Guys & Dolls - Review

Bridge Theatre, London

*****

Music and lyrics by Frank Loesser

Book by Jo Swerling and Abe Burrows

Directed by Nicholas Hytner

Gina Beck and Michael Simkins

There can come a time in a show’s evolution when the chemistry of its casting leads to theatrical magic.

Chemistry? Yea, chemistry….

So it is with Nicholas Hytner’s Guys & Dolls that has been playing at the Bridge Theatre for the last 18 months but which now, with the latest luxurious additions to its company, sees this beautifully written show reach new heights of musical comedy alongside touchingly poignant humanity.

Playing Sarah Brown, Gina Beck is one of the new signings and she is simply sensational. Beck first displays her vocal magnificence in I’ll Know, a gorgeously crafted duet sung alongside George Ioannides’ Sky Masterson and a number that is rarely performed quite so powerfully. Beck goes on to hold that standard throughout the evening - even revealing a profound depth of tenderness in her connection with Arvide Abernathy (yet another recent star addition to the cast in the form of the always brilliant Michael Simkins) as he sings his worldly wisdom to her with More I Cannot Wish You. Ioannides is a masterful Masterson. Cooler than a Cuban Dulche De Leche it is clear to see why Sarah Brown falls for his charm – and his voice is a treat too. 

The show’s other two leads are Owain Arthur as Nathan Detroit, the hapless promoter of New York’s floating crap game and Timmika Ramsay as Miss Adelaide, his long-suffering fiancée. Arthur does a fine job, capturing Detroit’s wry and self-deprecating humour. Ramsay, with more mink than a mink and a bold, brazen, buxom sexuality to her performance is just terrific. Vocally outstanding, with a fine understanding of the frustrated complexities that make up her character, she’s a treat to watch – and in her duet with Sarah, Marry The Man Today, the essence of this show’s celebration of the frailties of the human character is delivered faultlessly by both women.

In short, this current iteration of the show’s four key roles, all replacements from the cast of 18 months ago, is quite possibly the best to have been performed in the UK this century.

Elsewhere Cameron Johnson has grown (if that was even possible) into the story’s lovable rogue Big Jule and if Jonathan Andrew Hume’s multiple encores for his Sit Down You’re Rocking The Boat may seem just a tad contrived, the infectious delight that Hume brings to the song is worth every repeated chorus.

Staged immersively, with platforms that rise and fall amidst the promenading audience, Bunny Christie’s design remains a sumptuous take on the Big Apple – while perched aloft, Tom Brady’s band is equally outstanding.

With the Bridge having announced that the show will close in early 2025, it is unlikely that a production of Guys & Dolls of this imaginative genius will grace a UK stage for some time. Until then, do not wait, until then, get along… 

If you’ve never seen the show before then Hytner’s production, graced by Arlene Phillips’ choreography is a must-see – and if you’ve already seen this South Bank spectacular, go again! 

Runs until 4th January 2025

Photo credit: Manuel Harlan

The Sound of Music - Review

Festival Theatre, Chichester

****

Music by Richard Rodgers

Lyrics by Oscar Hammerstein II

Book by Howard Lindsay and Russel Crouse

Directed by Adam Penford

Gina Beck

Chichester’s regular audience will enjoy Adam Penford’s take on The Sound of Music. Following hard on the heels of the venue’s production of Sondheim’s Assassins, a show that is likely to have made an uncomfortable or even incomprehensible impression upon many of the south coast’s venerable gentlefolk, this hardy perennial from Rodgers & Hammerstein and set in 1938 Austria delivers, for the most part, an evening of absolute delight.

Gina Beck takes on the role of Maria, the local nunnery’s wobbling wimpled postulant who learns that her heart’s desire is to be found not within the convent, but rather beyond the abbey walls and in the arms of local hero and father of 7, the widowered Captain von Trapp.

Beck is quite simply the sound of musical magnificence. Rodgers & Hammerstein wisely gave her character the lion’s share of the show's (many) big numbers, and from the moment Beck rises from a trap door, sprawled across a local mountain top and singing the title number, she sets spines a’tingling. Whether partnering the show’s (excellent) company of kids or Janis Kelly’s equally wonderful Mother Abbess, Beck’s singing is a dream and her casting is an inspired choice.

