Imaginary - Review

The Other Palace, London


*****


Music & lyrics by Stuart Matthew Price

Book & lyrics by Timothy Knapman

Directed by Shaun Kerrison

Tom Price and Josh Gottlieb

“Never Leave A Man Behind” is the pact made at the very start of Imaginary. A simple declaration of trust, loyalty and friendship that in many ways lies at the core of this endearing zany, and almost Pixar-esque musical, a show that marks the 2017 return of the National Youth Music Theatre (NYMT) to London’s The Other Palace. 

Creating good new musical theatre continues to be a challenge across the industry, but Timothy Knapman and Stuart Matthew Price can be deservedly proud of their achievement. Knapman’s book and lyrics indulge in glorious wit and charm, complete with thrilling revelations and even the odd cliff hanger. Price has written an equally dreamy score, with melodies that you can’t help but find yourself whistling all the way home. Under Shaun Kerrison’s direction the NYMT company (ages 11 – 23) rise to the challenge of putting on a new musical with apparent ease. Kerrison captures the natural energy of the youngsters at all the right moments, yet never loses sight of the show’s clarity. 

Imaginary follows the friendship of two young boys, Milo (Tom Price) and Sam (Josh Gottlieb). As Sam’s only friend the pair do everything together, playing all day and letting their imaginations run wild. It all seems too good to be true until Sam starts secondary school and he and Milo find themselves facing a whole new dilemma.  

Aged 13 and 11 respectively, Price and Gottlieb turn in compelling perfomances that drive the show’s sense of adventure and discovery from the start. Their energy makes the piece a rollercoaster for audiences, played out against a backdrop of the universally recognized concepts of imagination and childhood. There's some great work too from 11yo Lizzie Wells as Sam's schoolfriend Alice. 

Alongside the child characters, Robin Franklin as the school’s Headmaster commands both his students and the stage with a frightening presence and character. Toby Turpin also delivers a dazzling performance as the 7ft (!) tall Big Brenda, giving a performance that’s even bigger than his colossal outfit and wig (costume credit: Jason Denvir) 

The tunes are gorgeous with She Played Guitar, Imaginary, The Adventurers Code and Upgrade Time all proving equally wonderful numbers, the latter in particular featuring some stylish choreography from Anthony Whiteman. Among the entire cast there isn't a weak link, with Charlie Ingles having done some cracking work, both on the ensemble’s harmonies as well as the score's orchestrations. 

At a time when many producers struggle to bring new writing to a stage, yet again the NYMT’s Jeremy Walker delivers just that. Both book and score are tremendous and if last night’s audience are anything to go by, Imaginary will be bringing about tears of laughter, sadness and just sheer awe at this company’s remarkable talent.

Runs until 12th August

Reviewed by Josh Adams 

A Spoonful Of Sherman - CD Review

*****

Just released on CD, A Spoonful of Sherman is a delightful recording that preserves one of the most sparkling revues of recent years. Staged at the St James Theatre in 2014, the show captured the songwriting genius of Richard and Robert Sherman. I reviewed it then (here) and an extract of my review, now to be found quoted on Wikipedia reads “It is a wonder that this charming show has not been staged before. Amidst all of Broadway’s giant songwriting partnerships, none reaches out to the child within us quite like the legacy of the Sherman Brothers. Cleverly crafted songs that speak of hope against adversity, written in verses that talk to every age.” Listening to the CD now, those words ring ever true.

The two disc compilation not only includes the show’s music, but also Robert Sherman’s son Robbie’s commentary that affords a remarkable insight into the lives of his father, uncle and grandfather. Aside from Disney classics that included The Jungle Book and Mary Poppins, the Sherman brothers penned soundtracks for other studios’ movies such as Chitty Chitty Bang Bang and The Slipper And The Rose. Few other movie scoring partnerships have matched their prodigious output.

Robbie Sherman conceived the show with musical director Colin Billing – and it is Billing who accompanies on piano throughout – assembling a lineup of some of the UKs finest musical theatre performers. Leading ladies Emma Williams and Charlotte Wakefield sing with Stuart Matthew Price and Greg Castiglioni, with solos and close harmonies that make an exquisite collection.  

As expected there are lavish nods to the Shermans' most famous works. Williams’ Feed The Birds and her later duet with Price in Doll On A Music Box / Truly Scrumptious capturing the magic of the originals and imbuing them with a contemporary poignancy. The CD brims with moments of wistful reflection for those of us old enough to have had these songs as the soundtrack to our childhood.

Castiglioni contributes a noble Bert from Mary Poppins with Step In Time, whilst his Ugly Bug Ball is a comic treat. Mention too to Price’s Poppins number – A Man Has Dreams – another gem. Wakefield leaves her mark of youthful excellence on the show’s title number, whilst also reminding us of quite what a gem The Jungle Book’s My Own Home truly was. 

Not just about the big movie numbers, there is a nod to the Sherman Brothers’ oft forgotten contribution to Tin Pan Alley that includes Price’s take on the 60’s classic You’re Sixteen along with Tall Paul.  

