Lucie Jones Live at The Adelphi - Review

Adelphi Theatre, London

****

Lucie Jones

Having captured the public’s attention back in 2009’s X Factor series, Lucie Jones this week played her first solo gig (with guests), impressively packing out London’s Adelphi Theatre.

That same stage has seen Jones play the title role in Waitress for the past 7 months and in a sassy touch the singer opened her set with that show’s well-known "sugar, butter, flour" motif from What’s Inside, segueing into a powerful performance of Funny Girl’s Don’t Rain on My Parade’. A bold choice of an opening number with an even bolder lyric tinkering to “Hey The Adelphi, here I am” receiving a rousing cheer from the adoring crowd. 

Throughout the evening the audience were treated to various anecdotal moments from Jones’ early life and career, highlighting her down to earth nature. Her natural charisma and warmth giving an almost cabaret-style intimacy to the vast venue. 

Providing the musical accompaniment was Freddie Tapner’s 22 piece London Musical Theatre Orchestra. Jones and Tapner have worked together on numerous occasions, their synergy and tightness evident from start to finish. 

In occasional support were John Owen-Jones and Marisha Wallace, the latter having played Waitress’ supporting role of Becky alongside Jones’ Jenna. Rent’s female duet Take Me Or Leave Me was performed with all the tricks, flicks and flair that you would expect from these two West End leading ladies. Equally impressive was a beautiful rendition of ‘The Prayer’ sung alongside Owen-Jones, with these two Welsh singers demonstrating a beautiful handling of the Italian lyrics with soaring melodies and pitch-perfect harmonies sung so tenderly one could have heard a pin drop.

Other stand-out songs were Gimme Gimme from Thoroughly Modern Millie, Lucie’s original song from her 2017 Eurovision entry I Will Never Give Up On You and Into The Unknown from Frozen 2. It is just a shame that the gig was for one-night only as Jones will have no trouble filling out the Adelphi again!

Reviewed by Sophie Kale

Camelot - Review

London Palladium, London


****


Book & Lyrics by Alan Jay Lerner
Music by Frederick Loewe

Freddie Tapner conducting the LMTO

Camelot in Concert, a one night only delight at the London Palladium, celebrated lyricist Alan Jay Lerner’s would-be 100th birthday with a musical not seen on the West End for some thirty years but, as noted with the large turn-out and standing ovation, one which has certainly not been forgotten. To be expected for the winner of four Tony Awards!

The simple set up for the wonderful London Musical Theatre Orchestra and podiums for the cast of ten allowed the music, story and classic but often naughty lyrics to really shine in the Palladium. As with Lerner’s classics Brigadoon and Gigi, the script for Camelot paints a picture without the need for elaborate set and costume, a testament to the rarely heard show and making it perfect for a concert arrangement.

Olivier Award winner David Thaxton is brilliant as the unexpected King Arthur, a jack the lad with a heart of gold and wholesome ambition for Camelot thanks to Merlin’s fortune-telling advice and shape-shifting lessons. As Arthur grows into the king who envisions and implements the legendary Knights of the Roundtable, Merlin loses his powers thanks to the spellbinding song and spell ‘Follow Me’ from Nimue, enchantingly sung by Dutch singer Celinde Schoenmaker. This early exit - and vital plot point - seemed to be a waste as Clive Carter’s Merlin certainly brought the humour home (“and Wort… remember to think!”) but thankfully Carter continued to milk the quirks of his characters as King Pellinore, the ever gleeful and unwittingly wise member of the roundtable. Savannah Stevenson brings Arthur’s Queen (Ginny) Guenevere’s naivety, sweetness and sass to life with ‘The Simple Joys of Maidenhood’ and ‘The Lusty Month of May’, driving the drama from hopeful to tragic thanks to her ill-advised affair with Lancelot. The booming Charles Rice is that Sir Lancelot du Lac, who brought laughter with the très cocky ‘C’est Moi’ and, in Act Two, tears with the exquisite ‘If Ever I Would Leave You’. Matthew McKenna (aka Bananaman) is a highlight from the rest of the table as ever so Scottish, kilt-wearing Sir Sagramore and the concert was solidified by the ensemble who appeared downstage for crowd scenes, each offering an enthusiastic and energetic performance.

Bravo to Freddie Tapner and his remarkable LMTO. Events like this one highlight the enduring nature of a stand-out show like Camelot. A rather flat and undefined performance from the antagonist didn’t detract from the joy of the piece and there was very much the hope a full revival is forthcoming.

