Philharmonia At The Movies - E.T. The Extra Terrestrial - Review

Royal Festival Hall, London

*****

Composed by John Williams

Conducted by Anthony Gabriele

Directed by Steven Spielberg

Steven Spielberg’s genius in narrating a story through film, is unsurpassed. His envisioning of a plot’s evolution told through either grand scenic presentations or just the subtlest glance of a protagonist, holds us spellbound. And no more so is Spielberg’s craft evident than in his 1982 blockbuster E.T. The Extra Terrestrial, that told of an alien creature (E.T.) left behind in California when its spaceship had to hurriedly flee Earth to avoid capture, the movie then exploring the bond that evolved between E.T. and the young boy Elliott who found and befriended the creature.

The story is genius in itself – in a concept first explored by Spielberg in the 1977 movie Close Encounters Of The Third Kind, his aliens are friendly. They come in peace, with the theme of the 1982 picture being a child’s and E.T.’s innocent love for each other. And so, with a combination of stunning performances, ingenious special effects – all the more so when one recalls that this was before the time of today’s ubiquitous CGI -  and gorgeous photography, Spielberg’s story was told.

But there was a further component, critical to the hallmarking of this movie as worthy of the pantheon and that was its score. And in Spielberg’s wonderfully well-established partnership with composer John Williams, so was a symphonic accompaniment achieved that not only enhanced the arc of the story, it served to tell parts of the story too such is Williams’ talent.

Last week, under the baton of Anthony Gabriele and for one night only, London’s Philharmonia Orchestra played William’s score live alongside the movie being screened. Gabriele is a master of synchronising an orchestra’s live performance to the unforgiving fixed demands of a movie screening and his coaxing the aural beauty of the Philharmonia’s talent, opened up new layers of nuance to this wonderful fable.

No plot discussions here – most people know the tale, how it develops and how it ends. But when one recalls the movie’s unforgettable scene of Elliott, with E.T. in his bicycle basket, flying (cycling) in silhouette past the moon – an image that now defines Spielberg’s own production company Amblin Entertainment – it is Williams’ Flying theme that we hear. And to hear that glorious melody played live as Elliott dreamily pedals across the screen is just exquisite.

The Philharmonia are of course world-class, and their delivery of William’s score was flawless. To name individual performers is invidious – they are all masters (and indeed many are Professors of their chosen instrument) but amidst such a plethora of perfection, to be able to glance down from the screen and observe harpist Heidi Krutzen adding to the film’s gorgeous sensitivities or in contrast Antoine Siguré’s menacing work on the timpani was sublime. And of course, during Flying, it was Zsolt-Tihamer Visontay and Emily Davis whose violin sections were chiefly responsible for making the audience’s spirits soar.

This combination of a classic film, projected over the heads of the players and instruments of one of the finest orchestras around and all helmed under Gabriele’s masterful baton, created an evening that that was simply out of this world!

Circus 1903 - Review

Royal Festival Hall, London

****

 

The company of Circus 1903

The third European season of Circus 1903 opened its Golden Age of Circus show on London’s South Bank with a spectacular array of acts. Managed throughout by Ringmaster Willy Whipsnade (David Williamson) who is also an award-winning magician, the evening wonderfully engages with both kids and adults alike.  

With laughs and cheerfulness, the show depicts an early USA as spectacular high-flying acrobatics from the Daring Desafios represent the gargantuan task of transforming the country from an untamed wilderness to the New World with vast networks of railroads evolving. Cleverly, the act also suggests the wagon shows of the era. 

Excellent aerial work continues with acts from both the Flying Fredonis and Les Incredibles. Amid high-flying somersaults the performers are not just beautiful, but romantic, skilful, and melt hearts as they display eye contact, smiles and gentle gestures that demonstrate an incredible mutual trust alongside their strength and skills. 

The circus’ performing elephants are brought to life via ingenious puppetry that emanates from creative talents learned at the National Theatre’s  War Horse stable. The animals’ detailed designs demonstrate the perfect control and mechanical genius of the skilful puppeteers (three in the larger Queenie and one in the baby Peanut) - somehow even conveying not just movement but emotion, happiness and disappointments as the show goes on.

Circus 1903 isn’t just about the incredible acts, drawn from around the world, it is also inspirational. When Willy asked himself “Why do I love magic?” – he answered touchingly “It is years practice and rehearsing, passed on through generations, hours and hours of time but it will live forever in our memories” – so true. 

