Sunday, 19 January 2020

Beautiful - The Carole King Musical - Review

Churchill Theatre, Bromley


****

Directed by Marc Bruni





It’s rare to get a glimpse into the magic of the songwriting process. From idea to creating initial elements, to arrangement and recording, before finally arriving at the final product, each song progresses through an alchemy of talent, collaboration and, quite often, a dash of luck. Beautiful provides a window exceptionally well, often beginning with flashes of inspiration, sketching out the skeleton on the piano before transitioning into the final version as performed by the recording artist themselves. However this is just one of the qualities that contributes to truly memorable music.


Carole King’s remarkable journey is reflected in this delightful jukebox musical. From writing songs throughout childhood, to joining the Brill Building and Aldon Music, Don Kirshner’s publishing “hit factory” (with fellow writers and friends Barry Mann and Cynthia Weil and which also included Paul Simon, Neil Diamond and Neil Sedaka), having two children with then husband Gerry Goffin and moving from New York to Los Angeles - all before turning 30 - it’s quite the adventure.


Of King’s marriages, this story focuses exclusively on the first with Gerry Goffin; partner in life and work. The two churn out an impressive  discography, writing hits for The Drifters, The Shirelles and The Monkees, with many songs taking on a life of their own with recordings made over the years by various artists, some of the more recent covers being; Will You Love Me Tomorrow (Amy Winehouse), The Loco-Motion (Kylie Minogue) and (You Make Me Feel Like) A Natural Woman (Aretha Franklin). It is all as educational as much as it is entertaining, providing ample reasons to support King’s numerous accolades, including induction into the Rock and Roll Hall of Fame in 1990, alongside Goffin.


Douglas McGrath’s book is snappy, funny and moving. And with words and music by King, Goffin, Mann and Weil, each song is nothing short of exceptional. These are, after all, pop masterpieces. With these foundations in place, a stellar cast in possession of strong vocals and personality is required – delivered impressively in this iteration of the show.


Helmed by Daisy Wood-Davis’ Carole, the bar is set high. Wood-Davis manages to be sweet and driven, while being phenomenally talented. Her vocal performances are outstanding, particularly when in higher registers. Yet what’s most enjoyable is her characters interactions with her peers; Laura Baldwin’s sharp Cynthia Weil, Cameron Sharp’s Barry Mann and Adam Gillian’s Gerry Goffin. Special mention too to Oliver Boot, playing impresario Donnie Kirshner in a warm and engaging mentor-like role. 

For a touring production, one of the greatest challenges is a flexible set design and on this front, Derek McLane manages to have created something that fits comfortably on stage. Certain visuals are stunning; the backdrop of the Brill Building for example. Yet on occasion, a more simple approach might possibly have been more effective - at times the supposed grandeur of backdrops doesn’t have quite the desired effect. Alejo Vietti’s costumes are peppy and each costume change leads with an element of anticipation.


This is obviously a show for fans of Carole King but more than that, it is a show for lovers of great music. Simultaneously an homage to talent, love and friendship - with others and oneself - and a masterclass in musical theatre.



Currently touring until 29th August - Details here
Reviewed by Bhakti Gajjar

JEW...ish - Review

Kings Head Theatre, London


****


Written by Saul Boyer and Poppy Damon
Directed by Kennedy Bloomer


Edie Newman and Saul Boyer

After a successful run at the Edinburgh Fringe, JEW...ish has just completed a short run at the Kings Head Theatre. The brainchild of co-creators, Poppy Damon and Saul Boyer, the play is centred around the relationship between Max, played by Boyer, and TJ, Edie Newman who are trying to navigate their way through their difficulties beyond the comfort of their university’s polyamorous society. Fraught with all the problems of an inter-religious couple, TJ is determined in her opinion that Max’s overbearing family not only cannot accept her because she isn’t Jewish but also accuse her of leading Max to becoming a ‘self-hating Jew’. 