Kelly of course has the responsibility for the act one closer of Climb Ev'ry Mountain which she delivers flawlessly. Study the programme notes and gasp at Kelly’s operatic credentials, for to hear her and Beck alone is worth the price of a ticket! Equally entertaining are the wonderful Emma Williams as the Captain’s briefly-engaged fiancée Elsa Schraeder and Ako Mitchell as Austrian impresario Max Detweiler. 

If there are flaws in the show they are that Edward Harrison’s von Trapp never quite matches Beck’s excellence and equally that the production’s casting seems clumsy. When Nazis and their sympathisers are played by performers of colour, what should be the horrifically racist impact of the swastikas that adorn the show’s post-Anschluss final act, is muted. The creative team should have thought longer and harder in this regard.

Designer Robert Jones works his usual magic on the Festival Theatre’s wondrous space, his work ingeniously transforming the stage from abbey to mountain top to the von Trapp residence. Likewise, Matt Samer and his 14-piece orchestra offer up a gorgeous interpretation of Rodgers’ timeless melodies. Audiences will not be disappointed.

Runs until 3rd September

Photo credit: Manuel Harlan

South Pacific - Review

Sadler's Wells, London

*****

Music by Richard Rodgers

Lyrics by Oscar Hammerstein II

Book by Oscar Hammerstein II and Joshua Logan

Directed by Daniel Evans

Julian Ovenden and Gina Beck

Transferring from its acclaimed revival at Chichester last year and returning to the London stage a decade after the Barbican last staged it in 2011, Rodgers and Hammerstein’s South Pacific has opened for a month’s glorious residency at Sadler’s Wells. 

Daniel Evans has retained his lead performers from a year ago, with the chemistry between Julian Ovenden’s Emil de Becque and Gina Beck’s Ensign Nellie Forbush still vibrant and vocally stunning. Likewise, the love that grows between Lt Joe Cable (Rob Houchen) and the Polynesian Liat (Sera Maehara) is equally well defined. Of course, what sets this show apart is the United States’ racist culture that Rodgers and Hammerstein sought to challenge in their musical adaptation of James A. Michener’s original story.

75 years on from when the show premiered on Broadway many will find its handling of the racism of America’s Southerners and WASPS, problematic. Equally, the comparative youthfulness of Liat’s character does not stand up to close scrutiny in the post-MeToo era of the 21st century. It is however important that from a cultural perspective, the show should be recognised as a wonderfully curated museum piece. It was written for its time and should be enjoyed in that context.

Musically this production of the show is as wonderful as it was by the seaside last year! The songs are classics and to hear them sung, in a venue as acoustically fine as Sadler’s Wells and by voices such as these is a delight. The surprisingly powerful and unexpected melancholy that Joanna Ampil’s Bloody Mary brings to Happy Talk is one of the production’s more haunting highlights.  Another notable performance comes from Douggie McMeekin as the loveable Luther Billis, providing excellently timed comic relief.

Peter McKintosh’s set, paired with Howard Harrison’s lighting, are incredibly imaginative and make you feel as though you are right there on a sunny Pacific island. This alone is worth the visit to Sadler’s Wells as well as to regale in the show’s beautiful music and dance. It really will be some enchanted evening.

Runs until August 28th

Photo credit: Johan Persson

South Pacific - Review

 Festival Theatre, Chichester

*****

Music by Richard Rodgers
Lyrics by Oscar Hammerstein II
Book by Oscar Hammerstein II and Joshua Logan

Directed by Daniel Evans

Sera Maehara

“Most people live on a lonely island

Lost in the middle of a foggy sea

Most people long for another island

One where they know they will like to be…”

In his haunting lyrics to Bali Ha’i, Oscar Hammerstein II could have been writing of our world today, tenatively seeking to emerge from the pandemic and longing to re-ignite its cultural heartbeat, so cruelly suspended in springtime last year. So it is that Daniel Evans’ take on South Pacific offers an evening of classic musical theatre, staged to perfection.

Much has been made of the show’s political narrative resonating with our times. In some ways this is true and in seeking to avoid spoilers, it is unquestionably uplifting to see Ensign Nellie Forbush (stunningly played by Gina Beck) achieve moral redemption as she spurns the racist foundations of her Little Rock upbringing. Likewise, as we witness Lt Joe Cable’s (Rob Houchen) inner turmoil as he battles his love for the Polynesian Liat, against his knowledge that she will never be accepted within his Princeton-steeped heritage, we can see that Rodgers and Hammerstein were brave in recognising the racial intolerances of their USA. The sadder reality of course is that nearly 70 years later, many of the show’s themes are as relevant today as they were then.

