Carousel - Review

Cadogan Hall, London


*****


Music by Richard Rodgers
Book and lyrics by Oscar Hammerstein II
Based on Ferenc Molnar's play Liliom as adapted by Benjamin F Glazer

To read my recent interview with Janie Dee and Jo Riding, click here

The company of Carousel

Every now and then theatrical magic descends...

So it was at the Cadogan Hall this week where Alex Parker had assembled a starry cast and a magnificent 30-strong orchestra to perform, for one night only, Rodgers and Hammerstein’s Carousel. But this cast had something even more special, setting it apart from the throng of musicals currently playing in the West End and on Broadway. For back in 1992 Carousel had been staged at London's National Theatre in a production that featured Jo Riding and Janie Dee as female leads Julie Jordan and Carrie Pipperidge. Such was the excellence of director Nicholas Hytner’s show that not only did his revival win the Olivier for Best Musical Revival and Best Director, but Riding and Dee won the Oliviers for Best Leading Actress and Best Supporting Performer (both for in a Musical), respectively.

Riding and Dee had been recently reunited at the National as the leads in a revival of Follies and so it was an act of sheer vision that prompted Parker to invite the duo to reprise their Carousel magnificence in a concert performance of the Rodgers & Hammerstein classic.

Janie Dee and Jo Riding in Carousel, 1992

The pair’s contribution to the evening was a display, not only of continuing musical theatre excellence – but also of a sheer unbridled love for the show that they were singing. As the cast remained seated on stage when not called upon to perform, Dee’s passion for the piece was almost palpabke. When not performing herself she was absorbing the detail of the music and the occasion, almost in disbelief - not dissimilar to Billy Bigelow being granted the chance to descend from Heaven for a one day visit to Earth - that she had been granted a chance to reprise this heavenly score. Riding too was both entranced and enchanting and yet, in full keeping with the incredibly complex character that Julie is, maintained a sobriety that in no way diminished her evident love for the occasion.

Parker had rehearsed his musicians impeccably. From the opening bars of The Carousel Waltz, through to the closing strains of You’ll Never Walk Alone – not to mention the sheer brilliance of the demanding Act 2 Ballet, the music was a profound delight, accompanied by a vocal chorus of students from the Guildford School of Acting.

Alongside Riding and Dee, Hadley Fraser was  compelling and convincing as the violently troubled Billy Bigelow. Another character of deep complexity, Fraser imbued the errant husband with as much sympathy as could be afforded to his abusive nature. He also delivered a sensational Soliloquy.

Gavin Spokes captured Mr Snow’s comic pomposity perfectly, as Stewart Clarke’s Jigger was another deft turn from this talented young man, Clarke picking out his character’s malign opportunistic wickedness. Both men were vocally outstanding, with Matthew Kelly and Chizzy Akudolu complementing the set of supporting roles as The Starkeeper and Mrs Mullins respectively

As Nettie Fowler, Lucy Schaufer’s operatic background led to her spine-tingling take on You’ll Never Walk Alone. But back in 1992 it had been Patricia Routledge (not yet then a Dame) who played Nettie. Incredibly, and at the age of 90!, Routledge returned to this production as the narrator. For those in the audience who remembered the 1992 show, to see Dame Patricia singing along in the finale of the show’s totemic anthem was unforgettable.

Photo credit: Take Two Theatricals (2019) and Clive Barda (1992)

The Color Purple - Review

Cadogan Hall, London

****

Book by Marsha Norman

Music & lyrics by Brenda Russell, Allee Willis and Stephen Bray

The Company

The Color Purple’s book, movie and musical have all told the extraordinary story of a Celie, a brutally oppressed woman who against all odds, overcomes racism, abuse and misogyny to find her unique place in 20th century America. Not seen in London since the Menier’s sensational production in 2013, the musical returned to the capital this week for a one night only concert-staged fundraiser.

Taking time out from her West End debut as Dreamgirls’ alternate Effie White, Marisha Wallace shone as Celie. This site has already  raved about Wallace’s current work at the Savoy and yet again, her phenomenal voice and emotional, heart wrenching performance proved that she had been perfectly cast. Back at the Menier, Cynthia Erivo’s Celie (a role that was to win her Broadway's Tony 3 years later) had stopped the show nightly with I’m Here. This time around Wallace matched that moment, bringing the packed Cadogan Hall to a mid-act standing ovation as she gave her own interpretation to this most defining of the show’s numbers.