Finding most of its comedy through the pastiche of millennial culture, the script also cuts across a broad range of themes including grief, therapy, the complexities of polyamory and of course, the Labour Party’s anti-Semitism crisis. Newman nails the woke, sexually explorative, university graduate even down to her intonation which makes everything out as a question, as though she is questioning society at every turn. This is perfectly offset by Boyer’s unflappable comedic timing, presenting Max as the recognisable male archetype who is completely lost without the direction of a woman, whether that be his overbearing Jewish mother or TJ. The chemistry between the two is visceral and believable making the audience root for these two easily dislikeable characters and want to continue on their love-hate journey. 

Georgia Cusworth’s simplistic set only adds to the atmosphere, making sure the actors’ relationship stays as the main focus and allows for an incredibly creative car ride. Working within an awkward space with the audience sat at three different angles, Kennedy Bloomer and Toby Hampton’s direction ensures that the whole audience feels involved and invested in the story throughout. 

JEW…ish plays out as a Semitic Richard Curtis-esque romp through the struggles of 21st century dating with all its pitfalls and absurdity and is well worth a watch.


Reviewed by Dina Gitlin-Leigh
Photo credit: Samuel Kirkman

Thursday, 16 January 2020

Rags - Review

Park Theatre, London



****



Music by Charles Strouse
Lyrics by Stephen Schwartz
Book by Joseph Stein
Revised book by David Thompson
Directed by Bronagh Lagan


Carolyn Maitland

Rags from Stephen Schwartz and Charles Strouse is a show that is set in New York City’s Lower East Side around the turn of the 20th century. Seen through the eyes of Rebecca, a penniless seamstress straight off the boat together with her young son David, the tale largely of Manhattan’s impoverished Jewish community, but with enough references to the Jews’ Italian migrant neighbours to define it as a non-denominational commentary upon immigration.

The book is by Joseph Stein and it has long been suggested that Rags represents a sequel to his earlier Fiddler On The Roof. But where that show achieved it’s punch through simple human challenges, beautifully told, Rags is more of a melting pot of issues that, combined, lack the same emotional heft. There is a narrative here that veers too easily into cliche and this perhaps is the reason behind the show’s failure to achieve lasting Broadway success.

That being said, director Bronagh Lagan has assembled some gifted talent in her Park Theatre company with Carolyn Maitland as Rebecca driving the show. Maitland is never less than magnificent in all her work and here she both captures and stirs our hearts in her take on the beautiful, driven young mother that she plays - her solo delivery of the closing number Children Of The Wind is stunning.

Dave Willetts puts in a strong turn as the kindly Avram who takes Rebecca into his home. There is a confidence in Willetts’ performance that captures moments of complex nuance. Opposite him, is Rachel Izen’s Rachel in another genius delivery that masterfully displays understated humour finely contrasted with the wry and wise experience of a long life, fully lived. The pair’s duet of Three Sunny Rooms is a highlight.

In charge of Strouse’s compositions is musical director Joe Bunker, who not only manages half of his 8-piece band from across two lofty corners of the stage but also conducts 4 onstage actor-musos too. Credit to all the musicians - the score straddles a multitude of genres with Bunker’s band deftly delivering across the evening.

Rags may be more schmaltz than substance but in this, its London premiere as a fully staged production, it is still a fine example of off-West End musical theatre.


Runs until 8th February
Photo credit: Pamela Raith

Luzia - Review

Royal Albert Hall, London


*****



Written and directed by Daniele Finzi Pasca


A moment in Luzia

Cirque du Soleil’s latest show Luzia is currently playing in the company’s seasonal London home of the Royal Albert Hall. Drawn from Mexican inspirations, the show provides a homage to this Latin American nation that reflects much of the country’s culture.

Mexican history, its climate, its art and its dance are all woven into Cirque du Soleil’s imaginative interpretation. Daniele Finzi Pasca has written and directed the spectacle with the programme including a touching tribute to Julie Hamelin who co-concieved Luzia with Finzi Pasca in 2016 but sadly died before this premiere. Much of the visual majesty of the show is also due to Patricia Ruel, its director of creation.

