.

Compiled by Chris Burgess, That's Jewish Entertainment, unlike Aria's previous forays into the kosher catalogue, doesn’t just focus on the showbiz greats made famous by Jewish writers or performers, but also takes in snatches of liturgy from the synagogue alongside a sprinkling of Yiddish songs that stem from the vanished world of the shtetl, as well as from New York's Lower East Side at the turn of the last century. It all makes for a lively and entertaining evening, with Burgess having researched some fascinating historical details to link and segue the numbers.

Kate Golledge directs a strong quartet of singers who are all in fine fettle throughout. David McKechnie brings a neat impersonation of Groucho Marx to the gig, while one of Matthew Barrow's solo highlights is a well nuanced take on Al Jolson's Mammy. A novel twist sees the honours shared in the Barbra Streisand, Funny Lady moment. Emma Odell gives Sadie, Sadie, Married Lady an interpretation that can more than match the Barnes/Smith roadshow soon to tour the UK. Just before Odell's turn however, Joanna Lee steps up with a barnstorming Don't Rain On My Parade that was spine-tingling in Lee's power and presence.

Interestingly, Lee is the show's only Jewish cast member and whilst ethnicity may not matter when it comes to singing the Broadway greats, the foreign tongues of both Hebrew and Yiddish (like any language) demand an innate cultural familiarity in order to be fully savoured. Barry Davis is credited with having coached (well) the linguistic pronunciation, but it's hard, nay impossible, to replicate a lifetime's understanding and recognition of a language in a two week rehearsal window. Similarly Burgess's translations, albeit carefully created, tend to blunt the romantic power of the foreign lyrics' original sound. In future shows, maybe stick to the original words with projected surtitles? Just a thought.

The show's music however is flawless. Andy Collyer's arrangements of tunes drawn from across the Western Hemisphere is a joy to listen to and under Charlie Ingles' direction (though on the night of this review the talented Alex Bellamy was in the chair), the four piece band capture the songs' time, location and above all their spirit, perfectly. A nod too to Joe Atkin Reeves' sublime work on the reeds. His snatch of Rhapsody In Blue is spot on and when his clarinet work drifts towards klezmer, a Pied Piper-like entrancement falls across the predominantly grey-haired audience.

It’s a lovely show and as Moses might have said, That's Jewish Entertainment is well worth crossing the Red Sea for (or at least the North Circular Road)!

Runs until 11th March, then at The Radlett Centre on 12th March

Photo credit: Pamela Raith

The MGM Story - Review

Upstairs at the Gatehouse, London


****


Book by Chris Burgess
Directed and choreographed by Matthew Cole

The quartet of performers

Transporting us through the history of musical theatre’s golden age, The MGM Story dives into the tale of how the Hollywood studio nurtured the talent of stars that were to include Judy Garland and Gene Kelly alongside composers such as Cole Porter, Irving Berlin and countless others.

Directed and meticulously choreographed by Matthew Cole and with Charlie Ingles perceptively directing his band, this newly compiled musical revue flips back to some timeless movie classics, featuring songs from Singin’ in the Rain, An American in Paris and The Wizard of Oz. Imaginatively set on a studio back lot, the world of the MGM musicals is brought to life and genially animated by the four performers who sparkle in this narrative.

As the evening unfolds, each actor at some point represents one the celebrated names of the Golden era. Emma Kayte Saunders embodies the young Judy Garland and her casting is inspired. Saunders’ voice is earthy and beautiful, with an ability to portray the starlet’s innocence in her early days of fame that is mesmerizing.

Similarly, James Leece’s portrayal of Gene Kelly in the iconic dance sequence of Singin’ in the Rain appears almost effortless. With no streetlight for Leece to hang off of, the use of a step ladder is inspired and the routine still proves an absolute charmer. 

West End veteran Miranda Wilford feels somewhat underused toward the beginning of the performance, appearing firstly and rather oddly, as the Cowardly Lion in Follow the Yellow Brick Road But during the second act, her performance of They Say It’s Wonderful from Annie Get Your Gun, as Betty Hutton, was indeed, wonderful – and note too that there is an incredible resemblance between Hutton and Wilford.

Steven Dalziel, brings a wonderful energy to the quartet that, like Saunders, has you watching him continuously through the show. Each gesture and facial expression has been well thought out and while vocally, he may not have been as showcased as the other three performers, his embodiment of a number of different characters throughout the night highlighted his multi-talented skills. 

Katy Lipson, whose Aria Entertainments co-produces, continues to show real flair in putting together these gorgeously staged revues. Like the rest of London’s fringe, her productions cost a fraction of a West End ticket, yet offer first class production standards and outstanding value for money.

The MGM Story is a sparkling example of the legacies of talent and sophistication that brought about today’s modern musicals and if you love the songs of that era, it’s a perfect night out.