Two other power house women were Wendy Mae Brown as Sofia and Rachel John’s Shug, Celie’s closest friends. Rarely can there have been two more spirited or sassy woman on stage together at one time. John was a phenomenally assertive and sexually confidant presence on stage, embodying her flirtatious character with ease and outstanding vocals. To describe her take on Push The Button as vocal gymnastics would be an understatement.

Likewise, the audience’s instant support and love for Sofia was tangible. Brown’s guttural and soulful voice was delicious. It proved impossible however not to scream with laughter at her perfectly weighted, sarcasm-filled pauses that she used to judge the patriarchal and cluelessly domineering men surrounding her. 

Clueless in character maybe – but the guys on stage were amongst London’s finest. Cavin Cornwall’s malevolent, misogynist Mister proved classily contemptible, whilst Tyrone Huntley delivered ingenious ineptitude with his emotionally bungling Harpo.

Alongside the British Theatre Academy, producer Danielle Tarento had assembled an outstanding cast to deliver a truly powerful production, with James Taylor conducting (unbelievably, only) an 8 piece band and making the score soar too. Bravo to Tarento and her stellar company, The Color Purple was magnificent!

Reviewed  by Charlotte Darcy

Photo credit: Scott Rylander

The Hired Man In Concert - Review

Cadogan Hall, London

****

Music and lyrics by Howard Goodall

Book and narration by Melvyn Bragg

Directed by Samuel Hopkins

It is all too rare that an established musical is performed as a stand-alone concert. Taking the rich beauty of Howard Goodall's score and having it sung by some of the industry's biggest names, it was no wonder that The Hired Man in Concert, for one night only, was a hot ticket. Not just that the leads were joined by an onstage ensemble and accompanied by a stunning 14 piece orchestra, conducted beautifully by Andrew Linnie, narration was also delivered at various points, by none other than the book's author, Melvyn Bragg. 

Set in England around the turn of the 20th century, The Hired Man focuses on the day to day life of those who lived on and worked the Cumbrian farms out on the fells and who were inevitably to go off and fight in the Great War. From the outset Goodall's score richly defines atmosphere and emotion, going hand in hand with events as they unfold. For audience members the piece is a roller coaster of emotions and the celebratory highs and tragic lows were not lost within this concert version. 

Amongst the cast there wasn't a weak link to be found, particularly amongst the vocal power houses of the leading voices. However while all seven leads delivered excellence, it was a shame that all referred frequently to script and score in front of them, detracting from the power of both spoken and sung performances. Hiccups aside, the cast delivered sterling performances.

Jenna Russell's Emily Tallentire bubbled with detail and nuance in all the moments of her character's uncertainty, while John Owen-Jones made Goodall's music sound easy, adding just the right amount of passion and struggle. Both performers are so well known for so much, but tonight it was just a treat to hear them get their vocal teeth stuck into Goodall's mellifluous melodies.

And for the aficionados in the crowd, there was the neatest of touches. On stage and in a marvellous performance singing the role of Seth Tallentire (John’s brother) was Stewart Clarke. It had been Clarke’s parents Paul Clarkson and Julia Hills who’d played John and Emily in 1984 when the show premiered in the West End. 

Director Samuel Hopkins ensured that the minimal staging complimented rather than confused proceedings. Simple costuming gave a sense of each of the characters' backgrounds, while stunning projections filled the immense white back drop of the Cadogan Hall's rear wall. Those images, alongside Bragg's narration, were welcome sign posts guiding the audience through the show's key settings and contextual changes. 

Notwithstanding a few teething issues (be easily forgiven in a one night only gig) the show still captivated its audience, the concert format bringing a magnifying glass to Goodall's stunning score. This is without doubt one of the most beautiful pieces of British Musical Theatre and after this concert treatment, one cannot help but feel that The Hired Man needs another outing in London's West End.

Reviewed by: Andrew Milton