Robbie Sherman has inhertited the family’s musical genes and the album also includes a couple of numbers from his own work Bumblescratch – but it is in his appreciative commentaries on his forebears that so much is revealed. Robert Sherman was amongst the US troops that liberated Dachau and thus bore witness to  the depths of man’s inhumanity. In the post-war years and as the Cold War prevailed, this knowledge gives an added depth to the purest sense of human optimism that underscores the brothers’ There’s A Great Big Beautifiul Tomorrow and the timeless (and to be fair, often infuriating!) simplicity of It’s A Small World (After All).

Offering so much more than just a collection of beautifully performed songs, this is a lovingly crafted tribute to a pair of the 20th century’s cultural giants. A gorgeous CD and not just for lovers of musical film and theatre, A Spoonful Of Sherman appeals to the child in us all.


Available to purchase at:
http://www.simgproductions.com/Records/A_Spoonful_of_Sherman.html 

Scott Alan Greatest Hits Volume One - Review

****

In the run-up to Thanksgiving and Christmas, Scott Alan has released Volume One of his Greatest Hits. Whether you are a newcomer to the work of this talented New Yorker or a devoted fan, there is something for everyone in this 19 track pot-pourri, including a heartfelt couples of pages of liner notes from none other than our very own uber-critic Mark Shenton, a close friend of the composer.

Such is Alan’s respect amongst the performing community, that as with his live gigs, the cream of both Broadway and the West End are credited on the album. He includes a coven of former trans-Atlantic  Elphaba’s  (I counted five but am happy to be corrected) – and indeed it was Kerry Ellis singing Never Neverland (Fly Away) at London’s Pheasantry a couple of years ago that introduced me to Alan’s work. This time round it is Stephanie J. Block who gorgeously frames this paean to childhood, whilst Ellis’ Behind These Walls proves again why she is one of the UK’s leading musical theatre leading ladies.

Several tracks are a nod to Alan’s stage musical Home, that a London audience was treated to a full chamber performance of last year. Shoshana Bean’s take on the title number Home is as gorgeous a performance as you will ever hear from this woman, whilst Liz Callaway’s Goodnight perfectly captures the tragic poignancy of the show’s endgame. Other treats amongst the tracks are Willemijn Verkaik’s magnificent Watch Me Soar, whilst Brit boys Hadley Fraser, Oliver Tompsett and Stuart Matthew Price also make listening to the album a joy.

Within this set of Greatest Hits is perhaps one of the greatest recordings of recent years with Alan being never bettered than when he writes from experience. Inspirational in his publicly declared battles with depression, his Anything Worth Holding To, sung here by Cynthia Erivo, probably the UK’s brightest emerging musical theatre star and in a version arranged by Ryan Martin, is just heartbreakingly sublime.

To be fair, there is much upbeat fun recorded too. Eden Espinosa’s I’m a Star is a witty look at today’s oft-seen desperation for fame, with Espinosa giving just the right amount of punch to Alan’s pithy perceptions. 

The album makes for either an ideal gift or a personal treat and with Alan having re-arranged and orchestrated many of his numbers anew and with all pre-existing recordings being re-engineered for the occasion, this collection is much more than a cynical bundling of work to stack the aisles and the download servers ahead of the festive season. Go buy Scott Alan's Greatest Hits. The album may make you laugh and cry. It will certainly make you smile and think.

Available from Amazon and iTunes

Picture Perfect

St James Studio, London

***

Music & lyrics by Scott Evan Davis

Conceived & directed by Simon Greiff

Jerome Pradon

In another display of fine production values, the fledgling United Theatrical team of Stuart Matthew Price and James Yeoburn have assembled a classy quartet to premiere Scott Evan Davis' new show.

Empty picture frames adorn the St James' basement stage, signalling that whilst appearances (frames) may be gilded, what lies beneath often isn't. Early on we find fourty-something Elizabeth discovering hubby Harry's infidelity. As son Josh agonises over the fear of mom leaving home, the mistress-young-enough-to-be-Harry's-daughter Ellie, swoons over her lover's apparent perfections. Throughout, Simon Greiff directs his company with a precise clarity.

Helen Hobson gives a beautifully weighted Elisabeth. Singing from the book, the script she held was barely noticeable. It is a mark of the woman that her delivery was exquisitely nuanced, either as caring mother or betrayed wife. She gives fabulous vocals and a faultless presence.

Jerome Pradon is her greying deceitful spouse. Again, a flawless performance, though it is in his role that the cracks in Davis' writing start to emerge with his guilty husband/dad character barely given an opportunity to crawl out of cliched predictability.

Josh is played by a mellifluous Joel Harper-Jackson. The young man's voice has a divine range and a fabulous belt and it is a mark of his talent that he can convince in songs that pitch him from aged 7 through to a much older young man struggling with his sexuality. He too however is bogged down by lyrics that are sometimes eye-rollingly awful. "Knowing who I was, Has taught me who I am" is a line that should never have made it past an early workshop.

