Les Misérables - Review

Sondheim Theatre, London

****

Concept, book and original French lyrics by Alain Boublil

Book and music by Claude-Michel Schönberg

Lyrics by Herbert Kretzmer

Directed by Laurence Connor and James Powell

Bradley Jaden and Jon Robyns

Arriving in London following a toured and international try-out, Les Misérables (or rather Les Mis 2.0 as the programme affectionately describes it) opens at Cameron Mackintosh’s newly revamped Sondheim (formerly the Queens) Theatre on Shaftesbury Avenue.

For nearly 35 years this behemoth of show has dominated the global musical theatre scene, spawning a movie treatment along the way and for one simple reason. For not only are Claude-Michel Schönberg’s melodies as stirring as they are heart-rending in equal measure, with Herbert Kretzmer’s lyrics skewering the very essence of humanity with wit and tenderness, but at the core of Les Misérables is Victor Hugo’s classic novel that is possibly unmatched in its ability to drive a musical. For however smart the words or snappy the tunes, a good show demands to be constructed upon a sound book and Hugo’s is the best. It may be set at least two centuries ago, but this epic tale of humanity, redemption, forgiveness, envy and greed still packs a relevant and oh-so timely punch, particularly as cries for the recognition of democracy have only recently been heard echoing around these isles. Did we hear the people sing (or vote)?

There are some modest, subtle changes to Kretzmer’s prose, but the tunes are still the same and the narrative still gorgeous. The Queens’ revolve has been rolled away and in its place are Matt Kinley's automated scenery trucks married to Finn Ross' ingenious projections. It is no wonder that this production has achieved such acclaim on tour with a technical portability that the original show never could match. For the most part the new designs generally deliver an innovative take on their predecessor, but it has not been a perfect transition. The tragic impact of the second half's Final Battle, where back in the day and with one half-turn the old revolve revealed the massacred students’ bodies, is not lived up to in v 2.0. The projections and techno-wizardry are fun though, as pyrotechnically enhanced fusillades ricochet around the auditorium (credit to Mick Potter's sound design). reminiscent of the audio brilliance of Saving Private Ryan’s opening battle scene.

[SPOILER ALERT] Javert’s Suicide is a (visual) treat. In place of the bridge’s balustrade being whisked up to the flies, the eponymous cop himself joins the flying squad. Indeed, so spectacular is Javert’s death that one is only left hoping for something even more celestially impressive for Jean Valjean’s last gasp. Sadly, when our hero does eventually expire, the moment is nowhere near as visually thrilling as Javert’s demise.

Vocally the piece remains a classy gathering of talent. Jon Robyns ages majestically through the piece as Valjean, his dramatic tenor tones catching the full range of his heroic character’s power and sensitivity. Opposite Robyn and hunting him across the years, Bradley Jaden captures Javert’s flawed but principled complexities.

Carrie Hope Fletcher sees a sideward promotion (to the Green Room for most of the show) as she takes over Fantine. Fletcher’s vocal talent and presence remains is amongst the finest of her generation and her singing exquisite. But is she a Fantine? Although this reviewer is unconvinced, Fletcher’s 500K Twitter followers may well have a different view. 

Hauled back in from the touring production, Ian Hughes’ Thénardier is in fine form capturing the show’s comic moments with perfect timing and delivery. Opposite him, the always outstanding Josefina Gabrielle’s Mme Thénardier is equally brilliant. But to take a step back for one moment, times have moved on since the 1980s. In this #MeToo era is it really right to be laughing so whole-heartedly at such a couple of child-abusers as the Thénardiers? The pair are actually terrifying monsters, rather than clowns. Elsewhere, the eternal triangle of Marius, Eponine, and Cosette is played well by Harry Apps, Shan Ako and Lily Kerhoas respectively. There is vocal talent here a ‘plenty but the true and passionate chemistry that these roles demand has yet to fully emerge.

Above all it is Kretzmer’s stunning lyrical treatment of those soaring French melodies (on press night, immaculately delivered under Steve Moss’ baton) woven around a story that is breathtaking in its scope that still define Les Misérables as a night of world class musical theatre.