As is to be expected with Cirque du Soleil the skills on display are breathtaking – the aerial work on ropes and trapezes defies gravity almost heart-stoppingly, while the animal puppetry completely convinced in its depictions of horses and leopards – the talents of course extending to the clowning, achieving a hilarious performance solely through the use of outstanding physical theatre.

Moments of exquisite beauty arose in a balletic performance in which the ballerina was so perfectly poised she could have resembled a music-box figurine, matched only by a reptilian performer who displayed a snake-like ability to contort his frame that shocked and enthralled simultaneously.

And throughout, the live music and vocals alongside the design of the show - that include torrential Mexican rains pouring down inside the Royal Albert Hall - never ceases to amaze.

It is barely possible to capture the detailed, magical excellence of a Cirque du Soleil performance. Luzia maintains the company’s exceptional standards, and offers an unmissable evening of world class entertainment.


Runs until 1st March
Photo credit: Matt Beard

Thursday, 9 January 2020

Lexicon - Review

The Roundhouse, London


****


Auteur / Directed by Firenza Guidi




Lexicon from No Fit State is a circus show that opens with a row of antiquated school desks set out on the stage - but no sooner have this talented company appeared then the desks, complete with their riotous pupils are hoisted aloft, soaring into The Roundhouse's cavernous space. The desks may be Hogwarts, but there's no fancy CGI that makes this furniture fly. This is classic steampunk, with the flying and stunning visuals of the evening created simply by pure human talent. Skills that show a mastery of strength, agility, and precisely rehearsed movements, defying gravity amidst a flurry of lights, ropes and counterbalancing performers who rise and fall alongside the the shows steel frame.

Traditional circus but with a defiantly modern, cutting edge, Lexicon's live music sets a stunning pulse to the evening, with a backing that ranges from folk, to rock to balladry. And the acts are just so imaginative, this is circus without any boring bits! The clowning is crazy, the fire play fabulous and the high wire and aerial work, breathtaking. Imaginatively and simply costumed throughout, as a Double Rope artiste sheds her gown from aloft (no nudity at all) the show also defines itself as provocatively, if subtly, sexual too.



Lexicon's final act sees a gothic human mobile - think of the toy suspended over a baby's cot - only magnified x 100 to human proportions. The imagery and the effect are unforgettable.

And it is that combination of visual extravagance alongside ingenious subtlety that makes this an event for all ages and outstanding entertainment.



Runs until January 18th
Photo credit: David Levene

Tuesday, 31 December 2019

Ennio Morricone In Conversation



Ennio Morricone and Jonathan Baz


INTRODUCTION

At 91 years old and with a career that stretches back some 65 years, Ennio Morricone is one of the greatest film composers of our time. Much of his music is magnificent, some of it iconic, with his score for Sergio Leone's 1966 "spaghetti western" The Good, The Bad And The Ugly having become one of the most globally recognised movie tunes of all time.

More recent decades have seen Morricone’s scores for  Roland Joffe's The Mission and Giuseppe Tornatore's Cinema Paradiso (to name but two titles) garner virtually universal critical appreciation and only three years ago the composer earned his second Oscar and his sixth BAFTA win, this time for Quentin Tarantino's The Hateful Eight. There are of course more than just Oscars and BAFTAs in Morricone's trophy cabinet. Countless accolades pay tribute to a man of outstanding genius who even as this interview is published, is in the midst of composing for Tornatore's next project.

And so it was earlier this year that Ennio Morricone invited me to his home, an exquisitely furnished duplex set atop a luxury condo in a smart Rome suburb. The Maestro’s residence has been built and shared with Maria his wife of more than 60 years and it is a place where the warmth of the welcome was matched only by the fine coffee and stunning city views.