As coquettish Ellie, the outstanding Charlotte Wakefield again shows why she was up for an Olivier earlier this year (coincidentally nominated for a Maria that played against Helen Hobson's Mother Abbess in the Open Air's Sound of Music). Amongst the best of her generation Wakefield dances her way through the show, each number a distinct and polished example of acting through song. A youthful audience filled the theatre (an impressive achievement on a sunny Sunday afternoon) and today's musical theatre students would do well to note the professionalism and excellence that Wakefield brings to all her roles.

Colin Billing's piano work with Sarah Bowler on cello bring a passion to the afternoon's accompaniment, though whilst all the tunes are superbly played, few are memorable.

In a curious irony, the show lives up to the pretext it purports to argue. The cast and creatives are glitteringly top-notch but scratch this show's surface and there is very little to stir the soul. Picture Perfect is a middling book about mediocre folk. Davis needs to inject more sparkling satire that lifts his lyrics above a paltry attempt at humour referencing human vices. Where Sondheim and Schwartz possess a brilliance that either tickles ribs or bites at one’s psyche, too much “new writing” (with Dougal Irvine and Scott Alan being notable exceptions) lacks the wit of these wordsmiths. On this showing, Picture Perfect remains a work in progress. Remove the cliche and there may yet be a deeply moving show waiting to emerge.

The A-Z Of Mrs P

Southwark Playhouse, London

***

Book by Diane Samuels

Music & lyrics by Gwyneth Herbert

Directed by Sam Buntrock

Isy Suttie

The A-Z Of Mrs P is a charming show that tells of the birth of London's A-Z, in song. For those who remember navigating the city before the digital age, the eponymous book was everywhere and even today its graphics still power many online map sites.

The human tale behind the map is a grand fable. Hungarian emigre Alexander Gross having mapped New York, saw the potential in similarly charting the streets of London. Marrying local girl Bella, it was their artist daughter Phyllis who was to step up to the challenge of recording the capital's streets and mind-bogglingly, indexing them too. We see Gross as an outwardly callous man. A visionary maybe but a selfish womaniser, ruthlessly focused on profit. When his marriage collapses he retuns to America as Bella loses her mind and against this turmoil, Phyllis remains steadfast, capturing the streets of her Lovely London Town (a gorgeous song) and with the help of a sage draughtsman, creating the iconic guide. Struggling with huge family pressures, the A-Z is to prove not not only her guide, but also the purpose to her life.

Isy Suttie of television shows Peep Show and Shameless is Phyllis, the Mrs P (for Pearsall) of the title. Embodying this eccentric yet tenacious and compassionate woman, Suttie's acting is on point throughout, well reflecting a woman who is to witness her mother's mental collapse as well as endure her father's cruel commercial envy. A plane crash was to cripple Phyllis in her later years and Suttie subtly evokes the onset of frailty, played out through sensitivity rather than stereotype. The show however does bear a hint of “stunt-casting”. This is the actress’ brave debut into musical theatre and one cannot help but wonder if the producers selected her (in part) on the strength of her significant Twitter following, rather than musical ability. Suttie is not helped by the show's sprawling structure which at times demands an A-Z of its own. The narrative jumps distractingly in and out of flashback and its nascent flaws demand the spine-tingling vocal impact of an established musical theatre leading lady, one that is able to pull the audience along with an inspirational performance however shaky the plot may be at times. 

Whilst the fable may not be fabulous, many performances are. Called upon to play yet another flamboyant European, Michael Matus is Alexander. Assured throughout, Matus is a vocal Rolls Royce of his generation. He cruises smoothly through the lower ranges of his role, yet can effortlessly shift through the gears, producing a powerful and when necessary, menacing sound that fills the traverse theatre. He deftly tackles the paradox of his paternal love for Phyllis conflicting with his profound resentment and envy of her commercial flair. Frances Ruffelle plays the fragile and damaged Bella. Vocally her distinctive tone and timbre is well suited to the troubled woman and her transition from coquettish Nippy, to worn-down wife is executed perfectly. Stuart Matthew Price charms as Phyllis' brother Tony, but not for the first time we find that this beautifully voiced actor is barely given a song to sing.

All of the ensemble shine, with veteran Sidney Livingstone in particular providing a range of charming cameos, never more delightful than as kindly draughtsman Mr Fountain, whilst Sarah Earnshaw deploys her sharply honed West End skills in a range of roles.

The A-Z Of Mrs P is beautifully intentioned and homely, but ever so slightly muddled. Herbert has composed a handful of enchanting melodies, though her lyrics and rhyme could be sharper. Nick Winston's movement work cleverly captures a spirit of London together with key events of the city’s 20th century history, whilst Klara Zeiglerova's set deploys numerous front doors and countless suspended curios, to suggest the Herculean task that Pearsall faced. Unquestionably innovative theatre, with moments of stunning stagecraft.

Runs until 29th March

Picture by Jane Hobson

A Spoonful Of Sherman

St James's Theatre, London

****

The Sherman Brothers

It was with good reason that Walt Disney labelled Robert B. Sherman “The Poet”. Together with his brother Richard, Sherman was to pen Oscar winning scores for Disney movies during the studio’s golden era of animation in the 1960’s and 70’s, before then going on to create the songs for Chitty Chitty Bang Bang. That both Disney’s Mary Poppins and Chitty were to be given fresh interpretations as spectacular West End and Broadway shows, only served to see the brothers’ talents span the centuries and it is a wonder that this charming show has not been staged before.