Reviewed by Heather Deacon

King The Musical - Review

Hackney Empire, London


****


Music and lyrics by Martin Smith
Directed by Susie McKenna

Cedric Neal and Debbie Kurup

30 years after its premiere, Martin Smith’s affecting musical biography of legendary civil rights movement leader Dr Martin Luther King Jr was revived for just two performances, in a co-production between the Hackney Empire and London Musical Theatre Orchestra directed by Susie McKenna and which marked 50 years since Dr King’s assassination.

Opening with a brief, shocking re-enactment of the assassination, the scene was accompanied by the hauntingly mournful vocals of the full cast, shrouded in shadows on stage. Slowly, Debbie Kurup’s Coretta, Dr King’s widow, stepped out of the darkness to sing a few painful lines in memory of her late husband, a moment that was totally engrossing, but extremely brief.  Quickly, the story flashes to the younger Kings as a courting couple, a change of pace that immediately humanised Dr King’s almost mythical figure, inviting the audience to step his life and his journey.

Cedric Neal was mightily impressive in the title role. Wearing a look of perpetual apprehension which slowly melted into defiance as his story progressed, he had the audience in the palm of his hand from his very first introduction all the way through to his sudden and tragic demise. Particularly powerful was his interpretation of the iconic I Have A dream speech, which closed Act 1. 

Accompanied by the orchestra’s slow build to a powerful crescendo alongside the full cast with additional vocal support from Hackney Empire Community Choir and the Gospel Essence Choir. Neal wisely chose not to impersonate King’s intonations, bringing his own heart and charisma to the scene. The staging of the speech was a testament to the intelligent direction of Susie McKenna, and the impassioned performances of the entire cast and orchestra. 

Under Freddie Tapner’s baton the 22-piece London Musical Theatre Orchestra were perfection throughout. The particularly impressive brass section emphasised the triumphant power of Simon Nathan’s new orchestrations, whilst the strings brought a sense of dreamlike nostalgia to the story that only foreshadowed the painful finale. 

But for all of King’s heart wrenching musical moments, the story occasionally lacked depth, opting to cover the most significant and well-known moments in broad strokes, rather than drill down into the psyche of its characters and their relationships. As such, Debbie Kurup as Doctor King’s dignified and supportive wife Coretta, and Sharon D Clarke as his loving mother Alberta, were sadly side-lined as the story progressed. 

As a reminder of Martin Luther King's immutable legacy Smith’s compelling musical, forgotten for 30 years, deserves a full staging soon, especially off the back of such a striking production.

Reviewed by Charlotte O'Growney

A Christmas Carol - The Musical In Concert

Lyceum Theatre, London


*****


Music by Alan Menken
Lyrics by Lynn Ahrens
Book by Mike Ockrent and Lynn Ahrens
Based on the story by Charles Dickens

Robert Lindsay

Much like a rich brandy butter complements a fine Christmas pudding so too does Dickens’ classic Christmas fable nestle cozily into an Alan Menken score. His tunes are soaring, grand and just a little bit Disney-esque and in a story that’s all about redemption and humanity that’s a perfect fit.

What makes this concert performance of A Christmas Carol all the richer is the sumptuous sound of Freddie Tapner’s 32 piece London Musical Theatre Orchestra playing to support a stellar cast of musical theatre’s finest, alongside a 16 strong chorus. With just a hint of props and costuming, along with Mike Robertson’s ingenious lighting, the imagery of this show lies entirely within the audience’s imagination. 

Reprising his 2016 creation, Robert Lindsay is a gnarled and grizzled Ebenezer Scrooge, blossoming as he journeys to discover compassion and kindness. Lindsay brings a weathered London nuance to Scrooge and what makes his skinflint all the more compelling is that not only is he a top notch actor with immaculate timing and presence, he is also blessed with a stunning musical talent. 

A concert performance of any musical is all about acting through song and the assembled talent playing to a packed Lyceum offer a masterclass. In what is, probably, the UK’s definitive Bob Cratchit for the 2017 season, Michael Xavier delivers a cracking combination of power and pathos. Xavier knows the subtleties of working a massive West End crowd into an atmosphere of intimacy - and that he manages to capture the tragedy of Tiny Tim’s graveside aided only by Menken’s music is testimony to his craft,

The company’s other Christmas cracker is Sophie-Louise Dann as Mrs Fezziwig. The show’s writers have (mercifully) trimmed the original tale and where once the Fezziwigs were focal to the narrative of not only the Ghost of Christmas Past but also the Christmas Present phantom, here they play in just the historical chapter. Dann however relishes every word, lighting up the stage with a fabulous flamboyance.

In chronological order the three Christmas Ghosts, are played by Gemma Sutton, Hugh Maynard and Lucie Jones. Sutton manages what is in effect a therapy session for the old man, perfectly. As she whirls Robert Lindsay through Scrooge’s troubled childhood, bereft of love, the pair bring a sad, beautiful resonance to The Lights of Long Ago.

