Ennio Morricone The Official Concert Celebration - Recensione

O2 Arena, Londra

 

*****

Diretto da Andrea Morricone

Curato da Ennio Morricone

Ennio Morricone

È raro che l'imponente O2 Arena di Londra ospiti una serata intima. Ma così è stato il mese scorso quando The Official Concert Celebration dell'opera di Ennio Morricone é arrivato all’arena per un unica serata completamente sold out. Per chi scrive, il concerto ha avuto un'intensità particolare poiché nel 2019 avevo intervistato il leggendario compositore nella sua casa romana. Sotto la direzione del figlio di Morricone, Andrea, una selezione di estratti da alcune tra le oltre 500 partiture che il Maestro ha scritto è stata eseguita dalla Flanders Philharmonic Orchestra, con il programma in gran parte ideato e curato dallo stesso Morricone prima della sua triste scomparsa nel luglio 2020.

L'intimità della serata si è definita attraverso una serie di canali: in primo luogo, la musica stessa, con Andrea che ha offerto una conoscenza profonda e impeccabile del lavoro di suo padre. Compositore lui stesso, era chiaro mentre le varie colonne sonore riempivano la serata, che Andrea era immerso nella musica di suo padre.

Andrea Morricone

In secondo luogo, le clip dei film proiettati sopra l'orchestra. Per chi ha familiarità con il lavoro di Morricone, è sempre una gioia speciale rivisitare un vecchio classico. I film sono pietre miliari culturali, ciascuno bloccato nell'era della sua uscita individuale, senza età e congelato nel tempo mentre noi, il pubblico, viaggiamo attraverso la nostra mortalità. E quindi, sia che si guardi l'estratto dal relativamente recente “The Hateful Eight” di Quentin Tarantino, vincitore dell'Oscar, o gli estratti molto più maturi tratti dalla filmografia di Sergio Leone, ogni clip avrà innescato ricordi e ricordi unici e personali in tutto il pubblico.

Il terzo aspetto intimo della serata è derivato dai contributi filmati che sono stati riprodotti tra i pezzi. Da alcune riflessioni rivelatrici e a volte auto ironiche dello stesso Morricone, fino ai contributi di alcuni dei grandi registi ancora in vita per i quali ha composto. I commenti fatti sono stati calorosi, rispettosi e così profondamente pieni di amore e ammirazione per un uomo la cui carriera è durata 60 anni. Giuseppe Tornatore, Tarantino e Roland Joffé hanno tutti parlato con riverenza dello stile e del talento di Morricone. Ma è stato probabilmente Jeremy Irons, una delle star di The Mission di Joffè, a parlare in modo più franco, descrivendo le colonne sonore di Morricone come aventi un effetto edificante sui film sottostanti, che si collocano accanto a Shakespeare per il loro posto nel pantheon della grande arte. 

E poi, ovviamente, c'era il programma della serata. Aprendo con estratti da Gli intoccabili, è stato subito ricordato il genio di Morricone nello scrivere melodie squisite che potevano accompagnare la violenza più brutale sullo schermo. Robert De Niro nel ruolo di protagonista è passato da Gli intoccabili a C'era una volta in America, dove il tema di Deborah e il tema principale sono stati accompagnati da una potente serie di clip del film. A seguire, The Legend Of 1900, il primo dei cenni della serata al regista Tornatore.

Un estratto dell'intervista con il Maestro lo ha visto parlare del suo approccio strutturale alla composizione, che collega musicalmente partiture diverse come The Sicilian Clan e Metti Una Sera a Cena, la seconda con alcuni deliziosi assolo al basso di Nanni Civitenga.

Nanni Civitenga

Dopodichè Il lavoro di Sergio Leone è tornato protagonista fino all'intervallo con un affascinante spiegazione filmata di Ennio Morricone del suo semplice uso di tre note per l'armonica, che ha introdotto “L’uomo dell’Armonica” da C'era una volta il West, malinconicamente e magnificamente eseguita di Daan Wilms all'armonica solista. Quel film, insieme a Il buono, il brutto e il cattivo, ha stuzzicato il pubblico prima dell'intervallo, con il soprano straordinariamente struggente Vittoriana De Amicis che è salita sul palco per Jills Theme, prima di concludere il primo tempo con un'“L’Estasi dell'oro" veramente estatica.