The second half of the show involved more interactions with children from the audience, dance, acrobatics, finishing with the terrifying Wheel of Death.

Circus 1903 provides a perfectly enjoyable circus experience with its combination of lights, music, staging, sets and highly skilled performers. This is an amazing production with an intimate atmosphere, relaxed setting and a thoroughly family-friendly ambience.

Runs until 2nd January 2022

Photo credit: Dan Tsantilis

Guest reviewer: Qing Miao

Slava's Snow Show - Review

Royal Festival Hall, London

**

The Company

When a family friendly Christmas clown show seems more akin to Waiting For Godot rather than an act from a big top 3-ring circus, something’s gone wrong.

Slava’s Snow Show is unquestionably a masterpiece of mime artistry. The troupe of actors convincingly portray emotion with movement and facial gestures (and in a mini cheat, via some deliberately unintelligible quacking on some oversized telephone props too) that are understood by everyone in the audience irrespective of age or nationality. There’s also some clever stuff that shows how bed-frames, brooms and hat stands can become sources of wondrously imaginative make believe. Momentarily these clever performers remind us of the strange universality of body language and gesture and its ability to depict the human condition. 

The trouble is that for the most part it’s all so damn miserable. Act One references death as well as a brief contemplation of suicide - and whilst the clown’s traditional makeup has always been on the grotesque, you be hard pressed to describe these performers as comics. Move along please, there’s no commedia dell’arte to be seen here.

Capers ramp up in the second half with some water sprayed around, before eventually the kids in the audience are allowed to laugh hilariously when the cavernous Royal Festival Hall is transformed into a gargantuan ball pond with giant inflated spheres released for the audience to riotously punch around. There’s a “real” snowstorm too, with millions of paper snowflakes blown into the auditorium from a backstage industrial fan (the fumes of which waft in alongside the artificial blizzard. Lord alone knows how many trees may have been consumed for snowflakes over the course of this show’s global tour.)

But strip away the gimmickry and it’s all a tad depressing for the older ones and too tedious, too often, for the youngsters. The inflatable-filled finale goes on far too long, leaving a lasting impression of a load of balls.

Runs until 4th January 2018

Photo credit: Veronique Vial

Million Dollar Quartet - Review

Royal Festival Hall, London


*****


Co-authored by Colin Escott and Floyd Mutrux
Directed by  Ian Talbot

The cast of Million Dollar Quartet

At the Royal Festival Hall over the Christmas season and then on tour, Million Dollar Quartet offers up some of the finest cuts of vintage rockabilly and rock n roll procured from some of the most legendary names in the history of music.

Inspired by the true story of the famed 1956 recording session where Sun Records’ Sam Phillips, brought together icons Johnny Cash, Carl Perkins, Jerry Lee Lewis and Elvis Presley, the show peels back the pages of the calendar. This was a time when the airwaves went from strictly black and white to Technicolor in a musical fusion ignited by some white guys playing black music in a way that had never been heard before. And it set the world in motion.

Phillips is played by Martin Kemp (of the 1980’s Spandau Ballet fame) who heads a remarkably talented cast. Martin Kaye’s reprisal of Jerry Lee Lewis is brilliant in both performance and music, oozing a charming yet hilarious southern charisma that brings a comedic element to the show alongside an electrifying piano ability.

Matthew Wycliffe embodies guitar virtuoso Carl Perkins both in performance and an uncanny visual resemblance, delivering tenfold with his solo riffs on the guitar.

Robbie Durham does a great job as the Man in Black, bringing some sweet signature guitar mannerisms and playing styles, as Ross William Wild takes on the hefty task of playing the King. Making all the right moves, Wild also takes time to offer a touch of vulnerability, showing a side to Elvis that is not often portrayed.  

The show includes more than 20 legendary rock ‘n’ roll hits, including Blue Suede Shoes, Hound Dog, I Walk The Line and Great Balls of Fire. Whilst celebrating the talents of the on stage characters Million Dollar Quartet also respectfully tips its hat to their fellow southern musicians and African American contemporaries including Little Walter and Chuck Berry who were recording north of the Mason Dixon line at Chicago’s Chess Records. 

A juke box musical maybe – but Million Dollar Quartet is quite simply a stunningly performed tribute to a pivotal episode in the history of rock n roll.

See it before Elvis leaves the building!

Runs until 2nd January 2017, then tours. Tour dates here.