But on close inspection, Rodgers and Hammerstein’s moral compass is flawed. While planter Emil de Becque (Julian Ovenden) will happily reject the requests of the US Navy to go on a spying mission for them in enemy territory while Nellie Forbush is in his life, the moment he realises that she could be leaving his island, he signs up for Uncle Sam with barely a thought at all for his two young children who he risks making orphans should the mission fail. Hypocrite or what? Maybe de Becque’s ultimate vacuity as a responsible parent is an inconvenient truth - but it is sufficient to cast a significant fault line across this classic show’s conscience.

This criticism however is to be levelled at the show’s book alone, for what is unquestionable at Chichester is that Evans has assembled an outstanding company who deliver musical theatre excellence. The famous numbers are legendary making spines tingle and amidst an immaculately socially distanced audience in the Festival Theatre, toes tap too.

Ovenden’s de Becque makes glorious work of Some Enchanted Evening, so frequently reprised that it becomes the  show’s signature motif. Smouldering with a chiselled gravitas, it is simply a delight to listen to him coax the song’s passion and majesty into the limelight.

As regards Gina Beck, Evans has previous form in coaxing flawless magnificence from his leading lady. This website was wowed in 2015 with Beck’s turn in Evans’ Sheffield Showboat and there is a clear chemistry between the/ pair that sees her glide through songbook classics with an assured brilliance that makes the songs seem as new as they are familiar. Evans doesn’t disappoint with the show’s stock numbers either. I’m Gonna Wash That Man right out of my hair - second only to to Hitchcock’s Psycho for a cracking shower scene - is led magnificently by Beck, while her solo moments elsewhere in the production fill the auditorium with vocal gorgeousness.

Elsewhere, the cast are gems. Keir Charles as Luther Billis captures his character’s comic complexities to a tee - no easy task - while Joanna Ampil as Bloody Mary is another stunner. Ampil’s role also comes with some challenging moral ambiguities that are mastered by this talented woman. She takes Happy Talk into a troubling lament, discovering hidden depths to the song.

Likewise Houchen masters Younger Than Springtime and the cautionary duet of You’ve Got To Be Carefully Taught - itself another number that resonates alarmingly with the present day.

Production values are magnificent throughout with Evans and designer Peter McKintosh making fine use of Chichester's massive revolve. Ann Yee’s dance routines, including some inspiring solo balletic routines from Sera Maehara’s Liat are just divine, while high above the stage Cat Beveridge’s luxuriously furnished 16-piece band makes fine work of David Cullen’s new orchestrations of Rodgers’ classic score.

Some enchanted evening? Not ‘arf!

Runs until 5th September

Photo credit: Johan Persson

Show Boat - Review

New London Theatre, London


*****


Music by Jerome Kern
Book and lyrics by Oscar Hammerstein II
Based on the novel "Show Boat" by Edna Ferber
Directed by Daniel Evans

Emmanuel Kojo

Show Boat at Sheffield's Crucible Theatre was the best musical that I saw last year and its London transfer is setting a very high bar for 2016. Daniel Evans' production, mounted on Lez Brotherston's spectacularly evocative set doesn't just reprise one of Broadway's greatest ever musicals, it recreates Americas Southlands and Midwest at the turn of the 20th century, with a spine tingling intensity.

Famed as the "original Broadway musical" Show Boat is powered by a narrative that steams through human love and tragedy, fuelled by some of the finest songs written - and in this production, performed by arguably the most talented company in town. Chris Peluso and Gina Beck lead as Gaylord Ravenal and his wife Magnolia. Peluso, who takes over the role from Michael Xavier, offers his own distinctive interpretation of the riverboat-gambler whose heart is melted and enchants with a convincing passion both in solo and in his famous duets of Make Believe and You Are Love.

Beck continues to deliver a magnificent Magnolia with an arc, tragic yet strong, that breaks our hearts. As Magnolia matures from wide-eyed love-struck teenager into a challenging adult life, Beck is en pointe throughout. Truly one of the finest of her generation, the power of her soprano is spine-tingling. Her duets with Peluso may be charming, but in After The Ball, she takes the roof off.

Rebecca Trehearn's Julie offers a performance that is perfectly nuanced throughout. Her character hides a complex secret (no spoilers here) and on re-visiting Trehearn's performance, the tiny details that betray Julie’s deepest fears are performed exquisitely. And of course she matches Beck's vocal perfection. Can't Help Loving That Man Of Mine evolves throughout the evening until it's the song on everyone's lips at the final curtain, whilst Bill, a beautiful lament Is one of the second half's highlights.