Vittoriana De Amicis

L'orchestra è tornata a suonare l'omaggio di Andrea Morricone a suo padre, Theme For Ennio, che con un Hauser pre-registrato al violoncello è stato un magnifico omaggio al lavoro di suo padre. Poi alcune parole filmate di Tarantino e si è passati direttamente a The Last Stagecoach To Red Rock da The Hateful Eight, un brano musicale quasi sinfonico nella sua lunghezza e bellezza. Davvero non li scrivono più così!

Ciò che è stato particolarmente toccante nei filmati riprodotti durante la riproduzione di questa melodia, è stata l'inclusione del filmato del Maestro stesso che dirige la colonna sonora negli studi di Abbey Road di Londra. A vederlo sullo schermo, bacchetta in mano, era come se non fosse mai morto.

Leandro Piccioni e Hauser

A seguire Cinema Paradiso - dove il toccante tema d'amore del film era stato scritto da Andrea - e Chi Mai. Quest'ultimo occupa un posto speciale nel cuore degli inglesi dai tempi in cui la BBC era ancora in grado di produrre un buon dramma e nel 1981 acquistò la melodia (originariamente scritto per il film di Jerzy Kawalerowicz Maddalena) come tema per The Life And Times Of David Lloyd George. In questa forma raggiunse poi il numero 2 della UK Singles Chart.

Ci sono altri solisti che meritano di essere menzionati per il loro contributo a questa serata. Il primo violino Anna Buevich, che è stata meravigliosa durante tutto il concerto ed in particolare durante i suoi “a solo” nel "La Classe Operaia Va in Paradiso”. Leandro Piccioni al pianoforte, Rocco Zifarelli è stato magnifico alla chitarra, mentre Massimo D'Agostino è stato un tour de force di energia alla batteria. Un cenno anche al direttore del coro del tour Stefano Cucci che per questo concerto londinese dirigeva il Crouch End Festival Chorus, un ensemble locale che ha fatto un lavoro di prima classe nel fornire il supporto vocale necessario ai pezzi del Maestro.

Rocco Zifarelli

Un'intervista filmata con Roland Joffe ha segnalato che The Mission sarebbe stato il prossimo brano, con l'ennesima apparizione di De Niro sopra l'orchestra. L'oboe di Gabriel è stato squisito come sempre, con The Falls e poi On Earth As It Is In Heaven che hanno fatto venire la pelle d’oca al pubblico dell'arena.

L'incantevole Miss De Amicis è tornata per uno scoppiettante bis di Ecstasy Of Gold e mentre la folla chiedeva di più, Andrea ha alzato la bacchetta per l'ultima volta, per riprendere On Earth As It Is In Heaven, solo che questa volta era suonato mentre un montaggio di immagini del Maestro da neonato a novantenne, riempiva lo schermo. Raramente un brano musicale è stato intitolato in modo così appropriato per il momento, e in tutto l'O2 lacrime sono state versate per la bellezza e il genio della musica di Ennio Morricone.

Con sincera gratitudine a Nanni Civitenga per la traduzion

Clicca qui per leggere la mia intervista del 2019 ad Ennio Morricone.

Attualmente in Tour in Europa

Photo: Hanout Photography

Ennio Morricone - The Official Concert Celebration - Review

O2, London

*****

Conducted by Andrea Morricone

Curated by Ennio Morricone

Ennio Morricone

It is rare that London’s massive O2 Arena hosts an evening of intimacy. But so it was last month when The Official Concert Celebration of the work of Ennio Morricone played for one night to a full house. For this writer, the evening held a particular poignancy as in 2019 I had interviewed the legendary composer at his home in Rome. Under the baton of Morricone’s son Andrea, a selection of extracts from just a few of the 500+ scores that the Maestro had penned were played by the Flanders Philharmonic Orchestra, the programme having been largely devised and curated by Morricone himself prior to his sad passing in July 2020.

The evening’s intimacy came via a number of channels: Firstly, the music itself, with Andrea offering a profound and flawless understanding of his father’s work. A composer himself, it was clear as the various soundtracks filled the evening, that Andrea was immersed in his father’s music. 

Andrea Morricone

Secondly – the clips of the movies that were screened above the orchestra. For those familiar with Morricone’s work, it is always a special joy to revisit an old favourite. Films are cultural milestones, each locked into the] era of its individual release, ageless and frozen in time while we the audience journey through our mortality. And so whether one watched the extract from Quentin Tarantino’s relatively recent Oscar winner The Hateful Eight, or the far more mature extracts taken from Sergio Leone’s filmography, each and every clip will have triggered unique and personal memories and recollections across the audience.

