Me, Tom Self & I - Review

Crazy Coqs, London

****

Me, Tom Self & I marked the cabaret debut of Tom Self, showcasing an evening of the man’s own writing. The gig was polished, witty and wonderfully performed with an ambience that suggested an accomplished cabaret artiste rather than debutant.

Hitherto a musical director, teacher, writer and actor-musician, Self has already notched up an impressive tally of 20 pantomimes that he has written for or musically arranged. Only in his early 30s he shows a keen eye for sharp lyrical connections and an impressive range of musical styles around which he has arranged his words. 

The one-act set lasted a crisp 75 minutes with Self’s autobiographical patter matching the wit of his songs. Looking out at a packed Crazy Coqs filled largely on this opening night with family and friends, Self remarked that it all was “a bit like being at my own wake!”. A clever and confident gag that set the tone for the evening.

Self played 10 of his own compositions on piano, ably accompanied by Elliot Mackenzie on bass and Luke Thornton on drums with Laura Sillet, Lewis Asquith and Alex Tomkins providing vocal support. Opening the show with the appropriately titled The Opening Song, Self displayed a clever understanding of melody, structure and humour in his writing. Cockney Knees Up followed, deploying a knowing use of Cockney rhyming slang.

Royal Dreams Come True from Self’s Sleeping Beauty pantomime score was a fun duet between the writer and Tomkins set to a bossa nova, while The Cinema Song (from the Brief Encounter stage show) brought an authentic 1930’s feel to its words and music.

The evening’s vocal highlight was Sillett’s take on Don’t Talk About Christmas, while Self’s Post Show Blues, written about the melancholy that can descend when a show’s run ends and the company break up, contained perhaps the evening’s killer lyric: “How quickly an overture becomes the final bow”. Powerful, perceptive writing.

Sasha, Nadia and Jasmine, a trio of students from Self’s alma mater Trinity Laban made fine work of another Sleeping Beauty number Fight For The One, before Self brought the proceedings to a close with a cover of the Victoria Wood Covid-inspired classic, Let’s Do It.

For a newcomer to the world of cabaret performance, Self’s confident charm and musical talent are an astonishing delight. This evening’s performance marks what must surely be the launch of yet another strand to his accomplished career to date.

If you missed tonight’s show don’t worry. Tom Self is back at the Crazy Coqs in two weeks time in what will most likely be another sell-out performance!

Me, Tom Self & I returns to the Crazy Coqs on 12th February

The Railway Children A Musical - Review

Electric Theatre, Guildford

***

Music by Alex Parker

Lyrics & book by Katie Lam

Based on the novel by E.Nesbit

Directed by Deborah Crowe

(L-R) Darren Street, Cassius Hackforth, Anna Vardy, Charlotte Fleming, Laura Sillett

It is a delight to encounter new musical theatre writing that’s based around a strong book and all credit to Alex Parker and Katie Lam for their take on E. Nesbit’s classic.

Theirs is an adaptation however, that albeit grounded in the much filmed yarn, plays fast and loose with the original plot. The narrative's focus is moved away from both the titular railway and children and onto their tireless mother. A bold shift of perspective that doesn’t quite work. Notwithstanding some fine work from Anna Vardy as Mother, her first solo number, a patronising The Best You Can fades into shallow platitudes, while her song to the kids at bedtime, Tell Me A Story, nearly sent this reviewer to sleep! Credit where it’s due however, the second act’s Here Is A Girl, duetted by Mother and Father (Darren Street) is an absolute cracker.

Above all, what this iteration of The Railway Children lacks, is trains! There’s plenty of haze and sound effects and while one may not be expecting a Starlight Express extravaganza of on-stage rolling stock, a glimpse of a steam engine or two, perhaps through some cannily projected videos at the very least, wouldn’t have gone amiss.

This is a community theatre project - so there’s nothing but praise for the hard working and talented cast, with special mention for stand out excellence from Elliott Griffiths and Clare Salter as Perks and his wife.

Parker’s music is a treat - and although he doesn’t come close to matching Richard Rodney Bennett’s magnificent translation of steam into music in his 1974 Murder On The Orient Express soundtrack, he delivers musical splendour that for the most part is vibrant and exciting to listen to - even if his band did lack a percussionist! Ears may have been mistaken, but there's also more than a plagiaristic nod to Andrew Lloyd Webber's Waltz For Eva and Che from Evita lurking late into act two. 

There is undoubtedly the essence of something good here though. Lam may need more wit in her lyrics and less wokery in her adaptation, but hey, everyone knows the story and the writers have had the sense to keep Bobbie's (Laura Sillett) “Daddy, my daddy!” as the show’s money shot that definitely hits the spot. Above all, a nod to designer Rebecca Pitt whose artwork on the programme cover is sensational.

Rebecca Pitt's artwork

Much like HS2, this latest take on The Railway Children needs work. But if your train or rail replacement bus is taking you through Guildford over the next few days, you’ll have some fun!

Runs until 5th February 

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