The impression within the Morricones’ apartment was not just that of homeliness (Maria was in the kitchen Skyping with son Giovanni in New York as I chatted to Ennio), but also of a place dedicated to culture and beauty with just a hint of politics too. The furnishings and artworks may have been breathtakingly gorgeous, but the ethos of the place was not one of extravagance, but rather that of talented achievement and quietly-spoken, beautifully assured modesty.

With Fabio Venturi, Morricone’s trusted sound engineer and right-hand man to act as interpreter, Morricone shared some observations upon his life and career with me and as one might expect from a man not only so accomplished but also wise, that he remained throughout the very essence of diplomacy. Not once was any particular individual or movie highlighted for exceptional praise, nor singled out for criticism. Read on...

GLOBAL INFLUENCE 
Morricone’s extensive filmography has seen him score for more than 500 pictures across a diverse range of genres that can range from hauntingly passionate love, through to graphic horror. With numerous composers (including Hans Zimmer and John Williams) together with various "greats" from the rock and pop world citing Morricone as an influence, my first question was how he himself perceived the cultural handprint that his music has left upon the world over the last 60 years. In what was to be the first of many glimpses of Morricone’s profound understatement, a constant virtue throughout our conversation, he simply stated that he places himself at the service of any movie that he is engaged to compose for. With a stark humility, he stated his simple belief that it is solely the responsibility of the audiences listening to his music to form their own opinion as to what mark he may have left upon the world.

L’ITALIANITÀ

Our dialogue shifted from global impact to Morricone’s native beloved Italy. While he has worked for Hollywood studios, often to great acclaim, Morricone’s most prodigious output has been alongside his fellow native Italian filmmakers. Proponents of Italy’s culture will fiercely argue that the composer epitomises L’Italianità – an undefinable yet recognisable aura that stamps “Made In Italy” upon a work of art. Morricone however disagreed: notwithstanding his immense national pride, he was passionate in defining his music as international rather than parochial in its provenance.

MUSIC AND VIOLENCE 
Many of the movies that Morricone has scored over the years have included scenes of graphic violence and I was curious as to if he was ever personally troubled or affected by some of the imagery that his music had supported. In a fascinating reply he firstly commented that for the most part he finds himself unmoved by movie violence, looking at the scene and its interaction with his score as simply part of his job. That being said, when he first worked with Dario Argento (the Italian director, famous for his horror and giallo work) he realised the importance of atonality in music that can accompany horrific violence. Morricone strips away the harmony from such moments, analogous in a way to the scene’s brutality being in itself a stripping-away of humanity. However, In a footnote that further defined his savvy genius, Morricone added that where a movie may have been aimed at a more mainstream commercial market rather than for "arthouse" consumption, that he would factor that into his compositions and include more melody alongside the violence. 
And what, in his opinion, was the most gruesome movie that he had scored? The Maestro had no hesitation in telling me that Pier Paolo Pasolini's 1975 movie  Salo, or the 120 Days of Sodom had been a project that he had found nigh-on impossible to stomach.

MORRICONE’S POLITICAL BACKDROP

Morricone has lived through massive political change within his native Italy and a question I posed to him was whether his country's changing political landscape over the last nine decades had impacted upon his music? "Not at all" was his swift reply.

THE EVOLUTION OF MOVIE VIEWING OVER THE DECADES 
Recent decades have seen seismic shifts in how movies are viewed by their target audiences. At the start of Morricone's career, a cinema / theatrical was the only way to catch a film. Since then, more personal screenings be they via TV, or today’s various digital devices have outstripped the numbers of people buying cinema tickets. I asked the composer as to how that change in the way in which movies "are consumed" by modern audiences, may have impacted upon his work? Again, and with a refreshing commitment to artistic purity, Morricone commented that his composition is always driven by the drama either as a script or as acted - and that he is not distracted by mainstream changes in how a movie is ultimately to be watched. 
That being said, Morricone remains acutely aware of a film’s final sound balance and of the final mix between music, background ambient noise and dialogue. We discussed the extent of his involvement in the post-production of a movie's sound, where he indicated that he broadly leaves that decision entirely in the hands of the director. He did however hint intriguingly at one particular project from years gone by (sadly no names mentioned) in which he learned that the director had spent just one day (!) mixing and finalising the sound for the entire picture. His opinion of that project was scathing, although I was left longing for an indiscretion or two.