Maynard crowned in a holly wreath brings a haunting gusto to the stage, though it is the silent veiled Jones, signalling Scrooge’s impending doom that truly chills. A doubling up in the cast however does allow Jones (as Emily) a beautiful duet with Young Ebenezer (Cameron Potts), A Place Called Home, sung when the two were married many years ago.

Throughout, Tapner’s casting proves a delight. Glenn Carter brings an ugly yet compellingly youthful virility to Jacob Marley - rarely has this miserably spectre been played out so appealingly. Carter’s big solo Link By Link is Menken and Ahrens at their wickedest. Rebecca Lock and Nicholas Colicos turn in similarly top-notch cameos as Mrs Cratchit and Mr Fezziwig.

And the kids are professionally cute too. Tobias Ungleston is a cracking Tiny Tim, while Aaron Gelkoff who plays a number of Dickensian juveniles through the evening brings a beautifully voiced chutzpah to the stage that is made for Menken. Nods too to young Sylvia Erskine and Ivy Pratt, both also on top form.

When the show premiered in New York in 1994, it was to famously and festively return for ten subsequent sold out seasons. Lindsay makes this iteration of the timeless tale his own, and free of the wizardry of stage-crafted special effects, resting solely on the talents of its cast and orchestra, this musical concert becomes an enchantment.

Returns to the Lyceum for one further performance on Monday 18th December.

Honeymoon In Vegas - Review

London Palladium, London


*****


Music and lyrics by Jason Robert Brown
Book by Andrew Bergman
Directed by Shaun Kerrison

Jason Robert Brown celebrates the show's reception at  the Palladium

Showbiz, entertainment and glamour are three things one expects on a trip to Las Vegas. Well for one night only, courtesy of the London Music Theatre Orchestra; Vegas came to London – with showbiz, entertainment and sheer musical class in abundance. It took 20 years for Andrew Bergman’s 1992 movie to be given a musical theatre treatment – but in the hands of Jason Robert Brown, arguably one of the most incisive songwriters for the stage after Sondheim, the show opened on Broadway for a brief run in 2015. For one night only and under the inspired baton of Brown himself, the show has just played the London Palladium in a polished concert performance delivered by the London Musical Theatre Orchestra and a star-studded cast.

Bergman’s is a tale that’s pure Hollywood fantasy. Jack and Betsy are young lovers who after a convoluted back story, decide to get married in Vegas. On arriving in Nevada however, the beautiful Betsy catches the eye of Tommy, a nefarious but shrewd veteran gambler who sees in the young woman, the image of his late wife. Thrashing Jack in a rigged card game, Tommy strikes a deal to relieve Jack of his poker debt, in exchange for the older man being able to spend a weekend with Betsy. The unfolding narrative is as unbelievable as it is hilarious, with the tale stretching to Hawaii and including a troupe of Flying Elvises before its ultimate, happy resolution.

As Jack and Betsy, Arthur Darvill and Samantha Barks drove the performing excellence at the core of this concert-staged piece, with Darvill giving a wonderfully charismatic performance, matched by stunning vocals that were best exemplified in the opening number I Love Betsy. Barks was equally flawless, but what made these two so watchable was the chemistry and comedy in their connection. Despite delivering almost all of the text out front, including referencing scripts where needed, they offered a masterclass in delivering a staged concert performance. Alongside Barks and Darvill, Maxwell Caulfield’s Tommy was similarly magnificent in voice and character.

To be fair, there wasn’t a weak link within the entire company, but stand out performances came from Rosemary Ashe as Jacks possessive, crazed mother Bea and Nicholas Colicos playing the comically clumsy and conniving Johnny Sandwich.

It is rare to find a one-off concert staging delivered to such an impeccable standard throughout cast and orchestra. Introducing the evening, Freddie Tapner the LMTO’s founder, invited the audience to allow the music to fill the scene changes and dance breaks and warned that the flying Elvises would have be left to the imagination! Bravo to Shaun Kerrison’s direction - with disbelief suitably suspended, the evening’s magic simply soared.

Brown’s score combined with Bergman’s script is a driving force to be reckoned with in musical theatre. The gags and jazzy tunes come thick and fast as the plot's twists and turns unfold. The saying is that what happens in Vegas, stays in Vegas – well it was great to see the secrets of this story spilled in London. The show’s creatives took a gamble that came up trumps, their ambitious production playing to a full house. Flush with their success, let’s hope it’s back here soon.

Reviewed by Joe Sharpe

Photo credit: Nick Rutter