No other songwriting partnership has created so many numbers that have become fused into our psyche. Amidst a sold-out St James Studio, every member of the audience would have either sung the Shermans’ songs as children, or sung them to their own kids (or grand-children). The hard-wired familiarity created by songs such as Supercalifragilisticexpialidocious or Chitty Chitty Bang Bang has a value in Western culture that is priceless.

Iconic songs demand performers of confident stature and Robert J. Sherman (the son of Robert senior) who compered the evening had assembled a cast that represented the finest of Britain’s young but accomplished musical theatre performers.

Stuart Matthew Price was as assuredly excellent as ever. Singing the little known Music Of The Spheres,written by Robert J, his tone was sublime and during his take on Hushabye Mountain from Chitty, tears were flowing in the audience. Charlotte Wakefield is another gifted actress who only last summer presented her credentials as a governess with an acclaimed Maria in The Sound Of Music. Tonight, with her performance of A Spoonful Of Sugar, one can confidently say that the position in the Banks’ household is hers. It was an enchanting cover of Julie Andrews' legendary performance and when Wakefield later sung My Own Home from The Jungle Book, the crystal clarity of her gorgeous performance could almost have suggested that the movie had been digitally re-mastered.

Emma Williams, who had created the role of Chitty’s Truly Scrumptious on stage, lived up to that character’s reputation for perfection. Amongst her first half highlights, Feed The Birds from Mary Poppins was to prove another moment of tear-streaming delicacy, whilst her Chitty contributions were as fresh as when first performed at the Palladium some 12 years ago. 

Greg Castiglioni provided the final voice to the quartet, an accomplished performer whose acting through song was a treat throughout the evening. Allocated perhaps more than his fair share of comic animal-songs, his Ugly Bug Ball was a blast, whilst one of the funniest Disney songs ever, I Wanna Be Like You from The Jungle Book, was sung brilliantly notwithstanding the almost show-stealing simian accompaniment from Stuart Matthew Price’s gorilla-esque whooping and chimp-like chatter. (Should the singing work ever dry up, Price would make an excellent Johnny Morris.)

Accompanying all, Colin Billing’s piano work was outstanding often suggesting the low-keyed elegance of a cocktail bar, whilst ramping up the tempo when required. Robert J. Sherman’s narrative through the evening was not only undoubtedly authentic, but also sincerely presented and if he stumbled occasionally, the atmosphere of the room was nothing less than warm and forgiving. 

With a second act that could be slightly trimmed and an encore that’s simply a treat (no spoilers here) the show is a glorious tribute to some of the USA’s finest songs of the last century. Amidst all of Broadway’s giant songwriting partnerships, none reaches out to the child within us quite like the legacy of the Sherman brothers. Cleverly crafted songs that speak of hope against adversity, written in verses that talk to every age. This show deserves to tour and when it comes to your town, don’t miss it!

Andrew Lippa In Concert

St James Theatre, London

****

Carrie Hope Fletcher raises the roof as Andrew Lippa accompanies

A packed house at the St James Theatre saw Andrew Lippa's London debut. For two hours and accompanied by a stellar cast of the capital's musical theatre talent, the New York composer (actually a Yorkshireman by birth) presented a collection of his showtunes.

Lippa was quickly into a selection of songs from Big Fish that recently opened on Broadway. One of the show's finer compositions, I Don't Need A Roof, sung by a wife reflecting upon her near unconditional love for her dying husband, was given the most moving of interpretations by Jenna Russell. I reviewed Big Fish last month (link here) and commented then that it seemed unlikely to transfer to London and indeed it closes on Broadway in a few weeks. Up close however, the show's songs took on a beautiful resonance and seen in this more intimate setting, were a producer to consider a modestly sized off-West End or chamber production, it may well prove a hit.

Willemijn Verkaik was masterfully elegant throughout with Big Fish’s Time Stops, a duet with Lippa, proving to be another of the evening's tender highlights. Earlier, when Verkaik had sung the line "it's my turn to fly" from The Wild Party's number The Life Of The Party, there was the sweetest of ironic presciences, as she was performing with Lippa only 24 hours before making her debut as Wicked-London's Elphaba. 

The stunning turn of the night was Carrie Hope Fletcher and her take on Pulled from The Addams Family. Injecting humour, presence and a vocal impact even bigger than her amazing hair, the young performer very nearly took the St James’ roof off. Other highlights included Ashleigh Gray's Live Out Loud, whilst a duet of Lippa and Tam Mutu in This River Between Us proved to be a masterclass in calm professionalism in retrieving a song when both performers dry.

Lippa's patter throughout was witty and refreshingly self-deprecating as he referenced the number of his shows that have closed early over the years. His newly written You Are Here however, from I Am Harvey Milk, penned for a large male chorus and offered here as his solo, showed glimpses of what must be a truly inspiring number when sung by an ensemble.