Runs until 25th September, then touring to Windsor, Norwich and Radlett

Reviewed by Charlotte Darcy

The Great Jewish American Songbook - Review

Upstairs At The Gatehouse, London


****


Written by Chris Burgess
Directed by Matthew Gould

The Ensemble

Once upon a time Jews wrote the shows…Now it seems they ARE the shows, with revues and plays, some good, some Bad lining up to have the “J” word in the title. The latest pot-pourri - or should that be cholent (google it) – of kosher-themed offerings is Aria Entertainments’ rather charming The Great Jewish American Songbook, which includes many of the 20th century songwriters who composed for Broadway and Hollywood. Note “many”, but significantly, not “all”, with notable omissions on the night including Bernstein, Sondheim, Styne, Kander, Ebb. 

Anyway – this ensemble is really rather good. Their set list runs in chronological order, kicking off with "the daddy" of the Broadway musical, Jerome Kern and ending up somewhere in the 1960’s with Jerry Bock and Sheldon Harnick’s Fiddler On The Roof. Such was the familiarly of the numbers that the (mainly silver-haired) crowd could barely stop tapping their feet.  

Jennifer Harding first made audience spines tingle with a thrilling Can’t Help Loving That Man from Show Boat and if Lee Ormsby’s Ol’ Man River wasn’t quite as sensational (Lee, a tip, the “d” in Ol isn’t just silent, it’s non-existent!), it offered a chance to re-visit one of the biggest songs ever, from Ormsby’s gorgeous baritone. 

Harding was soon to stun again with a sizzling extract from Gershwin’s Summertime, in a section of the show that illustrated the classy structure of Chris Burgess' book, linking the songs with insightful narrative. The poignancy of the cast telling of Gershwin’s death and then immediately singing They Can’t Take That Away From Me was a link of heartbreaking magnitude. Jessie May who was on top form throughout, went on to deliver the composer’s gorgeous Our Love Is Here To Stay.

Burgess’ skill is not just in showcasing the favourites, but also unearthing some rare gems. Grant McConvey made great work of Irving Berlin’s Cohen Owes Me Ninety-Seven Dollars – a number so full of Jewish American humour it could easily have been penned by Tom Lehrer or Mel Brooks. It was Harding and May however who were again to break the hearts of a packed Gatehouse with Berlin’s Suppertime, from the little known show As Thousands Cheer, the song’s harrowing lyrics telling of an African American woman having to tell her kids their father’s been lynched.

The second half offered a whirl through first Rodgers and Hart, then Hammerstein with perhaps one of the evening’s rare duds, Oklahoma. The song was written to be sung by a full company – and scaling it down to just four voices left it denuded. Also – whilst much of the narrative was fascinating, some of it, told on this night to a predominantly Jewish audience from a predominantly non-Jewish cast sounded occasionally just a tad patronising. Nothing that can’t be tweaked mind and anyway, what's a review of a Jewish show without at least one complaint!

The biggest accolade of the night has to go to Musical Director Neil MacDonald and his unseen Musical Arranger Andy Collyer. The whole gig was a seamless segue of musical excellence, MacDonald’s three piece band capturing the distilled classics perfectly.

Whilst its Highgate run is about to end, this delightful evening deserves a (to misquote Tevye) Long Life! There’s wit and wisdom in abundance as well as a respectful acknowledgment of the century’s horrors that so decimated European Jewry. When it comes around again, don’t miss it!

Runs until 28th February, then at The Radlett Centre on 6th March

Photo credit: Kim Sheard

Sleeping Arrangements

Landor Theatre, London

***

Book, music & lyrics: Chris Burgess

Director: Robert McWhir

Jenny Gayner

Sleeping Arrangements is a transition of Sophie Kinsella’s novel of the same name into a new piece of musical theatre staged at that veritable genre dynamo, Clapham’s Landor Theatre. It’s a simple enough even if anodyne tale of two frustrated married couples thrown together in an Andalucian doubled booked holiday villa.  Add in the 16 year old son of one union and a gorgeous nanny from t’other to generate some adolescent Carry On capers, as well as some adult bed hopping and you have the ingredients for a passable piece of chick-lit cavorting.

Chris Burgess writes in the programme that when he first read the novel, he “couldn’t help but hear songs all over the place”. Unfortunately, it seems that sometimes these may have been other people’s songs. When Grant Neal as victim of the rat-race, pasty-faced, Philip (husband to Chloe)sings of his resentment at being just a “Nice Guy”, it sounds like a faux-Sondheim version of Kander and Ebb’s Mr Cellophane. Sam, the testosterone fuelled 16 year old wonderfully played by Adam Pettigrew has some comic moments but one can’t help but feel that Dougal Irvine nailed adolescent sexual awkwardness with so much more perception in Departure Lounge and when Liza Pulman’s Amanda (married to Hugh, keep up), legs akimbo, splendidly belts out Superwoman, she must be thinking to herself that whilst she couldn’t physically be giving any more to such an all-consuming  performance, her own lyric writing contribution to Fascinating Aida far outweighs Burgess’s efforts.