The third aspect of intimacy came from the filmed contributions that were played between the pieces. Ranging from some revealing, and at times self-deprecating reflections from Morricone himself, through to contributions from some of the great directors who are still alive for whom he composed. The comments made were warm, respectful and so deeply full of love and admiration for a man whose career spanned 60 years. Guiseppe Tornatore, Tarantino and Roland Joffe all spoke with a revered insight into Morricone’s style and flair. But it was probably Jeremy Irons, one of the stars of Joffe’s The Mission, who spoke most frankly when describing Morricone’s scores as having an  uplifting effect on the underlying movies, that rank alongside Shakespeare for their place in the pantheon of great art.

And then, of course, there was the evening’s programme. Opening with extracts from The Untouchables, one was immediately reminded of Morricone’s genius in writing exquisite melodies that could accompany the most brutal on-screen violence. Robert De Niro in a starring role segued from The Untouchables to Once Upon A Time In America, where Deborah’s Theme and the Main Theme played to a powerful string of clips from the movie. Up next was The Legend Of 1900, the first of the evening’s nods to director Tornatore.

An interview extract with the Maestro saw him speaking of his structural approach to composition, that musically links scores as diverse as The Sicilian Clan and Metti Una Sera A Cena, the former featuring some delicious solo work on bass guitar from Nanni Civitenga.

Nanni Civitenga

The work of Sergio Leone returned in the lead up to the interval with a fascinating filmed explanation from Ennio Morricone of his simple use of three notes for the harmonica, which naturally led into Harmonica from Once Upon A Time In The West, mournfully and beautifully delivered by Daan Wilms on solo harmonica. That movie, together with The Good,The Bad and The Ugly teased the audience in the run up to the interval, with the stunningly heartbreaking soprano Vittoriana De Amicis taking the stage for Jills Theme, before wrapping up the first half with a truly ecstatic Ecstasy Of Gold.

Vittoriana De Amicis

The orchestra returned to play Andrea Morricone’s tribute to his dad, Theme For Ennio, which with a prerecorded Hauser on cello was a magnificent tribute to his father’s work. Then a few filmed words from Tarantino and we were straight into The Last Stagecoach To Red Rock from The Hateful Eight, a piece of music almost symphonic in its length and beauty. They truly don’t write ‘em like that any more!

What was particularly touching about the film clips played while this tune played out, was the inclusion of film of the Maestro himself conducting the score at London’s Abbey Road studios. To see him on screen, baton in hand, was as if he had never died. 

Leandro Piccioni with Hauser on screen

Cinema Paradiso – where the film’s touching Love Theme had been penned by Andrea – and Chi Mai were up next, with the latter holding a special place in British hearts from back in the day when the BBC made good drama and in 1981 bought the tune (originally penned for Jerzy Kawalerowicz’s movie Maddalena) as the theme for The Life And Times Of David Lloyd George, where it then went on to reach No.2 on the UK Singles Chart.

There are other soloists who demand a mention for their contribution to the evening. Leader of the strings Anna Buevich was outstanding throughout, particularly in her solo work during The Working Class Goes To Heaven. Leandro Piccioni on piano, Rocco Zifarelli was magnificent on guitar, while Massimo D’Agostino was a tour-de force of energy on drums. A nod too to the tour’s choir conductor Stefano Cucci who for this London gig was conducting the Crouch End Festival Chorus, a local ensemble who have first-class form in providing the Maestro’s vocal backing.

Rocco Ziffarelli

A filmed interview with Roland Joffe signalled that The Mission was up next, with yet another appearance from De Niro above the orchestra. Gabriel’s Oboe was as exquisite as ever, with The Falls and then On Earth As It Is In Heaven tingling spines across the arena.

The enchanting Miss De Amicis returned for a cracking encore of the Ecstasy Of Gold and as the crowd called out for more, Andrea lifted his baton for the final time, to reprise On Earth As It Is In Heaven, only this time played as a montage of the Maestro, from baby to nonagenarian, filled the screen. Rarely has a piece of music been so aptly titled for the moment, as throughout the O2 tears were shed at the beauty and the genius of the music of Ennio Morricone.

