Tim Rice - My Life In Musicals - Review

G-Live, Guildford

*****

Read my interview with Sir Tim Rice

Before writing this review, I have to declare an interest. I am neither personal friend nor relative of Sir Tim Rice and I have only met him briefly, in a professional capacity, on a couple of occasions. However, throughout my 60 odd years Tim Rice’s songs have been part of the soundscape to my life and the lives of my family. From my own youthful encounter with Joseph And The Amazing Technicolor Dreamcoat while at school, through the mega hits of Jesus Christ Superstar and Evita and then through to my own kids growing up in that whole new world of The Lion King and other Disney animated-features, Rice’s lyrics have been there. And thus it was as much in homage as in artistic interest to sit in a full house in Guildford and enjoy an evening of Tim Rice – My Life In Musicals.

This show was first reviewed early last year when Rice trialled it over a very brief 4-venue tour. This year the itinerary is gruelling – 20 shows in less than a month covering the country from Bradford to Truro, but if the number of venues has been stretched, the quality of the evening remains world class. Rice is perched on a bar-stool onstage throughout, as Duncan Waugh’s 4-piece band and a quartet of West End singers give life to a raft of songs from his life’s discography. When the moment is right, Rice himself steps forward to offer anecdotes linked to the songs and his own remarkable career and collaborations with so many composers. Songs from Joseph get things going, with an unexpected poignancy in the number Close Every Door To Me, which in the show is of course sung by the imprisoned Joseph in Egypt and which today resonates with the 100+ children of Israel (and other nations) currently held hostage by Hamas in Gaza.

As Rice moves on to talk about Superstar (his abbreviation of the show’s title) he explains Andrew Lloyd Webber’s genius in fusing rock music with a more classical musical theatre structure, and the decision of the music publishers for both Jesus Christ Superstar, Evita and subsequently Chess, to on all three occasions release the album well in advance of the show. With hindsight, such a strategy speaks volumes for the underlying musical strength of a Broadway or West End show – the melodies and lyrics alone generating huge support and admiration even before one actor has set foot on a stage.  Singers Shonagh Daly and John Addison brought an Evita medley to life, with Madalena Alberto, herself an accomplished Eva Peron in a more recent iteration of the show, offering up a gorgeous Another Suitcase In Another Hall.

Rice wraps up the first half with a briefly moving introduction to Anthem from Chess, suggesting that the song’s lyrics are now more appropriate than ever. Rice clearly has a love for his country, demonstrated if for no other reason than by his commitment to taking this show on the road across virtually the entire land. His intro gave Anthem’s already powerful lyrics, an even stronger punch.

The second act kicked off with Chess’s Someone Else’s Story beautifully sung by Daly, before the impressively guitar-wielding Sandy Grigelis performed a stirring Fight The Fight from From Here To Eternity. The evening also continued with the display of Rice’s EGOT collection (Emmy, Grammy, Tony, Oscar) with the “Oscars” tribute comprising a medley of Evita’s You Must Love Me, segueing into Can You Feel The Love Tonight and then A Whole New World from Aladdin. The two Disney numbers of course have been massive in their reach and to see their writer sat simply on a stage on a stool, in a UK regional venue, tapping his feet to his lyrics being perfectly sung, is quite simply a privilege. 

The 8 gifted singers and musicians on stage are testament to the thousands of individuals, both performers and crew, to whom Rice's creative genius has given employment over the last six decades. Add on the millions worldwide who have been entertained by Rice's talents and it is clear that his global footprint is quite simply remarkable. Rice’s modest and self-effacing presence on stage belies his achievements as the greatest living musical theatre lyricist.

An evening in the company of Sir Tim Rice remains an all time high.

Touring until 15th May - details here

Ray Shell - Back To Black

The Pheasantry, London

*****

Looking younger than his years Ray Shell skates through the decades of a remarkable career on stage in his cabaret Back To Black, in residence at Chelsea's Pheasantry for this week only. Few other performers define the crossover between soul and musical theatre as does this man and like fine molasses, the resonance of his gloriously weighted tone fills the intimate basement venue. When he sings Friends from Sweeney Todd you only wish that the show could be re-staged with Shell as the barber, it is the most gorgeous sound.

That his set list includes nods to Hair as well as to Kate Bush (no intended connection with that link but 70s savvy folk will see what I did there) is a mark of the man. When Shell sings What A Piece Of Work Is Man from Hair, (itself one of the few Shakespeare soliloquies to have made it into a rock musical), his take on the song, as with so many of his numbers, is exquisite. In recent years Shell has featured in The Lion King and The Bodyguard, neither of which are referenced in the show, but it was his creation of the steam engine Rusty in Andrew Lloyd Webber's Starlight Express that sealed his reputation on this side of the pond. Throughout Shell’s patter is warm and informative, frequent references to Starlight Express (he reveals that a skating double was used for Rusty's races around the theatre, while he stayed firmly on the level backstage) lead into his closing number of the night, the show's title song that sees his magnificent tenor reach extend into a fine falsetto. For those who recall the opening of that crazy dangerous show at the Apollo Victoria, the moment is a spine-tingling trip back in time some 30 years!

Other highlights are an a-capella take on the Gospel classic (and Parade inclusion) There Is A Fountain Filled With Blood, whilst his cover of The King Of Pain and Wrapped Around Your Finger, reminds us that the man's craft is timeless. Sting made the songs famous and Shell (who toured with The Police as a backing singer) re-interprets them with panache. Guest slots from Chardel Rhodean and Anthony Barclay provide a modest contrast as Shell joins his three backing singers in their support, but it is “Soul Man” Shell who defines the night.

Paul Jenkins directs a slick three piece musical accompaniment to the night and toes tap throughout the room as Shell, sporting Jonathan Pryce’s Engineer shirt from Miss Saigon, encores with a beautifully toned cover of Amy Winehouse’s title song for his show. A newcomer to London’s cabaret scene, (Shell confessed that this was the first time he had performed Starlight Express off roller skates) the star quality of his set demands that he returns soon. Barely scratching the vast repertoire of his career, there is simply so much more we want to hear from him. Back To Black is a rare chance to hear an exceptional voice, not to be missed.

Runs until 22nd February