Simon Beck stepping in on piano as needed, with Hannah Ashenden's subtly elegant cello work gave a neat finish to an event that again demonstrated classy management from producers Stuart Matthew Price and James Yeoburn.

The Sound Of Music

Open Air Theatre, London

****

Music by Richard Rodgers

Lyrics by Oscar Hammerstein II

Book by Howard Lindsay and Russel Crouse

Directed by Rachel Kavanaugh

Charlotte Wakefield is Maria Rainer

How do you solve a problem like The Sound Of Music, this season’s highlight from the Open Air Theatre? It may be one of the most famous musicals written, containing countless memorable songs that have been hard-wired into our collective psyche, yet its underlying structure remains shallow and ridiculous. A story that sugar-coats enormous issues and trivialises them, glossing over stifled and stilted parenting and an abused and damaged childhood, whilst the ever menacing loom of the Anschluss suggests that the Third Reich is more of a fairy tale baddy that can be easily hoodwinked, rather than a regime that was to prove to be the century's most infernal monstrosity. The story is clichéd, flawed and quite how it achieved epic status would confound today’s book-writers. Nonetheless, The Sound Of Music is a global behemoth and one whose staging always presents the challenge of how to make such a well loved and familiar classic appear fresh and new.

Without question Rachel Kavanaugh, together with her cast and creatives rise to that challenge. Charlotte Wakefield is a Maria who in act one beautifully meets the demands of the solos and duets of some of the world’s most well-known songs. Wakefield convinces us as the delightfully dotty nun, struggling with her emerging emotions of love and desire for Captain Von Trapp. Shame though on Rodgers and Hammerstein for simply dismissing the damage of her “wicked childhood and miserable youth” with such casual lyrical disdain in Something Good.

Michael Xavier a stalwart of the musical stage, is miscast as the dignified and stoic albeit struggling Von Trapp. We learn that his Captain had been awarded military honours in “the war” which would have seen him so decorated at least twenty years before this story takes place and suggesting that he is a man at least in his mid-40’s. Notwithstanding that Xavier is a consummate actor, he lacks the gravitas and presence to effectively portray the uber-potent but nonetheless almost middle-aged, naval commander.

Fans of Stuart Matthew Price, prepare yourselves for a disappointment. A vocal legend of his generation, he is cast with not one note to sing. Price’s butler Franz displays a definite leaning in style towards The Rocky Horror Show’s Riff-Raff and whilst he is magnificently clipped and elegant in his ultimately traitorous role, this actor's immense musical theatre talents are woefully squandered.

Michael Matus as flamboyant promoter Max Detweiler is his usual irrepressibly excellent self. Matus exudes brash bonhomie just by being on stage, with a glorious voice that matches his striking character. Credit too to Caroline Keiff whose Elsa Schraeder is an elegant and well crafted depiction of understated nastiness. 

Michael Matus and Caroline Keiff

The show’s set design is clever, simply switching between the Von Trapp mansion and the convent and the skills of Tim Mitchell and Nick Lidster in light and sound respectively, ensure that the entire show can be clearly seen and heard throughout the Regents Park amphitheatre.

Kavanaugh aquits herself well with such a well known work. If you are unfamiliar with the tale, then consider seeing the show, if only to observe some of the very best aspects of London’s world-class theatre industry. If though, like most people, you love the work then definitely take that stroll to the park. You will be uplifted and exhilarated by the quality of the production.

Runs until 7 September

Dear World

Charing Cross Theatre, London

***

Book by Jerome Lawrence and Robert E. Lee

Music and lyrics by Jerry Herman

Directed and choreographed by Gillian Lynne

Betty Buckley and Paul Nicholas

Dear World is a whimsical piece of musical theatre from Jerry Herman. Inspired by the novel The Madwoman Of Chaillot and set in post WW2 Paris, it speaks of a wish to heal a world that is literally held “dear”. Much has been made of the show's chequered Broadway life and even in her programme notes director/choreographer Gillian Lynne apologises for its troubled history. In part, Lynne suggests, this is due to the show having come up against Hair when it premiered in the 1960's. Lynne's protestations are a little misplaced, as the work is far from being the composer’s finest.

Revolving around a wonderfully frivolous old lady, the Countess Aurelia, the story tells how she, in league with an as whimsically wise Sewerman,  hoodwink a trio of evil financiers, keen to lay waste to Paris in pursuit of oilfields that they have been duped into believing lie beneath the city's boulevards. Of course, good triumphs over bad in a tale that bears more than a passing nod to P L Travers’ Mary Poppins. For a magical nanny, read the Countess, the cheerful grimy sweep replaced by the filthy Sewerman and the bankers of course playing themselves. While the parallels between the two stories may be clear that is where any similarity ends, for in a songwriting contest between Herman and Shermans, Disney’s lyrical brothers win hands down.