Click here to read my 2019 interview with Ennio Morricone

Currently touring across Europe

Photo credit: Hanout Photography

ABBA Super Trouper The Exhibition - Review

The O2, London

****

The Arrival room, themed around the 1976 album of the same name

My my! As ABBA Super Trouper The Exhibition opens this week at the O2 there is now a chance to catch a brilliantly curated glimpse into the history of this remarkable Swedish quartet. ABBA's predominantly 1970s song catalogue that has gone on to span both generations and continents, possesses a charm that quite possibly no other band in the history of pop has matched. Simply put, their simply structured songs make people smile. With harmonies and chords that are distinctive yet very singable and lyrics that are as homely and everyday as they are passionate and perceptive.

Curated by Jude Kelly, a woman whose finger has been firmly on the pulse of Western zeitgeist for most of this century, the exhibition opens in a room full of TV screens looping various broadcast clips from 1974 - the year that saw ABBA burst into the British psyche with their Eurovision winner, Waterloo. The recordings will appeal to the parents (or grandparents!) visiting, as commercials, sit-coms, adverts and news bulletins play out contiulously, reminding us of the imminent general election that was, together with the 3-Day Week and continued debate over Europe. Plus ca change...

Working alongside Kelly has been Ingmarie Halling who not only founded but still curates the ABBA museum in Stockholm. Halling spoke to me about her long association with the band that dates back to her having assisted with costumes and makeup in 1975. She told of how her enduring friendship with the foursome means that she is never more than a phone call away from accessing that elusive prop, sometimes even a piano(!), that all contribute to keeping the Swedish museum a continually exciting attraction. 

From the 1974 opening mise-en-scene, the exhibition becomes a time-hop through the band’s history and discography via a variety of imaginatively themed rooms. The Folk Park sets out the band’s origins, while the telephone filled Ring Ring room invites visitors to lift a handset (authentic 70s, natch) and catch a further audio snapshot of the time. 

The exhibition moves on into the Waterloo room, a brilliant depiction of the band’s emergence into fame beyond Sweden and thence into a gorgeously tacky mock up of Brighton Pavilion, the Eurovision host venue that saw Waterloo’s victory. There’s a replica of the contest’s scoreboard from the evening and even a loop of Katie Boyle (remember her?) et al, hosting the ceremony.

All the band’s other albums are meticulously supported with memorabilia- some are huge in their significance such as scribbled lyrics, others perhaps more trivial. The replica of that helicopter from the band’s Arrival album (an LP that in turn spawned perhaps their biggest hit, Dancing Queen) will appeal to many. And for the hardcore fans there is a mock-up of superfan Andrew Boardman’s Manchester front room that he has devotedly converted into a tribute to the band. 

It wouldn’t be ABBA without a dance and so the exhibition’s final hall is a massive, disco-lit dance floor, where with the band playing on screen the urge to dance is irresistible.

The exhibition runs until August next year - and ingeniously not only sells the usual individual or family ticket combos, but mamma mia and with an eye to the money, money, money, there is also a Return Ticket. This allows a maximum of 4 separate discounted visits, for those reluctant to perhaps see their initial experience slipping through their fingers.


Tickets are sold in 30-minute entry slots.

Adult £27 
Adult Return £59 (up to a maximum of 4 visits) 
Child £13.50 (children under 5 go free) 
Family of 3 £54 (1 adult, 2 children) 
Family of 4 £65 (2 adults, 2 children) 
Family of 5 £72 (2 adults, 3 children)  
Concession £22 
Children under 16 must be accompanied by an adult 



Tickets available at abbasupertroupers.com

Ennio Morricone In Concert At The O2 - Review

The O2, London


*****

Maestro Ennio Morricone

(Last year Turkish TV channel TRT World broadcast this 6 minute tribute to Morricone - At 2:12 into the clip, I am interviewed about the Maestro)

Ennio Morricone played London for the last time this week, his farewell visit to the capital heralding the gifted composer’s imminent retirement.

But what a spectacular farewell. In an evening that largely revisited the programme of his 60 Years in Music concert  from early 2016, (my review to that gig below) and again with the Czech National Symphony Orchestra, with whom the Maestro recorded his Oscar winning score for The Hateful Eight, for the best part of three hours Morricone conducted a heavenly symphony of instrument and voice. Enchantingly sprinkled with l’italianità, the concert was a unique fusion of cinema, music and passion.

