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 

Oklahoma! - Review

Royal & Derngate, Northampton

****

Music by Richard Rodgers

Book and lyrics by Oscar Hammerstein II

Directed by Rachel Kavanaugh

Ashley Day and Charlotte Wakefield

There is a traditional charm that pervades the Royal & Derngate’s Oklahoma! This show, the first collaboration of Rodgers and Hammerstein, is at once dark and glorious but above all, crammed with some of the biggest numbers from the Golden Age of Broadway. And here, on Francis O’Connor’s set that has been cleverly designed to be taken on the road, it is beautifully staged.

Set around the turn of the last century, the Oklahoma!’s book glosses over much of the Indian Territory’s troubled history (the actual State of Oklahoma was not created until 1905). Whilst the legacy of the recently ended American Civil War is roundly ignored, the tale does hint at the vastness of the land that was there to be grabbed, as well as the agricultural rivalries between the cattle rancher and the farmer and all alongside the emerging technologies that were seeing automobiles appear and skyscrapers come out of the ground. Famously though, the story bravely weaves its human interest themes as light and frivolous romance seamlessly segues into the dark and damaged side of our fellow man. 

Charlotte Wakefield is a delight as Laurey, the orphaned niece of her aged Aunt Eller with whom she lives on the farm that they own and tend. Wakefield has previous form with Rachel Kavanaugh, having garnered an Olivier nomination in the director’s The Sound Of Music two years ago.

The actress epitomises tough yet cute, with a carapace that ultimately holds a vulnerable soft-centre. Initially wary of suitor Curly’s advances, Laurey is in fact desparate for the love he offers. Throughout, Wakefield’s singing is divine, with her handling of the harmonies in People Will Say We’re in Love proving a gorgeous take on the classic tune. Alongside Wakefield, Ashley Day’s Curly is handsome and well sung , but he needs to dig deeper to earn our sympathy. All too often Day glosses over the nuance of his lyrics, losing much of the cleverly crafted Hammerstein verse. But these are early days for the production, though and there is no-one better than Kavanaugh to coax that little bit more from her leading man.

Elsewhere there is doom and delight from the supporting cast. Belinda Lang is fabulous as Aunt Eller. With no apparent kin aside from Laurey, Eller is the loving matriarch not just to her niece but to her wider community too and Lang nails the fiercely protective loyalty that the old woman shows towards her ward.

Nic Greenshields’ Jud Fry offers a chilling take on the tragic desparate loneliness of a man shunned by the world. As Laurey’s hired hand on the farm, he craves her beauty and there is a true terror and menace in his manner. But in Greenshields’ singing of Lonely Room there is also a profound exposition of a deeply damaged man.

At the other end of the emotional spectrum, Lucy May Barker’s Ado Annie is just so incredibly believable as the girl who sings I Cain’t Say No. Barker shamelessly steals her scenes, but with a performance that deliciously good who cares? Other comic treats come from Gary Wilmot’s exquisitely timed work as peddlar Ali Hakim, whilst James O’Connell’s Will Parker truly gives his all in All Er Nothin and his Kansas City makes for good fun too.

Edging south down the M1 following his recent stints at Leicester, Drew McOnie choreographs in his first ever partnership with Kavanaugh. The flamboyant hallmarks of musical theatre’s wunderkind of dance have been reined in for this is tale, but it still remains a treat to see his interpretation of some of Broadway’s biggest classic routines. McOnie’s work impresses with his movement perfectly capturing the humour of It’s a Scandal! It’s a Outrage in a whirl of chaps, petticoats and bloomers, whilst the ballet sequence that closes act one is truly a dream. Credit too to Stephen Ridley’s 10 piece band. They’ve been well drilled and as the first notes of that gorgeous Overture sound out, they set the tone for an evening of musical excellence. 

Shortly to tour the UK, Rachel Kavanaugh’s Oklahoma! is a classic musical, wonderfully performed. Go and see for yourselves, you won’t be disappointed. 


Plays until February 28th 2015, then tours

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.

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!

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