This slight production however is redeemed by its performances. Betty Buckley is a wonderfully contrived Countess, a lady who refuses to look into the mirror in her hall, because she doesn’t like to see the old lady who lives behind the glass.  Buckley is a talented treat to watch throughout and her act two number And I Was Beautiful still marks her as a true diva. Paul Nicholas imbues the Sewerman with an ironic wisdom akin to Hamlet’s gravediggers. No airs and graces, just wry observations from a man who having seen all of the city’s garbage, knows the true realities behind the grand and the not-so-grand Parisian lives.

Notable in support are Rebecca Lock and Annabel Leveton, playing respectively a young virginal girl and an elderly but still libidinous lady, both delightfully dotty consorts of the Countess, who when the plot becomes almost too thin to discern, allow their caricatures to provide gently humoured relief. Stuart Matthew Price and Katy Treharne bring youthful vocal excellence to the show in a love interest between their two minor characters, of little relevance to the plot other than suggesting the world's promising future.

Whilst the show’s structure is dated, its heart still speaks loudly. One only has to read today of corporate fraud tainting our food chain with horsemeat, to know that some aspects of big business remain exploitative and ugly. The scenario that this fable presents of a humble Sewerman, one who deals with daily detritus, being wiser than the bankers’ besuited buffoons whom the Countess ultimately invites to descend to their grisly doom, speaks to us much as a fairy tale of wishes. Dear World is a cri de coeur to mend this fractured planet and whilst its arguments may be simplistic and a little far fetched, if one can suspend cynicism as well as disbelief then the performances on stage will capture the simple light-hearted and frothy elegance of a show not often seen.

Runs until March 30th 2013

Sweet Smell of Success - Review

***

Music by Marvin Hamlisch

Lyrics by Craig Carnelia

Book by John Guare

Directed by Mehmet Ergen



Stuart Matthew Price



If the aromas of this country’s recent nasty episodes of cheque-book phone-tapping journalism could be distilled they might be ironically labelled the Sweet Smell of Success. This show from Marvin Hamlisch, he of blessed memory, is a thoroughly unpleasant tale of a morally bankrupt press, with a plot that includes almost flippant nods to McCarthyism, suggested incestuous motives, suicide and murder. There is a love interest , but it merely serves as second fiddle to the devious malfeasance that drives this work.

David Bamber is JJ Hunsecker, an influential New York columnist, with an unhealthily protective attitude towards his much younger sister Susan, played by Caroline Keiff. Whilst the immorality of the press has long been a rich seam for writers, Bamber’s character however loathsome is not a patch on the grotesque media baron that was Lambert Le Roux in David Hare's Pravda. Bamber’s acting is impressive but his singing disappoints and a second act vaudeville number, whose sole purpose seems to be that of providing Hunsecker with a big song and  dance routine, is an opportunity squandered. As Sidney Falcone, a protege of manipulative journalism whose character is ruthlessly manipulated by Hunsecker,  Adrian der Gregorian is frequently reduced to acting by simply shoulder shrugging.

To the show's credit, other performances shine. Stuart Matthew Price is masterful as Dallas, the young pianist in love with Susan. It is a delight to see this actor in a large “almost lead” role that for once offers his character numerous opportunities to sing solo, as his voice is simply divine. Similarly excellent is Celia Graham in the far too minor role of cigarette girl Rita. A highlight of the evening is the belting of her character’s one and solo number, Rita’s Tune. Wonderfully mopping up a handful of the minor scene-setting roles is Russell Morton, a young man of striking presence and potential. Hamlisch’s melodies are bold and jazzy and Bob Broad’s direction of his pitch perfect 7-piece band is a beautiful evocation of time and place.

Nathan M Wright’s choreography of the ensemble numbers lacked polish on press night. It was sometimes clumsy, and whilst expensive sets may not be expected in this fine off-West End establishment, foot-perfect dance routines are and Wright should urgently drill his cast further. Mehmet Ergen’s direction also denies his actors their full potential. The show’s staging is at times poorly thought out: a crucial beating takes place on a badly lit gantry, not easily visible to a proportion of the audience and a repeated gag of the chorus appearing from an upstage pit, wears thin with repetition.

In Jason Robert Brown’s Parade one song from a journalist, Real Big News, says more about a corrupt press than this show manages in two acts. If the cast and creative team can refine its weaker points, then this production stands a chance of generating a modest whiff of success.

Runs to December 22

Dress Circle Benefit - One Year On - A Review

Her Majesty's Theatre, London

*****

Today, sadly, Dress Circle, a wonderful store dedicated to all things Musical Theatre, closes its doors.

Many months ago, when closure was first signalled, two dedicated young actors James Yeoburn and Stuart Matthew Price, almost Blues Brothers like, put together a show that culminated in a glorious August 2011 evening at Her Majestys Theatre that was a stunning line up of the West End's finest.

I reviewed the show then, but it has not been until now that my review , which had been lost, has now re-surfaced. Its a pleasure and an honour to re-post it. The store was amazing, and the evening was stellar.

JG

Remember The Blues Brothers, on a mission from God, to save the orphanage they grew up in?

Fast forward 30 ( ok, almost 33...) odd years,  swap the orphanage for Dress Circle, and replace Jake and Elwood Blues  with Stuart Matthew Price and James Yeoburn, and you start to get close to the magic of the Gala concert that graced the stage at Her Majestys

The one thing that both that movie and the Gala had in common was the most outstanding line up of artistes, wishing to be associated with the project.