And enchantment is no understatement as to witness this musical genius conducting  the music that he has created is to see a summoning up of spiritual wonder. With more than 200 souls breathing life into his work within the sold-out O2, the Maestro wielded his baton as a sorcerer might wave a wand, delivering an evening of sheer magic and displaying an energy that belied his advanced years.

Hearing Morricone conduct his work live offered a chance, not just to re-enter the ethereal cocoon of his music, but also to observe some of the finer details woven into his compositions: the harp melody incorporated into The Good, The Bad And The Ugly; the fusion of baroque, tribal and sacred that make up On Earth As It Is In Heaven from (what should have been an Oscar winning score) The Mission. The detail that underlies his melodies and orchestrations is breathtaking.

The evening’s programming was inspired too, with the staccato Tarantella seamlessly segueing into Susanna Rigacci’s sublime soprano take on Nostromo. Morricone could almost have written for Rigacci’s voice – her delivery of the the vocal line in The Ecstasy Of Gold proving almost literally, an ecstatic, spine-tingling flourish to what is possibly the Maestro’s signature tune. Dulce Pontes offered a second wave of vocal delight – with no number sung more verve-infused than the lesser known, samba-esque Aboliçao from the 1969 movie Burn!.

The choral background to the evening came from the Crouch End Festival Chorus who, when called upon, were magnificent – with none finer than their own exquisite soprano Rosemary Zolynski who more than deserved her handful of solo moments.

Rigacci and Pontes both returned to the stage for powerful, passionate encores but perhaps the sweetest moment of the encore'd movements came from the delicate beauty of the Cinema Paradiso themes - reducing many in the packed arena to tears.

Now in his tenth decade, while there may have been an aura of mortality to the occasion, there was not a jot of frailty in Morricone’s presence. We may never witness the Maestro perform live in London again - but he has gifted to the world a musical legacy that will live forever.


My review of Ennio Morricone's 2016 Concert  at the O2

Quincy Jones Live In Concert - Review

O2 Arena, London


****

For one night only Quincy Jones packed out London’s O2 Arena in a gig that offered a glimpse into the man who is one of those few giants who truly shaped the sound  of the 20th century. In a career that has spanned six decades, Jones has either produced or written tunes that have been scored into the global psyche.

Growing up in Chicago, Jones spoke of being surrounded by the mafia, hoodlums and with tommy-guns and dead bodies a regular feature of his childhood. All the more credit to the man who had the vision to shaped his career away from a gangster heritage and break into the music world – a task made all the more challenging by the prejudices that existed against African-Americans. But as Jones, in conversation with Nic Harcourt, reeled off his connections with Frank Sinatra and Sammy Davis Jnr, one could have listened to his stories all night.

But the concert was all about a tribute to Jones’ achievements – and the guest list matched the man. For the mums and dads in the audience there was Paul Weller, Mick Hucknall and Beverley Knight, and for the kids, Mark Ronson.

From movie scores and Oscar nominations (to say nothing of countless Grammy wins and nominations) through to Michael Jackson, Jones’ work has been legendary, with his fingerprints on so much of the soundtrack to our lives. Stomp, Ai No Corrida, Soul Bossa Nova were all aired. You Don't Own Me sung by Corinne Bailey Rae reminded us of the sensational success Jones achieved with Lesley Gore. Paul Weller (with the sensational Leo Green on sax) offered up a marvellous On Days Like These from The Italian Job a great movie to have acknowledged – particularly with its star Michael Caine sat in the O2 audience. 

Jones' later career work with Jackson defined his genius – an association that was to see him produce the artist’s Bad and Off The Wall collections together with Thriller, the biggest selling album of all time. The second half of the set bore a strong Jackson twist, with Jonah Nilsson putting on a fantastic tribute to the King Of Pop.

Throughout, Jules Buckley conduced the Senbla Orchestra magnificently. Truly a sensational evening of legendary music.

Monty Python Live (mostly) - Review

O2, London

****

Let’s put the Python re-union into context please. The gathering of these 5 comedy talents on one stage is an iconic event. Monty Python, in the 1970’s and evolving from TW3 and Beyond The Fringe, re-defined what television comedy could be with an impact not dissimilar to what Elvis Presley did for rock n roll.