Rebecca Trehearn and Gina Beck

The musical is famous for Ol' Man River, a song that's arguably bigger than the Mississippi it tells of. The ridiculously young and talented Emmanuel Kojo continues to kick the song out of the park. He gives it a beautifully bass foundation, yet also allows it to soar with a spirituality. The despair of the African American stevedores, so cleverly evinced in Kern's classic chords and Hammerstein's inspired lyrics is a thing of wondrous grief when sung by Kojo's Joe. Sandra Marvin as Queenie brings a worldly wisdom to her modest role but, again with her gorgeous vocal range, she makes fine work of Mis’ry’s Comin’ Roun’ and the second half’s jolly Hey, Feller!

Alex Young's rising star continues to shine. Her feisty Ellie Mae Shipley providing many of the show's compassionately comic moments with Life Upon The Wicked Stage being delightfully executed. Opposite her, Danny Collins plays her stage husband Frank Schultz. Collins’ dance work is a marvel, his routine with Young during Goodbye My Lady Love being a blur of perfectly executed footwork. In fact Alistair David’s choreography is stunning throughout. The company numbers are breathtaking, either in their raw humanity during Ol’ Man River, or the simply stunning exuberance of Act One’s opening and closing routines.

Show Boat speaks with charm of a time gone by. Whilst its darker sides of racism and gambling/alcohol addiction are sadly timeless, so too is its observation of marriage. As the Ravenals’ union fails, both Joe and Queenie’s marriage along with that of Captain Andy Hawks and wife Parthy (again, excellent supporting work from Malcolm Sinclair and Lucy Briers) endure the decades. There’s a theme of recognizable hen-pecked husbandry that bridges the racial separation and while Parthy and Queenie’s domineering wives raise a warm chuckle in their disciplined approach to housekeeping, it all harks back to a golden and more gentle age of storytelling, when vaudeville, Broadway and Hollywood entertained the world. It’s a further credit to Evans, David and Brotherston that the whole production exudes such a filmic quality.

As Tom Brady's orchestra provide the perfect backdrop to a night of laughter and tears, Show Boat defines flawless musical theatre.

Booking until 7th January 2017

Photo credit: Johan Persson

Show Boat - Review

Crucible Theatre, Sheffield

*****

Music by Jerome Kern

Book and lyrics by Oscar Hammerstein II

Based on the novel "Show Boat" by Edna Ferber

Directed by Daniel Evans

Alex Young and Danny Collins

2015 you sly old fox, you’ve saved the best for last.

The Confederate flag flutters over the stage as the opening bars of Show Boat play out. An ugly image, the flag defining so much of America's troubled history and setting a dark uncompromising tone that defines Daniel Evan's production.

This 1927 Broadway classic isn't a single-star led show such as Gypsy or Funny Girl, rather it is a company driven production that tells an interwoven story of love, despair and racial tension set, for the most part, aboard the Cotton Blossom steamboat as it plys the towns along the vast Mississippi.

Sheffield maybe famous for its steel, but Evans casts this show in platinum. Gina Beck and Michael Xavier take the leading roles of the ill-fated Magnolia Hawks and Gaylord Ravenal, with Xavier's Ravenal exuding a raffish charm as the river gambler with a murky past and whose quest for love is gorgeously defined in Where's The Mate For Me. Xavier's presence captures the romantic irresistibility of the man - with a chemistry ignited between him and Beck that offers a rarely witnessed on-stage magic.

And as for Gina Beck... This diminutive soprano who has led shows both in the West End and across the USA possesses a voice of quite simply ethereal power. One of Show Boat’s captivating charms is that aside from being a gripping yarn, its song-list feels like a whirl through the American Songbook. Beck's take on Only Make Believe and You Are Love, both gorgeously duetted with Xavier are enchanting - whilst her act 2 After The Ball is ravishingly rousing. The love between Magnolia and Gaylord is pure, challenging and ultimately heartbreakingly uplifting and in her character's arc, from young girl to mother, Beck's performance is flawless.