Simon Lee had rehearsed his 30 piece orchestra to perfection – listening to them, it was hard to believe that this was the first public performance of that ensemble, and that they were not in fact performing that set together 8 times a week.

Without exception ALL the performers on stage were outstanding.

For this writer, though the "ultra-stellar" moments of such an evening, came from those rare moments when the persona of the actor got so wrapt within the performance, that they were truly giving of their soul.

Rebecca Caine sang Think of Me 25 years after her on-stage Christine.  An operatic  performance of crystal delivery, that as she herself tweeted  "I was so overwhelmed by the emotion and ovation I nearly cried. It was like a wall of sound hitting me". With Frances Ruffelle too, spines tingled as A Heart Full of Love was recreated with Jon Robyns.

Then there was the Ellen Greene moment. Ellen was listed in the programme as singing Between, from Betwixt, in the first half. She was great. What the audience did not realise was that she had actually been expecting ( and rehearsing ) to sing Somewhere That’s Green, from Little Shop of Horrors having gone to the effort of having her Audrey wig flown over to London specially for the song.  So when Aled Jones, the evening’s host, interrupted the second half, to introduce this unlisted addition to the evening, the audience went wild .

When that song was first recorded Greene's voice had a wonderful almost hallmark fragility to it. Now, some 25 years later ( and perhaps following the tragic death of Howard Ashman?) singing the song was hard. As Ellen sang, she struggled in what what was clearly a difficult moment. But in a defining expression of excellence, she pulled the performance back, and as the bars rolled by she didn’t just sing the song, she positively nailed it.  On the final notes, as the audience almost to a man rose to salute her,  she wept.  To witness such a performance was more than a joy, it was a privilege.

Dougal Irvine and Laurence Mark Wythe delivered their specially composed number for the night, The World of The Show, that not only evoked the wit of Noel Coward, but also left one confident that the future of British musical theatre composition is in safe hands.

The penultimate number , Bui Doi from Miss Saigon had the inimitable Peter Polycarpou reprising the role of John that he created, backed by a youthful chorus of current West End professionals , again raising the hairs on the back of my neck.

To quote Oliver, could I have possibly asked for more from an evening of such riches? Well to my mind, a nod to Rogers & Hammerstein and Kander & Ebb would not have been out of place, nor would the acknowledgment perhaps of the current contribution of Juke Box Musicals to the strength of current West End / Broadway box office takings. Whilst the trend for JBMs is arguably blocking the path for new writing, those shows do nonetheless, and on a weekly basis, provide musical theatre entertainment for thousands and further, employment for hundreds more. But these greedy comments of mine are mere bagatelles when set against the wonder that was presented on stage last Sunday.

As Sardines Magazine commented " … make no mistake, there was not one person on that stage that did not shine " and as a foundation for an annual ( or  biennial at least ? ) event, Messrs Price and Yeoburn have created a precedent that will be nigh on impossible to live up to.

 

 

Mack & Mabel - Review

Norman Bowman and
Laura Pitt -Pulford

Southwark Playhouse, London

*****

Book by Michael Stewart
Music and lyrics by Jerry Herman
Revised by Francine Pascal
Directed by Thom Southerland

Mack & Mabel is a dark musical. A relationship between the two leads that is often defined by “anti-love” songs and a second act that spirals inexorably to a finale of misery. Yet within this darkness, musical numbers are included that range from the highest levels of hope, through to spectacular glitzy tap routines, and a hilarious pinch of slapstick. And such is the strength of this show that every single number is in perfect context.

Produced by Danielle Tarento, who together with Southerland, staged the award winning Parade at this venue last year, Mack & Mabel charts the interweaving of the lives of silent “two-reel movie” director Mack Sennett, with Mabel Normand, a deli delivery girl from Brooklyn whose charismatic beauty and potential he spots on set and who he elevates to stardom. For a review of Mabel's Wilful Way,  a Mack&Mabel movie, click here.

Set in the early 20^th century, the show in sub-plot touches upon the rise of the full length motion picture and the introduction of the talkies, but these are merely a backdrop to the arc of the ill fated lovers.

As Mack, Norman Bowman is outstanding. Costumed in a cream suit throughout, and frequently fedora’d to shield the bright Californian sun, he is every inch the caricature of a dominating movie director yet one who also possesses a touching vulnerability, with chiselled good looks perfectly matching the strength and sweetness of his tenor voice. In the opening number, describing his early career, Bowman sings Movies Were Movies with an energy and flair that it is nigh impossible to look away from . Later in the first act, alone with Mabel, he defines his lack of loving sensitivity with the poignant I Won't Send Roses, the melody from which serves as an occasional emotionally charged motif at subsequent moments.  The show opened two weeks prior to this review and already Bowman is deservedly being spoken of as a nominee for an Off West End award for leading actor.