Such was the reach of their scripts that I grew up (and I think of myself as moderately well read) believing that they came up with the phrase “this mortal coil” (cf. The Parrot Sketch) and it wasn’t until I studied Hamlet for A Level that I realised the words were penned by the Bard. Us geeky 50-somethings, on both sides of the Atlantic (and the Americans LOVE Monty Python – remember that Eric Idle’s musical, Spamalot, began life on Broadway) can quote from the sketch outright and sing The Lumberjack Song too. But remarkably, even those far younger can still relate to that ultimate rhetorical question (only recently referred to by Gary Lineker in a World Cup commentary) “ What have the Roman’s done for us?”

And those references are but a handful of the Python’s contributions to the English-speaking comedy scene. Whilst the TV series was a product of the 1970’s, much of their writing has proved timeless. They are all getting old now and it is to Idle’s credit that he motivated all his surving peers to re-form for the show. Sure, the O2 show was at times schmaltzy and cheesy – but actually, so what? These guys ripped up the rule book in their day (and in that glorious day too, when there were only three broadcast channels and all with decent risk-taking comedy budgets at their disposal) and they paved the way for acts from The Goodies, through to The Young Ones and Little Britain to follow. Their humour was madcap, but brilliant and bravely innovative. They didn’t play down to a lowest common denominator – rather the Pythons assumed a basic working knowledge of massive cultural pillars amongst their audience: Shakespeare, Philosophy, History.

So, to see the five, live on stage performing The Four Yorkshiremen (for which we were indeed lucky) was actually, nothing short of a privilege. This tour will not be repeated – It is indeed one down, five to go and with all probability, one or more of them could well have joined the Choir Invisible in the next few years. So to witness Michael Palin, 71 and now the widely acclaimed Peter Ustinov / Alan Whicker (improved version) of his generation amongst the broadcast world, clad in suspenders, basque and acknowledging his show-biz roots, was simply priceless.

Decades old words were brought to delicious life in a song and dance extravanganza that was as tasteless and wonderfully tacky as it was brilliantly executed. Salutations to John Du Prez whose orchestra segued effortlessly from de Souza's Liberty Bell to Idle &co's more provocative compositions. Arlene Phillips (no less) and Richard Roe's choreography was drilled to pinpoint precision, whilst Carol Cleveland reprising her role as the boys' token-female, has simply not aged a jot!

Don’t compare Cleese, Gilliam, Idle, Jones and Palin coldly, as pensioners acting out sketches that are 40 years old. If that is all you see at the O2, then you have wasted your ticket money. These men, together with Graham Chapman RIP, changed the way many people in the Western World laugh. They mocked the establishment, tradition and taboo and in their wake have left a legacy of brilliantly crafted scripts. Comedy gold.

Playing at the O2 until 20th July 2014

Tickets available from the O2 and also, at discounted prices, from Viagogo and Seatwave

Scott Alan

O2 Indigo, London

*****

Scott Alan

If you are to "judge a man by the company he keeps", then based upon last night's performance on the O2's Indigo stage, New York wunderkind Scott Alan is of the very best indeed. With a supporting cast of musical theatre (virtual) royalty, Alan took a modestly low profile through the night watching from the wings as giants of the transatlantic stage breathed life into his stunning compositions.

Early on in the set Cynthia Erivo, surely musical theatre royalty-in-waiting having sped down the Thames to the O2 direct from a matinee performance of her astonishing role in The Colour Purple, sung Anything Worth Holding Onto. Her song gave a frank and honest comment on depression and as Alan was to explain later, his own life story explains his ability to write with such a scorching insight into the illness. Erivo’s performance, her tear-stained cheeks glinting in the spotlights by the end, was one of the most moving performances to be found in London (though Annalene Beechey was to give her a run for her money after the interval). If at times the first half resembled just a tad too much of a ballad-fest, it nonethless yielded some wonderfully contrasting moments. John Owen-Jones, ever the consummate king of performance, gave a wonderful Kiss The Air, all the more remarkable for him only having had 5 days to work on the song from scratch. Owen-Jones had been at the main O2 arena the day before to see his beloved Iron Maiden perform. That gig had obviously stayed with him as there was a gloriously full on, almost metallic feel to the way he virtually (though at all times, of course, melodically) screamed his way through the song’s middle eight!