Reviewed by Josh Kemp (no relation...)

Of Thee I Sing - Review

Royal Festival Hall, London


***

Music by George Gershwin
Lyrics by Ira Gershwin
Book by George S. Kaufman and Morrie Ryskind

All credit to Elliot Davis, Senbla and the genius of casting director Anne Vosser, for assembling such a platinum plated cast to perform the little known Of Thee I Sing. But whilst this one-night-only's company was majestic, the show itself plumbs the crassest depths of jingoistic prejudice, sexism and febrile farce. Quite how it won the 1932 Pulitzer Prize (the first musical ever to do so) beggars belief.

Described as a lampoon of the American political machine, Of Thee I Sing not only mocks the nation’s executive, it mocks a dumb redneck electorate too, spinning a ridiculous yarn surrounding the election and subsequent presidency of a John P Wintergreen. The story does not merit description, but on the Festival Hall stage, some of our finest performers nonetheless proved that that they've truly earned their 5* reputations.

Hadley Fraser was Wintergreen, displaying the chiselled charm of a President and lending his magnificent voice to songs that were largely forgettable. Louise Dearman enchanted as his true love Mary, whilst Hannah Waddingham, as a hopeful, but ultimately rejected First Lady, offered her usual magnificence, tearing up the stage in a hybrid of Southern Belle cum Brunhilde. 

Offering a Rowan Atkinson inspired Vice President, Tom Edden was a masterclass in comic timing and presence, though when it comes to world class excellence in comedy acting through song, there is none finer than Peter Polycarpou, whose blustering French Ambassador made the very best of an awful role.

There is only one real (and gorgeous) classic Gershwin number in the show, Love Is Sweeping The Country and the tightly choreographed routine, as well as a delicious delivery that Daisy Maywood and Gavin Alex gave to it in the compact space available, proved the evening's highlight. To be fair everyone else on stage was fabulous too, including Gareth Snook playing a multitude of roles and some polished ensemble support from the Musical Theatre Academy.

Under Michael England’s baton the Royal Philharmonic Concert Orchestra were delightfully spot on throughout the evening.

Jason Robert Brown - Live In Concert - Review

Royal Festival Hall, London

****

Jason Robert Brown

Returning to a London concert for one night only, New York composer Jason Robert Brown plus West End guests, performed to an adoring Royal Festival Hall. Opening the gig with the overture from Honeymoon in Vegas, his latest to show to open (and after 3 months, close) on Broadway, there was an air of refreshing even if disarmingly honesty self-deprecation as Brown told his audience that the show was "the latest in a long series of shows you're not going to see over here!”

Musical director Torquil Munro had assembled an impressive orchestra for the evening, though given the venue’s vast expanse, a little more attention needed to have been paid to the sound-mix that occasionally went awry.  In what was to prove an event of two quite distinct halves, the evening’s first section was, for the most part, little more than a simply entertaining line-up. It was post-interval however that Brown’s selection of both singer and song became jewel-encrusted. 

Memorable from act one was wunderkind Eleanor Worthington-Cox’s What It Means To Be A Friend from Brown's paean to teenage angst, 13, whilst Bertie Carvel offered a touching reprise of his Leo Frank from the Donmar Warehouse's 2007 production of Parade of 2007. The highlight of the half however was Laura Pitt-Pulford (who merited a second half re-appearance) re-visiting her Lucille Frank, also from Parade only this time the Southwark Playhouse’s 2011 production. Pitt-Pulford's You Don't Know This Man offered a performance of beautifully measured power alongside quite possibly the best example of acting-through-song of the night.

Act two kicked off with a medley from The Bridges of Madison County, another of Brown's briefly lived Broadway shows - and whilst Caroline Sheen was exquisite as Italian immigrant Francesca, singing opposite both Matt Henry and Sean Palmer, too often the numbers suggested a Gaelic rather than Latin pulse, or maybe that was down to the hall's acoustics too. It took a one-off composition from Brown, Melinda, drawn from a fusion of the music of 1970's New York for the second half to truly ignite. Beautifully channelling a Billy Joel inspired sound, Melinda offered a rare moment to witness Brown's dazzling keyboard skills.

Amy Booth-Steel got the evening’s  The Last Five Years chapter underway with a beautifully nuanced I'm Still Hurting, though it was to be Cynthia Erivo's I Can Do Better Than That that saw this “national treasure in waiting” of musical theatre Festival Hall’s roof clean off!. It was tough on Oliver Tompsett who had to follow Erivo with a thoroughly decent (but by now, completely overshadowed) Moving Too Fast. In a number that was to see her powerfully duet with Brown, Willemijn Verkaik was on fine form with And I Will Follow. 