MORRICONE’S MUSES

In 1968 Morricone was to score Sergio Leone’s Once Upon A Time In The West, a movie for which he has subsequently related that he composed two of the most haunting melodies - Jill’s Theme and The Man With The Harmonica - based solely upon the script and well before principal photography had even commenced or been storyboarded. The score, particularly the haunting soprano line in Jill’s Theme, went on to become one of Morricone’s most celebrated compositions and he spoke briefly about the constraints and indeed freedoms, of writing music for a movie that existed only on paper.

He explained that with a select few directors (including Leone of course), he was able to picture a very clear understanding of a movie's imagery from discussions and early planning. From these discussions, the critical themes of the narrative developed their musical form in ways that were only to be complemented by the finished picture.

The conversation then wandered onto the inspiration he draws upon for the "musical palette" to any particular score? His response was that typically such a palette emerges from his simple following of the filmed story. He will though always think carefully as to how "shocking" he may want a particular score to be. He spoke too of drawing inspiration from his environment and surrounds, relating how in 1995 as he was writing the score for Sostiene Pereira, Roberto Faenza’s political drama about Portuguese fascism, that it was the noise arising from a political demonstration  taking place on Rome’s Piazza Venezia, outside his (then) home, that was to provide the muse for that movie’s music.

Ennio Morricone's BAFTA for The Hateful Eight
MORRICONE, QUENTIN TARANTINO AND THE HATEFUL EIGHT 
Changing tack, the conversation returned to Morricone’s back catalogue of compositions. Modern day directors (most notably Tarantino, in a number of movies over the last 15 or so years) have sampled his previous compositions, incorporating the music into their 21st century pictures. I asked Morricone about the degree of editorial control (if any) that he sought to exercise over such use. 
Morricone expressed a relaxed attitude to how his music may have been used in subsequent soundtracks, but offered a fascinating glimpse into a  cultural “exchange” around The Hateful Eight. The Maestro suggested that while Tarantino had been free to select vintage melodies in his earlier soundtrack compilations, Morricone in turn, had been granted a relatively free hand in composing that movie’s  score. I asked if the movie marked Morricone's return to Westerns to which he replied that he had actually sought to place more emphasis upon the story’s dramatic edge rather than on its Western genre. He was however confident - a confidence subsequently affirmed by both the British and American Academies - that his work fitted the both the screenplay and the photography. 
It is worth noting that when Morricone won that 2016 Oscar, that he became the oldest Academy Award winner ever to triumph in a competitive category. Listen to the soundtrack recording and note the track entitled “Neve” that lasts for 12 minutes - an astonishing length of time for a movie composition in this day and age. Morricone spoke of his personal pride in the movie’s music, describing that track as having an almost symphonic beauty to it and of how he cherished having the rare opportunity to lay down such a score in this modern era of film-making.

FILM SCORES BEING PLAYED LIVE

As audiences grow to appreciate some of cinema’s more classic scores and with the assistance of 21st century techno-wizardry, there is a growing trend for movies to be screened with the original score digitally erased from the print and replaced by a live orchestra simultaneously performing the movie’s scored backdrop.

Morricone was, again, succinct on this. By all means, he said, go to a concert performance of a score where there may perhaps be subtle re-orchestrations of the work for the purposes of that particular event. However, where the movie is being screened then the music to accompany that experience should unquestionably be the original soundtrack as recorded - he was clear that his scores should never be live-played to accompany a screening.