John Owen-Jones gives it his all

The second half proved a veritable treat with the first ever assembled cast performance of Alan’s musical Home, a tale of Katherine a woman returning to her Texan home to confront her own relationship with her past and with her elderly mother. Cleverly put together, the evening's ensemble of O2 women had each prepared one song from the show and with first class support from Simon Beck’s immaculately rehearsed 15 piece orchestra and Barney Ashworth on piano, witnessing Home's premiere was a privilege. Highlights included a beautiful Never Neverland, Julie Atherton’s wittily filthy His Name and another sublime show-stopper from Cynthia Erivo, the singer giving a hilarious (and disarmingly accurate) portrayal of a rebellious teenager, off her face from smoking weed. Excellence abounded, particularly in work from Siobhan Dillon and then from Shoshana Bean in her delivery of the show’s title number, but it was with Annalene Beechey’s Goodnight, a song again of profound perception and free of all mawkish sentiment, as Katherine addresses her mother's fast approaching demise, that hearts were broken across the venue. Now a young mother herself, Beechey skilfully and passionately told of an oh-so familiar scenario.

Annalene Beechey wistfully breaks hearts

Alan took to the piano to close the show. He spoke of his personal demons that had almost led to suicide at 16 and how from that point on he had vowed to celebrate and to achieve in life. Now some 20 years later, Scott Alan is an inspiring proof that life is for living. As he closed the show alone on piano with an intimate solo encore of Look (A Rainbow), tears and smiles were gloriously intermingled. A truly special night.

Aladdin - A WIsh Come True - Review

The Theatre at The O2, London

*****



Lily Savage and Jon Lee

With Paul O’Grady as Dame Widow Twankey, the O2 presents Aladdin as their foray into London's pantomime season.

A large venue demands a similarly proportioned budget and this show does not disappoint. The cast list drips with talent as Jon Lee temporarily vacates his Jersey Boys Frankie Valli persona to play the street-urchin of the title whilst O Grady slips back into his now rarely seen Lily Savage, playing Aladdin's much put upon washer-woman mother and as the producers intend, stealing every scene.

Where most pantomimes have a local flavour, the O2 is London’s largest stage and what colloquial references there are in the script, need to be on a grand scale. Other than passing references to Boris Johnson and West Ham United, there are actually few nods to the capital at all but this lack of parochial sarcasm is more than made up for by O’ Grady's savage alter ego. Gags that suggest it is is quicker to get a council flat than be served at the O2 bar and his repeated line suggesting that the theatre (made from a tent) is a tougher gig than entertaining the troops in Afghanistan give just the right amount of anarchic self-deprecation that get the audience on his side. Combine that with his frequent off-piste ad libs that corpse those fellow cast members sharing the stage with him and there is enough in the show to make the audience believe they have truly witnessed a performance unique to that night – part of the pantomime magic.

As a piece of musical theatre, the production values are consistently high. Bright costumes, lavish sets, tight choreography and a ten piece band all add to the feel of quality that surrounds the production. The tech side of the show is big budget brilliance. Aladdin’s flying carpet is a stunning piece of theatrical wizardry that will captivate children and astound adults. The sound, whilst being perfectly balanced is almost too good. The superbly mixed audio suggesting at times the pre-recorded backing track that one may be subjected to at a Disney Theme Park show, such is its fidelity.

The cast all shine. Darren Bennett offers a wicked Abanazar whose jazz hands routine in No More Mr  Nice Guy suggests a delicious pastiche of the Wicked number, Wonderful. Delroy Atkinson explodes from the lamp as a grinning muscular Genie whilst Nigel Garton, Matthew Rixon and Andy Spiegel provide immaculately timed verbal slapstick that offers traditional pantomime hilarity. Perhaps though,  the greatest moment of the show is not so much Aladdin’s carpet ride, but rather Lily Savage as Mama Morton, drilling the traditional corps of pantomime local children with When You’re Good To Mama from Chicago. The delicious irony of the song’s lyrics is possibly wasted on the kids and tourists in the audience, but this reviewer cried with laughter. O’Grady truly is one of the top UK entertainers.

Aladdin at the O2 is top quality pantomime fun. There is plenty to boo and cheer in a production that looks and sounds a million dollars. With its London location, and O’Grady’s proud Scouse heritage, it is family entertainment that will appeal not only across the ages but across the nation too. If you are seeking festive fun then this is a perfect reason to pay a visit to Greenwich. 

Runs to January 5th