Emmanuel Kojo is probably a new name to most. This young talented actor with a remarkable bass range takes Ol' Man River - one of the biggest songs ever written - and crafts it into an unforgettable performance of utter beauty. Half way into the first act and the audience are in tears. Kojo, who debuted last year in The Scottsboro Boys, is no stranger to suffering the Deep South's cruelty on stage. He imbues the number with an understated pain and a vocal majesty that matches the river's underlying power, in one broad sweep capturing the humiliating misery of back-breaking work "while the white folk play". Kojo is complemented by Sandra Marvin's Queenie. Marvin wows in everything she sings, with a presence and resonance that command our attention.  

Also aboard Evan's steamboat is Rebecca Trehearn as Julie. Trehearn, who stunned last year in City of Angels (a show that also included Marvin) does it again here, with an amazing spin on Can't Help Lovin' Dat Man. She both thrills and fills the Crucible with the song, breaking our hearts in the second half as she stumbles across Magnolia reprising the number. 

And still this show is crammed with gems. Alex Young and Danny Collins are a triple-threat treasure, offering moments of sublimely choreographed comedy as Ellie and Frank Schultz – with Young’s Life Upon the Wicked Stage a particularly delicious entertainment. Allan Corduner is the Cotton Blossom's wise, weary and witty Captain Andy. Together with Lucy Briers as his wife Parthy and who has the roguish measure of Ravenal the moment she sees him, this pair capture the essence of a long lived love.

It's not just the sensational work that Evans coaxes from his company, aided and abetted by Alistair David's inspired choreography. Lez Brotherston's stunning set, all weathered timbers and a fabulously marquee-lit steamboat (even if the paddles should have been set at the vessel's stern!) create a carefully crafted illusion of early 20th century America. That the show is lit by the masterful David Hersey only seals its fidelity.

With the combination of Show Boat’s timeless score (bravo to David White's band) and ingenious staging, it feels as though Evans has created a Hollywood original, as much as re-imagining a Broadway classic. Get to Sheffield before this Show Boat slips its moorings. It's unmissable.

Runs until 23rd January 2016

Photo credit: Johan Persson

Jacques Brel is Alive and Well and Living in Paris - Review

Charing Cross Theatre, London

***

Music and original lyrics by Jacques Brel

Concept and English translations by Eric Blau and Mort Shuman
Directed by Andrew Keates

David Burt, Eve Polycarpou, Gina Beck and Daniel Boys

After the success of Andrew Keates' recent chamber adaptation of Dessa Rose at the Trafalgar Studios, he returns to direct this curiously titled show that treats its audience to a feast of haunting theatrical delight, executed with some sophistication. Brel was an acclaimed Belgian composer of theatrical songs. An acclaimed actor too and although destined to die tragically young at 49, his work was to influence a diverse selection of singers including Leonard Cohen, David Bowie and Marc Almond.

Daniel Boys and Gina Beck, both established names on London's West End, fare well in the simplicity and intimacy of this revue. Beck gives a sound performance accommodating the varied stylings of Brel’s work. One number, My Death, markig the stand out moment of her contribution. Boys’ vocal style affords him a secure performance, with his support distinctly noticeable in the larger numbers.

Eve Polycarpou, an increasingly familiar character on London’s stages, brings great depth of character to several of her songs, her Ne Me Quitte Pas, finely accompanied on guitar, being quite the standout of her set. David Burt’s approach to some of the more comic numbers within the piece is welcomed, with his Funeral Tango proving much the crowd pleaser.

Keates’ direction provides a cohesive narrative and flow to this varied revue of song and style, but there are times when Sam Spencer Lane’s choreography, although often imaginative, can fail to enhance both plot and staging. Chris de Wilde's design provides a sparse yet characterful set, boasting flavours of forgotten drama, whilst Dean Austin’s delightful 5 piece onstage band supports well, providing a dutifully decadent Parisian atmosphere.

This eclectic show, from a writer not broadly known in the mainstream, proves to be a bijou gem that is, in parts, quite charming. Performed and executed by a talented cast and creative team, Jacques Brel is Alive and Well and Living in Paris offers a genuinely intriguing look into Brel's work. It is well worth a visit.

Runs until 22nd November

Wicked

Apollo Victoria, London

****

Music and lyrics by Stephen Schwartz

Book by Winnie Holzman

Directed by  Joe Mantello

Louise Dearman

There is never a bad time to return to Oz and so it was a pleasure to be invited back to the Apollo Victoria for a final glimpse of the cast under Gina Beck and Louise Dearman, as their take on Schwartz's mega-musical draws to a close.