 An outstanding Mack needs a Mabel of similar pedigree. Laura Pitt-Pulford shone in Parade last year, and knowing that she would lead in this show, only added to the pre-show anticipation. Pitt-Pulford’s performance exceeded expectations that were already sky high. She charted Mabel’s journey, plucked from obscurity to super-stardom, the enjoyment of the movie-star’s life and her ultimate succumbing to substance abuse, simply exquisitely. Mabel is drawn ironically moth-like, to her love for Mack and movies and the show gives her songs that are often melancholy. Wherever He Ain't, and Time Heals Everything, whilst both of different tempos, are very much are the expressions of a woman who is suffering. Throughout Act 2, Pitt-Pulford puts on a masterclass of fragility that is at once heartbreaking, yet sublime. She captures Mabel’s vulnerability in a performance the fidelity of which is rarely seen on the West End, let alone London’s fringe.

The supporting cast excelled to a person. In the key role of Lottie Ames, Jessica Martin sung and tap-danced inspiringly. The accomplished Stuart Matthew Price played a slick Frank Capra, the one regret of the evening being that the book did not allow his character more solo spots.  Impressive too was Steven Serlin as movie producer Kessel, portraying his characters Jewishness skilfully and recognisably whilst avoiding crass stereotype.

It has been written before that Tarento is committed to the highest of production values. It is clear that she commands the respect of many of theatre’s most talented practitioners, evidenced by the strength of the shows creative team. Lee Proud’s choreography was dazzling. Whilst all of the the show’s movement was slick, his working of Hundreds Of Girls, Hit ‘Em On The Head. Tap Your Troubles Away truly seemed to transport one from a vault in Southwark to a Hollywood back-lot with a tap routine that could have easily graced any major commercial show.

Good light is critical to movie making. From the outset Tarrento’s team have sought to ensure that Jason Denvir’s design is lit effectively and Howard Hudson has delivered what is perhaps the best lighting design seen in London’s fringe. Cleverly evoking at different times studio lights both in front of and behind camera as well as the bright Hollywood sunshine, Hudson’s craft adds another dimension to the rich tableau of this production.  Michael Bradley’s musical direction and vocal arrangement were also well planned and Andrew Johnson’s sound design ensured that lyrics and dialog remained clear above the faultless sound of the band. And all of this directed by Thom Southerland, who has longed to put on this show for many years. He is a credit to his ambitions.

Mack & Mabel has no fancy hydraulics, green costumes or make up, and even the projected movies are simply suggested by a flickering light . (Another inspired Hudson touch)  Mercifully, it has also been spared the modern day casting couch of a TV talent show. In place of those gimmicks it presents a stunning theatrical company delivering excellence through every word, musical note and dance step.

Runs until August 25th

Songs - Richard Beadle - CD Review

****

Richard Beadle is a very accomplished young musical presence in contemporary musical theatre. His album, Songs, is an anthology comprising some works that will form part of Today Is My Day, a full length show that he is writing, whilst others are simply penned without a connecting thread.

It is a mark of the respect that Beadle commands within the “Business”, that he has been able to enlist the vocal skills of so many talented artistes to perform his works. Rachael Wooding sings most frequently as Emily, the bride to be in Today Is My Day, whilst  Ross Hunter plays Daniel, her fiancé. In an ingenious performance, the talented Hannah Waddingham sings as Katherine, Daniel’s mother and in a bold move for the musical theatre genre, Beadle has written the song  1967 for her character, addressing a sexual assault endured as a young girl. A disquieting theme, but the writer has approached both lyric and tune sensitively, and Waddingham’s delivery is haunting, hinting at the terror that she experienced, and the damage she subsequently suffered.

Julie Atherton features on two songs, both of which bring comedic interludes to the album. In The Wedding Song, she tries her hand as Emily,  frantically preparing herself as all brides must, for the detailed planning of her wedding day. Where the other songs from Today Is My Day are predominantly reflective and introspective, Atherton injects that tone of paranoia that is sufficient to raise a smile in any person who has planned a big event. With I Want A Footballer, Atherton reprises her celebrity-seeking “wannabe” character, heard last year on Dougal Irvine’s song Do You Want A Baby Baby? The lyrics are clever, and the reference to footballers wives and girlfriends being the power-wielders within relationships, suggesting that they are “ the tail that wags the dog” is sublime. If it wasn’t for the “Blue Is The Colour” motif scored into the last few bars, this song would be perfect!

Also performing two songs on the CD is Stuart Matthew Price, for whom Beadle has previously written for the singer’s own album. Colorado Plates sees Price in his fresh and honest style, searching for a probably lost love, with a performance that echoed his previously recorded Run Away With Me.

Lyrically, Beadle does need to sharpen his pencil as regards wit and rhyme if he is to emulate the piercing perception say of Jason Robert Brown, whose music certainly seems to have influenced his work. It must be said however that Richard Beadle’s musical composition is simply outstanding. His range of style and use of orchestra is both exciting and gratifying to listen to, and it is clear why he is a musical director in much demand in today’s competitive West End. The album is both a taste of the future and a celebration of the talents of today. If you enjoy musical theatre, you will relish it.

@jaybeegee63

This review was first published on The Public Reviews