Booking until 27th October

Photo credit: Johan Persson

Heathers The Musical - Review

Theatre Royal Haymarket, London


***


Book, Music and Lyrics by Kevin Murphy and Laurence O’Keefe 
Directed by Andy Fickman

Carrie Hope Fletcher and Jamie Muscato

Following a sold-out run at The Other Palace earlier this year, there’s been a lot of hype surrounding Heathers the Musical, with a strong fandom out in force and social media buzzing with (mostly) glowing comments. Based on the cult 1988 film written by Daniel Waters and starring Winona Ryder and Christian Slater, Heathers is a dark and entertaining tale of teenage angst, love and quest for popularity and arrives at its new home at the Theatre Royal Haymarket with high expectations all round.

For many teenagers high school is a time of angst and self-doubt and that’s certainly no different for Veronica Sawyer (Carrie Hope Fletcher), a teenage nobody who desperately dreams of ditching the bullies and fitting in at Westerberg High. Thanks to her knack of forging hall passes she’s soon taken in by three of the most popular (and cruellest) girls in school, The Heathers, although she finds out that popularity is not all it’s cracked up to be. She meets new boy in town, Jason ‘J.D.’ Dean, unaware that her relationship with the outcast will have grave consequences for everyone. 

Directed by Andy Fickman, Heathers is a dark musical packed full of humour and memorable numbers, with impressive choreography by Gary Lloyd, a versatile set (designed by David Shields) and enviable costumes to whisk you straight back to the 80s. 

While there is a realism in the show’s portrayal of teenage desperation for popularity, there are moments when it all feels deeply unsettling. The narrative brushes with sensitive topics including teenage suicide, sexual assault and high school killings that sit awkwardly when contrasted with the real-life tragedy of such events.

Fletcher lives up to expectations, delivering a misguided Veronica who is endearing yet flawed. Her performance is strong throughout in both acting and song, especially when she belts out Dead Girl Walking. Equally impressive is Jamie Muscato as the dry-humoured, troubled psychopath J.D, and the pair have great chemistry, as evidenced during their duet Seventeen. They’re both supported by a strong cast including Jodie Steele, T’Shan Williams and Sophie Isaacs as Heathers Chandler, Duke and McNamara respectively. Despite the cruelness of their characters, the trio are given one of the show’s catchiest songs, Candy Store. There is memorable work too from Jenny O’Leary as Martha, Veronica’s kind-hearted childhood best friend, with her sweetly sung number Kindergarten Boyfriend sure to tug at heart strings.

Despite its flaws, this is a technically well delivered show that is likely to be popular amongst die-hard fans and newcomers alike.

Runs until 24th November

Reviewed by Kirsty Herrington

Photo credit: Tristram Kenton

The Christmasaurus Live On Stage – Review

Eventim Apollo, London

*****

Music and lyrics by Tom Fletcher

Directed by Derek Bond

Tom  Fletcher and Dan McLellan 

“This is not a musical. This is not a concert. This is not a panto, or a play, or anything I can compare it to,” so proclaims Tom Fletcher in the show notes. And he is quite right. While The Christmasaurus Live On Stage has components of all of these, it is – much like the titular only dinosaur in the world – truly unique.

The Christmasaurus tells the story of William Trundle, who wants nothing more than for his dad to be happy. Friendless and lonely, he asks only for a dinosaur for Christmas. Meanwhile, in the North Pole - the home of an equally lonely Christmasaurus - Santa and his elves are working hard to get ready for the big day, and to fulfil William’s wish. However, The Hunter - a man who by his own admission is ‘fangirly for taxidermy’ - stands in the way of a seamless Christmas Eve, as he plans to shoot down one of Santa’s flying reindeer, before determining that the Christmasaurus should be his prize.