Nonetheless, this show entertains. As frustrated wife Chloe, Jenny Gayner masterfully extracts the melodrama from her lyrics and she steamily convinces as a still seductive but frustrated wife who found herself becoming a mother far too young in life. She discovers that she still holds a candle for Steven Serlin’s Hugh, a flame from many years past, also thrown into the villa booking as a consequence of the scheming machinations of an old mutual friend of theirs. When passions inevitably spill over into a stolen afternoon of lust, Serlin’s muscular naked torso (as well as his magnificent voice) will have much of the audience swooning in the Landor’s cramped aisles.  A note to Grant Neal: in the Rat Pack styled duet that he later shares with Serlin, Women Always Win Out In The End, he is vocally outclassed by the other man. Whilst Neal’s character may be a bit limp, his voice needn’t be and this needs to be stepped up into the run.

Sabrina Aloueche smoulders throughout as Jenna the at times bikini-clad provocative young nanny, lusted after by Sam whilst flirting wickedly with Philip. When Aloueche sings her voice has an electrifying unity of youth, power and pitch-perfect tone.

The show is directed by Robert McWhir, a seasoned and talented practitioner, who takes Burgess’ composition and skilfully fashions it into a watchably endearing production. David Shields' Spanish set is a delight and whilst Colin Billing’s band are four worthy musicians, Burgess’ melodies don’t give them a lot with which to make our spines tingle.

Sleeping Arrangements is simply crying out for coachloads of West End Wendies to pack the Landor during its four week residency.  The ticket price is infinitely better value than most juke box musicals to be found up West, the performances on display are at least as good (if not better) and the story is far more up to date than Cliff Richard’s Summer Holiday. Don’t forget your passport!

Runs to May 12 2013

Emerald

Landor Theatre, London

***

Book & lyrics by Chris Burgess

Music by Denise Wright

Directed by Nikolai Foster

Emerald at the Landor Theatre was a rather special occasion in the From Page To Stage season that is running at this Clapham cockpit of musical theatre creativity. Whilst (only) a rehearsed reading from the book, it was nonetheless a pitch perfect delivery of the show’s musical numbers, in a performance of such fidelity that it could have easily passed muster as a top notch radio play, such was the company’s vocal excellence.

The programme documents Emerald’s extensive workshopping to date, however the show remains very much in development and as a story it sits fairly and squarely in the shadow of Bill Forsyth’s 1983 movie, Local Hero:  Big corporation seeks to exploit local village to exploit oil/gold resources and the villagers win. Forsyth’s story (albeit Scottish, whereas Emerald is set on the Irish west coast) was more magical and whimsical and Chris Burgess’ book and lyrics for the most part fail to enchant and transport in the way that good musical theatre should do. The writers say in a programme note that the tale transcends nationality, going on to say, by way of example, that one does not need to be Argentinian to appreciate Evita. Whilst they have a point in principle, their comparison is conceited. Evita was majestic and global, Emerald is compact  and parochial, with a story that lacks originality. Notwithstanding, Nikolai Foster has worked his usual magic to achieve some beautiful sounds from this outstanding troupe.

West End leading lady and former soap star Claire Sweeney heads the cast as Grace, a New Yorker who journeys to the Emerald Isle in search of her roots. Sweeney is one of the few Brits who as Paulette has played an Irishwoman in the USA, in Legally Blonde and here reverses nationalities to play a Yank in Ireland. She has a large singing role in the show and two of her duets above all stood out, Everyday and I Never Wanted To Want You, the latter, with love interest Mulcahy played by the muscular and gorgeously voiced Glenn Carter, showing a real vocal chemistry between the singers. Helena Blackman put in the finely voiced turn that we have come to expect from this Maria finalist, her Hopeless was wonderful, whilst her paramour Oliver, played by Jon Paul Hevey , was an absolute aural delight as a hopelessly idiotic young Irishman in love with her. The surprise performance of the night came from veteran Sidney Livingstone as elderly villager Theo, who struck emotional gold with his beautiful number First Love.

Sarah Travis puts in a fine shift at the piano, with playing that was at all times perfectly nuanced, but the star of this reading is Nikolai Foster, who brings every voice to a perfect delivery and whose company work was stunning with some incredibly structured harmonies in the ensemble numbers with Black Pig in particular being a song that was spine-tingling to listen to.

It is hard to discern if there is a broad commercial future for this show. It needs a producer to take it on to the next step and its book needs some serious stiffening up. The production also needs to break away from the Local Hero mould to provide a more stimulating and unique journey. Nonetheless, as an opportunity to peak “behind the scenes” at some industry greats working hard to support the development of new writing, the evening was a privileged treat.