Whilst Brown's melodies are consistently ingenious, his lyrics vary. The caustic irony he imbued in The Last Five Years and in Parade was a mark of genius that matches Sondheim’s best for its pinpoint, minimalist dissection of the human condition, yet the evening's snatches of The Bridges Of Madison County seemed to lack the perceptive wit of his earlier years.  

Amara Okereke led a Drew McOnie choreographed Brand New You routine from 13, complete with a nearly drilled adolescent NYMT ensemble reprising their West End premiere from some years back, before Brown took the microphone again to encore with a passionate Someone To Fall Back On.

Seeming genuinely taken aback at the blazing warmth of his reception, Brown commented to the crowd who stood as one to salute him, that he "doesn’t see that every day!” Much like fellow American Scott Alan who himself only recently played London, one senses that both New Yorkers feel more appreciated on this side of the pond than back home.

Jason Robert Brown should return here soon, to a more intimate venue and for a (better rehearsed) residency of modest length. His talent as writer, pianist and heavenly-voiced singer too is unquestioned and what is more, London loves him.

How to Succeed in Business Without Really Trying - Review

Royal Festival Hall, London

****

Music and lyrics by Frank Loesser

Book by Abe Burrows, Jack Weinstock and Willie Gilbert

Directed by Jonathan Butterell

Clarke Peters (l) and Jonathan Groff in rehearsal

There must be something in the Thames as it flows around the bend of Waterloo Bridge that enchants the work of Frank Loesser. Back in the 1980s the National Theatre gave the capital a groundbreaking Guys and Dolls and yesterday, for one night only, Jonathan Butterell directed a sensational production of Loesser’s How to Succeed in Business without Really Trying (almost) next door at the Royal Festival Hall.

It’s been fifty years since How to Succeed in Business without Really Trying last popped up in the West End and Butterell was blessed with a star-studded cast to perform this concert staging. In a story that is occasionally heavy on a complex narrative, the show set in the offices of the World Wide Wicket company takes us on a whirlwind tour of ladder-climbing both literal and metaphorical, as we watch “the rise” of window cleaner J. Pierrepont Finch and his studious devotion to a self-help book on business success. In today’s parlance the show would represent a mash-up of The Office with The Apprentice and all set to show-tunes of a deliciously cheesy improbability. 

Crossing the Atlantic to play Finch, Jonathan Groff is probably best known here for his time on the US TV series Glee. Make no mistake though, Groff has serious stage credentials, with spurs earned both on and off-Broadway and stellar vocals that make Finch the true hero of the piece. It should also be noted that given the very  limited rehearsal time available, his performance oozed a charming confidence that forgave his occasional glances at the script.

Cynthia Erivo and Hannah Waddingham made for Finch’s vibrantly intriguing colleagues. As love interest Rosemary, Erivo brought a warmth and sincerity to her vocals that truly allowed us to understand her desires beyond the office walls whilst Waddingham’s Hedy La Rue brought another aspect of sexual desire to the tale in a role as perfect to listen to as to gaze upon. 

Making a rare and welcome return to a London stage, Clarke Peters’company President J.B Biggley provided a strong backbone to the office set up. Elsewhere Clive Rowe as Trimble was as ever delightful in his fleeting appearances, with Rowe’s soaring vocals lending a massive contribution, not least to the glorious ensemble numbers Company Way and Brotherhood Of Man. In another neat touch, London's Loesser cognoscenti will have noted that both Peters and Rowe include the National’s Guys and Dolls in their biographies

A nod too to Amy Ellen Richardson as Smitty and Anna-Jane Casey’s Miss Jones, who both brought quirk and charm to the office table on top of their stunning stage presence. 

Loesser’s luscious and vibrant score, boasting many forgotten and understated classics, was expertly executed under Mike Dixon conducting the Royal Philharmonic Concert Orchestra. It is a treat to hear a classic score so excitingly pitched and performed at that by a full size orchestra too.

The company’s excellence left one longing for a fully staged return of this charming old show and with such a remarkable array of talent and so finely polished too, Butterell certainly showed how to succeed in musical theatre!


Picture credit: Poppy Carter Portraits at www.poppycarterportraits.com