From the outset, it is abundantly clear that this show is full of heart and joy; the Christmas spirit brought to life. Tom Fletcher (who plays William's father Bob, as well as narrating the plot) commands the stage in a role he was born to play. Matt Willis (The Hunter) and Harry Judd (Dancer Bob) are hilarious, Carrie Hope Fletcher (Brenda Payne) outstanding as a vocalist and Giovanna Fletcher (Miss Payne) is warm, funny and magnetic. 

Elsewhere, the terrific ensemble adapts to a variety of scenarios with seeming ease. While there are no weak links, special mention goes to Katie Bradley, Miracle Chance and Raquel Jones for delivering some sterling performances.

William Trundle will be played by three young actors across the show’s run. In this review performance, Dan McLellan did a beautiful job in capturing the character’s alternating innocence and keen awareness. He proves he is more than capable of delivering elements of this challenging role, including some soaring vocals and snappy one-liners - a stunning debut from this young performer.

What also shines through in this short run at Hammersmith, is Fletcher’s commitment to making his show’s representative of, and accessible to, all children. Beyond casting actors who are genuine wheelchair users for Trundle, there is also an interpreter those who are hard of hearing on stage throughout. What’s more, unlike most theatres, the Eventim Apollo is far better equipped to facilitate wheelchair access. Fletcher is truly making this Christmas magical for thousands of children and adults.

Musically, the score is a work of genius, combining Fletcher’s expertise in writing great pop songs and a natural gravitas towards musical theatre, previously articulated in McFly’s Wonderland album (2005). Each song is a standalone entity crafted to perfection; there are no filler tracks here. 

A highlight is Afraid of Heights, an exceptionally rousing number that cements the show’s film potential – something that’s currently in the works, with The Greatest Showman director Michael Gracey signed on to the project.

As ever, Howard Hudson's lighting enahnces the tale magnificently, but despite Santa and The Elves’ presence throughout, it is the Christmasaurus himself who brings the real magic to the stage. Puppeteers Mikey Brett and Luisa Guerreiro breathe life into Max Humphries’ design in a way that presents no doubt about the authenticity of this wondrous creature. There isn’t a soul that believes otherwise and so manifests, the message purveyed throughout the production – that “believing is seeing.” 

Fun, energetic, heartfelt and magical, The Christmasaurus Live On Stage is a gift worth its weight in gold, that's sure to become a Christmas classic. Merry Christmasaurus!

Runs until 28th December

Reviewed by Bhakti Gajjar

The Addams Family - Review

New Wimbledon Theatre, London


*****

Music & lyrics by Andrew Lippa
Book by Marshall Brickman & Rick Elice
Characters created by Charles Addams
Directed by Matthew White

Cameron Blakely and Samatha Womack

Having recently started out in Edinburgh, The Addams Family finally makes its London premiere. Starting life on Broadway in 2010 the show failed to make an immediate transfer across the pond, but having toured internationally, this gloriously ghoulish musical has at last been given a British life and judging by the reaction of tonight's audience, its arrival is more than welcome.

From the moment the overture commences with the iconic clicks from the cartoon / TV series the audiences are not only on side, but clicking along. The story, characters and settings are iconic. But with such a cultural resonance of course comes great expectations. Have no fear however, this production doesn’t just meet expectations, it smashes them!

The long road to London has been well worth it for this company, for their comic timing and delivery has been honed to perfection. The evening's run of constant stone cold gags sees each wisecrack delivered with the utmost sincerity. Most importantly, Matthew White’s direction has ensured a strong connection to the famously familiar elements of the TV classic, while still allowing creativity from all of his team to blossom. Complete with a mystery arm frequently making an appearance through the letter box, Diego Pitarch's design in particular sets the classic scene from the offset.

The performances are flawless. Too many to mention them all, but Cameron Blakely's Gomez is sensational. His presence is a force to be reckoned with and in the opening number When You're An Addams, which is the first taste we get of Alistair David's impressive choreography, Blakely not only establishes his character but alongside Samantha Womack’s Morticia, draws the audience into their not so normal family life. Stunt / celebrity casting can often be a critique of many UK Tours but not tonight. Womack’s motherly warmth actually comes across with an icy chill. Not only that, but the comedic chemistry between these two fantastic actors is more than alive and certainly at no point do either of these two need a kiss of life from their opposite. The gags also flow thick and fast from Les Dennis’ fabulously crazed Uncle Fester.