A feature of London's West End since 2006 and with the show still a Broadway hit, Wicked continues to be a tale, that if you are familiar with L Frank Baum's story of Dorothy, will amuse you with its wit and if you have no background knowledge whatsoever, still works as a charming tale of rivalries overcome and friendships formed amidst conflict and adversity. 

Wicked can be viewed as a very simple magical piece about friendship and trust. However there is also Elphaba's rejection by society from the moment she is born and the consequences that such contempt can spawn. Louise Dearman's take on Elphaba, the misunderstood emerald green girl destined to become the Wicked Witch of the West is almost faultless. Hers is a complex character, good and innocent at the outset and only seeking affection. Shunned because of her skin colour (an allegory for our own racist world) she learns to hate only because hatred is what the world has shown her. Dearman's mezzo-soprano performance is breathtaking and 'Defying Gravity', the show's spectacular act one closing number and 'No Good Deed' continue to raise the roof at the Apollo. Dearman is unique in the show's global history as the only actress to have played both Elphaba and her opposite, Glinda. 

As Elphaba's antagonist, the elfin Gina Beck is everything that the saccharine-sweet soprano Glinda should be. Nominally the Good Witch, she flips effortlessly from being wise, warm and motherly to care free and witty with her early number 'Popular' cleverly showing how innocent yet still manipulatively scheming the so called good witch can be.

Whilst the two leading ladies give a formidable double act, other notable performances on the night came from Stuart Ramsay whose understudying of The Wizard, despite being much younger than most actors who play the role, gave a surprisingly genuine warmth and Sam Lupton's Boq was also a refreshingly endearing turn. The role of Fiyero was also an understudied performance, this time by Jason Winter who disappointingly lacked impact and presence for such a pivotal supporting responsibility.

Even on a return visit, Susan Hilferty and Eugene Lee's designs remain breathtaking with the Wizzamania sequence in particular leaving the audience grinning. No gimmicks, just a combination of story, characters, music and costume all coming together to create perfect musical theatre.

Elphaba's ambition and determination define the show as a feel good musical and as act two ends, again free of gimmicks, Schwartz's For Good remains one of the greatest celebrations of friendship in the canon. The song's lyrics might groan just a bit, but the two-part harmonies alone define its magic.

Now booking well into 2014 and with Willemijn Verkaik soon to take over as Elphaba, Wicked remains an innovative celebration of good triumphant over evil staged with wit, flair and some of the best showtunes of recent years.


To book tickets for Wicked, click here

An Evening of Gershwin

Kenwood House, London

****

Royal Philharmonic Concert Orchestra

Conductor - Jae Alexander

An afternoon of Gershwin, in the glorious grounds of Kenwood House, on a balmy late summer’s afternoon, gave a whole new meaning to "Sunday in the park with George". The last in the 2013 series of the Live By The Lake concerts got underway at the altogether rather civilised time of 5pm with the event having a strangely grand but nonetheless traditional feel of sitting in front of a rather sumptuous bandstand.

The Royal Philharmonic Concert Orchestra returned to the stage for the occasion with Jae Alexander conducting. Alexander had already amassed years of Gershwin experience from the pit of the Prince Edward Theatre’s Crazy For You run, but with the orchestral magnificence of the Kenwood sound dwarfing even the finest West End show band, he can rarely have conducted such a musically magnificent take on the New York composer's work.

The afternoon’s cast were magnificent. Gina Beck taking time out from her Glinda’s Wicked swansong was a soprano delight with The Man I Love and defined the afternoon’s Gershwin credentials with a sublime Summertime in the second half.

Kerry Ellis, who with We Will Rock You’s Meat and Wicked’s Elphaba performed on both sides of the Atlantic to her credit, must surely be West End royalty, gave the classic Someone To Watch Over Me an absolutely sparkling treatment, having already warmed up with one of the most bittersweet numbers written, But Not For Me.

David Bardsley provided some fabulous baritone work with A Foggy Day In London Town being appropriate for the location (if not the delightful weather).

Michael Ball, billed as the show’s star, was conspicuously absent through much of the first half until that set’s closing number. Walking modestly onto the stage, as Alexander struck up the band, so Ball eased himself into Strike Up The Band, re-imagining the song with soul and sensitivity in a delivery that was simply spine-tingling. The audience who had been baying for his arrival were swiftly placated and as the number played out, the cheers from the crowd as they headed off for a tea and champagne break were rousing.