MORRICONE’S INNER SANCTUM 
The interview had taken place in the Morricones’ lounge - but I was curious to see more of the apartment. Chancing my luck upon the warm rapport that had been struck between the genius Italian composer and the curious English journalist, I grabbed the moment and asked the Maestro for a glimpse of “his Oscars”. Beaming with pride, he grasped my arm, escorting me to a staircase that led to his penthouse study. Rarely have I been in such a cockpit of profound creativity, in a room that is a testament to talent. The walls were covered in framed first editions of Morricone’s scores, together with certificates of honour and recognition that dated back to his graduation (first class, naturally) as a teenager from Rome’s Santa Cecilia Conservatory. The shelf of trophies was deafening in its silent tribute to their owner - but in discussing that room and its magnificence with Morricone, all he could say was that he took pride in all his compositions, irrespective of any production’s size or budget or pedigree.

Ennio Morricone - a man whose genius is matched only by his modesty.


With grateful thanks and appreciation to Fabio Venturi and Nanni Civitenga, who made this interview possible. 

Monday, 23 December 2019

Curtains - Review

Wyndham’s Theatre, London



****



Music by John Kander
Lyrics by Fred Ebb
Book by Rupert Holmes
Directed by Paul Foster 


The company of Curtains


American songwriters Kander and Ebb are probably best-known for creating the smash-hit musicals Chicago and Cabaret. But now another of the duo’s creations Curtains,  currently in the middle of a UK tour, steps into the limelight in London’s West End replacing The Man In The White Suit at the Wyndham’s Theatre until early January. 

With a book by Rupert Holmes (based on an original book and concept by Peter Stone), Curtains is a musical comedy whodunnit which initially opened on Broadway two years after the death of Fred Ebb. When musical actress Jessica Cranshaw, star of Robin Hood and the weakest link in a Boston theatre company, is murdered during the curtain call on opening night, her fellow cast mates and crew are all put under the spotlight as suspects. Enter stage left Lieutenant Frank Cioffi (Jason Manford), who puts the theatre on lockdown while he interviews those under suspicion. A keen musical theatre fan himself, Cioffi soon gets wrapped up in Robin Hood and sets about trying to save the show whilst catching a killer. 

Boasting a unique concept, Curtains is a classic murder mystery which at the same time provides the audience with an amusing look behind of the scenes of a critically-panned musical. With a show-within-a-show concept, plenty of clever twists and turns and humour throughout, Curtains is an enjoyable production sure to be a hit with fans of musical theatre. The soundtrack is pleasing, with toe-tapping numbers like Show People alongside more amusing tunes such as The Woman’s Dead and What Kind of Man? (the latter of which takes aim at critics, and went down particularly well on press night). Unlike Kander and Ebb’s more renowned productions, the songs here sadly aren’t particularly memorable but they’re all performed well by the brilliant cast. The ensemble numbers however highlight both the show and the company’s talent, providing a visual treat for the audience thanks to Alistair David’s spectacular choreography and Paul Foster’s clever direction. The beauty of Curtains is that it doesn’t take itself too seriously, packed full of clichés, puns and delightful digs at critics. 

Jason Manford proves likeable and funny as the overly enthusiastic yet charming detective. Carley Stenson shines as Georgia Hendricks, one of the songwriters behind Robin Hood, while Andy Coxon does an equally great job as her ex Aaron, his rendition of ‘I Miss the Music’ one of the more touching moments of the show. Rebecca Lock is fantastic as the tough-edged producer Carmen and it is she and Samuel Holmes who very nearly steal the show. Holmes gets most of the best lines in his role as British director Christopher, delivering his many one-liners with a delightful dose of witty acerbic sarcasm.

Curtains makes for a warm and entertaining musical sure to leave you with a smile on your face and a spring in your step. With dazzling choreography, slick humour and top-notch performances it is well worth seeing this Christmas. 


Runs until 11th January 2020 before continuing its UK Tour
Reviewed by Kirsty Herrington
Photo credit: Richard Davenport