A strong mother deserves an equally strong on stage daughter and Carrie Hope Fletcher’s Wednesday is a blast. As the hot headed, torturing yet adorable Wednesday, Fletcher is quite simply a raring ball of energy on stage as her romance with Oliver Ormson's Lucas Beineke develops. Her rendition of Pulled complete with puppet butterflies was top notch, very few actors can deliver such vocal and comical class through song.

- To be fair, Fletcher has dreamed of playing Wednesday for years. This website saw her sing Pulled nearly four years ago at Andrew Lippa’s gig at the St James Theatre. Read Jonathan's review from then - she “took the roof off”. -

Amongst the cross bows, gory dead rabbits, cackles and cries is a story about the simple day to life of a family in New York. Albeit not your average tribe, but the monstrous leading performances and hauntingly slick ensemble bring this family tale to life. Supported by Andrew Hilton's polished band with Lippa's numbers superbly arranged by Richard Beadle, the show plays at Wimbledon until the end of the week before hitting the road as one of the best productions currently touring the land.

If you know your Addams Family songs – Full Disclosure! To everyone else the show is unmissable.

Playing at the New Wimbledon Theatre until May 20th, then touring. Full schedule here.
Reviewed by Josh Adams
Photo credit: Matt Martin

Chitty Chitty Bang Bang - Review

New Wimbledon Theatre, London


****


Written by Ian Fleming
Music & lyrics by Richard M. Sherman and Robert B. Sherman
Directed by James Brining

Lee Mead and Carrie Hope Fletcher

There's an aura of timeless quality that pervades the touring production of Chitty Chitty Bang Bang, currently in its second week at Wimbledon. Ian Fleming's wonderfully imaginative tale, so quintessentially English, married to the universal appeal of the Sherman Brothers' songs has made for a 20th century fairy tale that ranks alongside the classics.

Notwithstanding it being a warm July evening, the New Wimbledon theatre was filled by a generation-straddling audience. And in a production that makes intelligent use of projected graphics, there's a wholesome accessibility to the tour that makes it both affordable and reachable across the country - a pleasing contrast to the eye-watering ticket prices of so many West End shows.

The current cast are a delight. Lee Mead is the handsome widowered single dad - getting by with his crackpot inventions and instilling in his kids a decent sense of right and wrong and above all a belief in the power of imagination - and in that way, much like Peter Pan, a good production of Chitty (and this is a very good production) can speak to the child in all of us. Mead has his faithful following, but his take on Caractacus Potts' signature melodies (Hushabye Mountain, poignantly enhanced by the appearance of his late wife) is powerful and assured.

Opposite Mead, Carrie Hope Fletcher is Truly Scrumptious and who in a real life tale of theatrical romance was herself the young Jemima Potts when the stage show first opened at the London Palladium. As ever, Fletcher brings an ethereal charm to the role. Exquisite vocals - and what a delight to see the movie's Lovely Lonely Man, a song dropped from the stage show until now, restored (albeit now set in the Toymaker's workshop) to the libretto. And of course her doll impersonation with immaculate robotics and enchanting lyrics in Doll On A Music Box is as faultless as one might expect.

Stephen Mear's choreography gorgeously enhances the piece, with his work on the larger routines (The Bombie Samba and some fun tap work in Me Ol' Bamboo particularly excellent) being perfectly drilled visual treats. But it is his styling of (Matt Gillett as) the Childcatcher's entrapment of the Potts kids, that so evokes Robert Helpmann's terrifying cameo in the movie, and further defines Mear's remarkable calibre.