The second half featured Ball extensively, including a delightful duet with Ellis who gave perhaps the most enchanting corpse ever. Embraceable You had been carefully planned and rehearsed by the pair, yet Ellis, heavily pregnant so therefore of course forgiveable for any vocal wanderings that she may commit, collapsed into infectious laughter and just giggled her way through Ball’s having to turn the prepared two-hander into a solo. It was all rather lovely.

Highspot of the half though was Viv McLean’s Rhapsody In Blue. For one to be able to lie back on the Kenwood lawns, bubbly in hand, gaze at the skies and listen to this man’s virtuoso take on one of the most glorious piano compositions of the 20th century canon, was nothing short of a fine and rare privilege. 

Bravo to Rouge Events who have had the vision and tenacity to negotiate with Kenwood’s neighbours and re-instate these concerts as a fixture of London’s calendar. Here’s to the 2014 season and their beautiful contribution to the capital’s Summertime.

Kerry Ellis talks of Gershwin, Scott Alan and legends

This weekend sees Kerry Ellis take to the stage at London’s Kenwood House, for an open-air evening of music celebrating the work of George Gershwin. She found time to talk briefly about the legendary New York composer, as well as the city's more contemporary Scott Alan. We also talked about the legends that have influenced her in recent years, Queen's Brian May and the Royal Air Force's very own world class display team, The Red Arrows...

What was it that attracted you to doing an evening of Gershwin?

I have always enjoyed performing at outdoor summer events and the opportunity to sing some of these fabulous songs backed by a full orchestra was just too good to refuse. The rehearsals (in a line up hosted by Michael Ball and which includes Gina Beck) have been amazing and it’s a combination of fabulous songs sung by some amazing voices.

Tell me more about performing with Michael Ball.

Michael is the ultimate showbiz person. Kind and generous, yet always professional. I have known him for years, have been a guest on his show and we’ve been at the Oliviers together, yet we have never actually performed together on stage. This is a first and I am loving the experience.

What Gershwin songs are your favourite?

Summertime, which will be sung by Gina Beck, is probably my favourite song, but another number which I love is Embraceable You, that I am so looking forward to doing as a duet with Michael.

With you as a legendary Elphaba and Gina Beck currently appearing as Glinda, is there likely to be any sort of a Wicked feel to the evening?

Not exactly. The eras and musical styles are so far apart that there is not much room for a crossover, but its an interesting thought that Gershwin, who was writing words and music in the 20s and 30s may have had some modest influence upon Stephen Schwartz, who composed so much in the latter half of the 20th century. 

Whilst many people will know you from Wicked or We Will Rock You, I was first drawn to your talent at the Royal Albert Hall's 2010 Festival of Remembrance  when you sang Chess' Anthem, accompanied by Dr Brian May on guitar. Tell me more about that performance.

That Festival, on the night before Remembrance Sunday, was one of the most memorable moments of my career and I think it will stay with me forever. The enormous emotion and significance of the occasion, combined with the power of the song and Brian’s guitar work made for an unforgettable occasion.

That evening was to precede the launch of my Anthems album which we were to take on tour and marked 8 years of Brian and I having worked together. Only recently we performed our Acoustic By Candlelight tour and where once this legendary rock guitarist of frankly iconic status had been my mentor, we have now become professional partners.

I had the privilege of hearing you sing Scott Alan's Never Neverland at your Pheasantry gig in Chelsea earlier this year. Tell me more about that connection.

I first encountered Scott when he saw me performing on Broadway and asked me to sing Behind These Walls for his album Keys. Last year he asked me to sing Never Neverland at his Birdland concert, which was also released on his album Live. I think he is a beautifully talented writer, gifted in his ability to write songs for women.

I recently interviewed Scott whilst he was in town for his concert at the O2 and there is talk that his musical Home (that includes Never Neverland) may premiere in London. If that happens, would you like to be one of the four women who make up Home's cast?

If I was asked to and was able to, then without a doubt, I would love to be involved with the show. There is a real buzz in the air at the moment about Scott's work that is very exciting.

Finally, and even asking this question makes me insanely jealous, what was it like to fly with the Red Arrows?

It was amazing. I still pinch myself that it happened. It's the ultimate thrill ride, performed by some simply amazingly brave and talented guys and I can't believe they even let me "drive" the plane too! It was a bucket list experience and an absolute privilege to be allowed into a Red Arrows cockpit. I love those guys!

Kerry can be seen in Summertime - An Evening Of Gershwin at Kenwood House this Sunday September 1st, at 5pm

Visit www.LiveByTheLake.co.uk for details and tickets.