The supporting cast add just enough pantomime to the mix. Andy Hockley is a convincing Grandpa Potts and there's some well performed comic bungling from Sam Harrison and Scott Paige as Boris and Goran the Vulgarian spies. And it's an Albert Square dream team that currently pairs Shaun Wlliamson opposite Michelle Collins (both comic and talented actors par excellence) as the Baron and Baroness Bombast. And when one recalls that Chitty was written long before Britain joined the EEC (the EU's precursor) - there's almost a hint of wise prescience in Fleming's writing: Bombast for Juncker? Stranger things....

But as a familiar, family escape from some ghastly world affairs there's truly nothing better than this show. Down in the pit Andrew Hilton's orchestra make fine work of the Shermans' ditties, whilst onstage (and to use the vernacular) that iconic, fantasmagorical car - and yes, it really does fly - will have the kids wide-eyed in awe. The spontaneous standing ovation at the curtain call spoke volumes. Just go!

At Wimbledon until 30th July, then continuing on tour

Les Miserables - Review

Queens Theatre, London 


*****

PROLOGUE 

It has been a while since I'd last seen Les Miserables in the West End, but every now and then a show’s casting proves so irresistible that it cries out to be seen again. 

Firstly, there is the wonderful Carrie Hope-Fletcher's take on Eponine. Having seen Carrie perform at a couple of concert events I had long hankered after catching her acclaimed interpretation first hand. And then there’s Rachelle Ann Go’s Fantine. I’d adored her Movie In My Mind in Miss Saigon, but on hearing Rachelle sing I Dreamed A Dream at Hugh Maynard’s Hippodrome gig a few months ago, she simply set spines tingling.  

However, both of those yearnings were eclipsed by the announcement, earlier this year, that Phil Daniels was to play musical theatre’s ultimate scum-meister, taking over as M. Thenardier. 

Virtually a national treasure, Daniels etched himself into the nation’s psyche in the 70s and 80s. Along with a youthful Ray Winstone he offered a brutal perspective on British borstal life in Alan Clarke’s controversial movie, Scum – if you haven’t seen that picture, download it and find out why Winstone has been known forever since as The Daddy. And from then on, including The Who's iconic Quadrophenia and later film and stage performances, Daniels’ work has been nothing sort of exceptional. 

And so it was, that with this cast, Les Mis moved back on to my “unmissable” list…

REVIEW

Author/Dramatist ALAIN BOUBLIL
Book & Music CLAUDE-MICHEL SCHÖNBERG
Lyricist HERBERT KRETZMER
Adaptation & Direction TREVOR NUNN
Adaptation & Direction JOHN CAIRD

Les Miserables has long impressed me, not just for having such a stirring libretto, but also for the cheekily economic creativity of Alain Boublil and Claude-Michel Schoenberg that was able to hang quite so many different songs on just a handful of (oft repeated) melodies! Herbert Kretzmer deserves handsome credit for the lyrics. Kretzmer has compressed Victor Hugo's panoramic vision of 19th century France into 3 hours of sung-through genius, with a wit and nuance perfectly tailored to the modern idiom.

On the night of this review Adam Bayjou was standing in for Peter Lockyer as the eponymous ex-con Jean Valjean. Youthful but nonetheless assured, Bayjou mastered the gravitas of driving the show, stirring and inspirational as needed and touching souls with an exquisite Bring Him Home.

Hunting him across the years is Jeremy Secomb's Javert. Secomb, with the full built frame of a cop, pound for pound probably outweighs the more diminutive Bayjou whose lifting of both cart and carcass through the show as required defies probability. Secomb though brings just the right amount of dour, booted, gravitas to the lugubrious lawman including a thrilling delivery of Stars. And as Javert grapples with Valjean's divine mercy that he simply cannot comprehend, this talented actor displays a truly tortured soul. 

There can never be a great deal to write about Fantine, perhaps one of theatre's most underwritten leading ladies, but Rachelle Ann Go carries the pride of the Philippines with her as she re-defines the role, making I Dreamed A Dream truly her own.

Carrie Hope-Fletcher's Eponine must surely have proved an inspired casting over the last couple of years. She embodies her character's sincerity with beauty, coquettish charm and a voice of amazingly youthful power. And as her coat falls open to reveal that bloodstained blouse, even seeing the show for the umpteenth time one can't hold back the tears. For Hope-Fletcher her Les Mis time is running out and one looks forward to see how her talents will next be deployed.

Perhaps the toughest roles in the show are those of Cosette and Marius - their love is sincere, but where Eponine is endowed with a tragically romantic death, these youngsters see their finale wedding overshadowed first by the Thenardiers' thievery and then Valjean's demise. Tough gigs indeed, but Zoe Doano, as ever, defines enchanting as she falls for her handsome student, filling the role with a passionate credibility and a celestial voice. And if Rob Houchen's Marius is a slightly understated gem, at least it’s well polished.

And then there's Katie Secombe and Phil Daniels as the ghastly Thenardiers. The pair's timing, acting and song are a masterclass in bitter-sweet grotesque. Blessed with comedy in her genes Secombe's Mme T is every inch a Lady Macbeth of her time, keeping her performance just the right side of pantomime. Daniels simply lives up to expectations. With his park life voice that’s been dredged from somewhere east of Tilbury, Daniels defines the red-nosed brigand perfectly. It will take some double act to match this monstrous couple.

Above all, the credit for Les Mis' continued excellence has to lie with its producer. Cameron Mackintosh may have elevated this particular show to the level of a global franchise - but he's never sacrificed a moment of its quality, Amidst John Napier’s ever revolving designs, the show’s details remain finely honed. And whether it is (simply by way of example) Adam Pearce's immaculate multi-role ensemble work, or Alex Parker's pinpoint musical direction, Les Miserables remains an example of world class excellence.

Now booking into 2016

All I Know Now - Wonderings And Reflections On Growing Up Gracefully - Book Review

****

Written by Carrie Hope Fletcher

Growing up, she was the youngest sibling of two. But today Carrie Hope Fletcher is a virtual big sister to thousands of young girls across the world.

A stage star – currently she is an acclaimed Eponine in London’s Les Miserables – Fletcher is also a hugely successful YouTube vlogger, with a wildly loyal fanbase. On top of this she is a songwriter, illustrator and now, a published author. 

Bursting with creativity and a genuine desire to pass on some invaluable advice to younger people facing the same issues growing up (be it dealing with school, chasing success or feeling comfortable in their own skin), she has put together an incredibly useful book. It feels slightly ironic that, for someone who has built a large part of her career online – where every question can be answered by Google – that she has felt the need to create a book. But it proves absolutely the right thing to have done, for Fletcher applies a ‘big sisterly’ filter to the information that teenagers and young people are bombarded with, all day, every day.

The book is structured, cleverly, in the form of a stage show. The contents page is renamed ‘Programme’ and the chapters ‘Acts.’ She flies through a whole range of topics – friendships, love, the internet and more – drawing advice from her own experiences. 

What is interesting is that, in the beginning, the book is quite strongly geared towards teenagers, reflecting upon experiences drawn from the school environment. However, as the book progresses, its appeal broadens to older people with Fletcher fiercely advocating a principle of "following your dreams". She attributes her own incredible success to the fact that she has always had a goal in mind and has put in the work to reach it. Her advice in this area could apply to anyone, regardless of their age.    

All I Know Now is also, in parts, a study of social anthropology, exploring how humans operate. Fletcher recognises that whilst we are all incredibly complex characters, we each crave friendships, security and love – and she supplies tips that are both witty and useful for how best to navigate the various relationships we all have. 

Fletcher's enthusiasm and passion for life is contagious. The words spill out of her, alternating between very short thoughts and longer streams of consciousness. You can tell that she truly wants her fans and readers of the book to take on board what she is sharing. 

Above all, Fletcher comes across as an incredibly lovely and sweet girl, who wears her heart on her sleeve and who wants to share what she has learned about life. And, particularly in a world where honesty is to be applauded, Carrie Hope Fletcher deserves a standing ovation.

Reviewed by Bhakti Gajjar

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.