Live By The Lake - Kenwood House to host the return of exquisite summer entertainment

Kenwood House

Live By The Lake describes the concert season that return to Kenwood House next month and it’s a phrase that could quite possibly sum up my own summer relationship with this beautiful treasured corner of Hampstead Heath, a location that has entertained me, my family and my friends for more than 40 years.

I can recall the old GLC hosting concerts over an 8 week season. Each Saturday night featuring an eminent orchestra playing a worthy classical programme. There would be a mid-season treat of Tchaikovsky’s 1812, complete with cannon blasts and an end of season spectacular, typically Handel’s Music For The Royal Fireworks performed with due firework wizardry. With the GLC long since disbanded, English Heritage picked up the baton (sublime pun) and the survival of this landmark of London’s summer culture seemed assured. If the programmes were not dumbed-down, there certainly evolved a more populist feel, with themed nights being introduced and fireworks each week.  Perhaps understandably, some of the Hampstead and Highgate locals started to express their displeasure at a weekly fireworks display shattering their summer Saturday nights and thus it was a few years ago that whilst the House and its sumptuous grounds remained open, come Saturday nights in July and August, Kenwood fell dark with gates firmly padlocked.

Until now that is. Producers Rouge Events in conjunction with English Heritage, have cleverly arranged a 6 night season taking place over two long weekends at the end of August. Their season’s remit is broad. Opera, Choral Greats, a Gershwin celebration, an inspired screening of Singin In The Rain with live orchestra and two evenings of alternative rock from Suede and Keane to complete the line up. The Royal Philharmonic Concert Orchestra perform for three of the concerts including the Gershwin evening, which hosted by Michael Ball, will see established stars of the West End musical stage, including Kerry Ellis and Gina Beck, sing some of those talented New York brothers' fabulous compositions.

Michael Ball hosts the Gershwin night

Long before New Years Eve fireworks were broadcast live from the London Eye, the pyrotechnic designs at Kenwood House were arguably the most beautiful to be found in town. By late August, come 9.30pm, the night on the Heath has become deliciously dark and as the first smoking flares transform the woods through various hues, the gasps of astonishment from the crowd are only surpassed by the traditional oohs and aahs as rockets and starbursts explode high (but not too high) over the treeline. The fireworks over the lake provide beautiful illuminations that leave a pall of wonderfully smelling smoke hanging heavily over the dark mysterious woods, an impression left upon me in childhood and which I have been thrilled over the years to be able to share with our children. This year’s evening of Choral Greats promises “spectacular fireworks” so bring your kids and friends and not only will you be sharing with them an evening of cultured firework magic, you will also be bringing (and possibly introducing) them to some of the most spine-tingling arias of Verdi and Puccini.      

The 2013 Kenwood season promises the traditional charm and magic of the concerts that have long featured in the grounds of this exquisite house, but brought up to date to reflect the appetite of a modern audience. Nathan Homan of Rouge Events has said “the calibre of artists who are appearing at Live By The Lake is a testament to their own enjoyment of playing outdoor concerts and I think audiences across the six nights will love every minute of it.”  From the programme he has arranged, Homan is not wrong and if this glorious sunshine continues, there will be no finer place to be in the capital than at an evening, Live By The Lake in Hampstead.

The full programe of the season is listed below.

For more details and to book tickets , visit the Live By The Lake website

For more details of visiting Kenwood House , click here

@LiveByTheLake

@EHKenwood

PROGRAMME at a glance:

August 23rd: SUEDE and special guests BRITISH SEA POWER

August 24th: CHORAL GREATS with the ROYAL CHORAL SOCIETY and the ROYAL PHILHARMONIC CONCERT ORCHESTRA conducted by RODERICK DUNK

August 25th: KEANE and special guest LAURA MVULA

August 30th: ‘SINGIN’ IN THE RAIN’ – film screening, score performed by the ROYAL PHILHARMONIC CONCERT ORCHESTRA conducted by NEIL THOMSON

August 31st: OPERA AL FRESCO with ANA MARIA MARTINEZ and the ENGLISH NATIONAL OPERA ORCHESTRA conducted by PAUL DANIEL

September 1st: MICHAEL BALL and friends sing songs by GEORGE & IRA GERSHWIN with the ROYAL PHILHARMONIC CONCERT ORCHESTRA conducted by JAE ALEXANDER