I Say Yeh Yeh - CD review

****

Like a fine cognac, Frances Ruffelle's most recent album deliciously distils her passion for France. Remembering that it was Ruffelle who created the role of Eponine in Les Miserables, a show that was to evolve into one of musical theatre's few truly global sensations, that she is in love with all things French is hardly a surprise.

I Say Yeh Yeh is a pot-pourri of songs special to Ruffelle for a variety of reasons. Les Mis is there, obviously, as are a handful Piaf numbers - but it is in discovering the unexpected amongst the tracks that the album takes on an eclectic charm.

Bookending the collection is Les Miserables and the album opens with L'un Vers L'autre, a Boublil and Schoenberg composition that never made the English show's final cut. The song offers a tiny glimpse into the genesis of a show, with echoes of recognisable motifs occasionally breaking cover. One is left, pondering smilingly, how different the show might have been had L'un Vers L'autre been included.

Eponine's big solo, On My Own closes the album, in an intriguing re-work. Ruffelle's timbre is timeless, but when this most famous of show-tunes is sung here by a woman rather than a girl, Herbert Kretzmer's lyrics are imbued with a worldly-wise insouciance that replaces the number’s hallmark youthful aspiration and gives the song an intriguing evolution.

Ruffelle admits that after having searched for a perfectly resonant male voice to record the enigmatically romantic Paris Summer, it was only her chance suggestion to local hairdresser Rowan John that led to him covering the track - in a vocal revelation as charming as the song's lyrics.

It has famously been recounted by Ruffelle that it was her take on Edith Piaf's Hymn To Love at a Les Mis audition that landed her both the role and later, John Caird the show's co-director as her husband. Traditionally anthem-esque, though recorded on here with a soft accordion accompaniment, Hymne À L'amour is included along with a handful of other Piaf gems. The song, perhaps more than any other and even though performed in English, defines Ruffelle's exquisite understanding of Piaf's magic. (Her take on the French singer in Paul Kerryson's production of Pam Gem's Piaf, staged at Leicester's Curve some 3 years ago, reviewed here, was arguably definitive and this album offers a neat reminder of Ruffelle's excellent interpretation.)

Produced by Gwyneth Herbert - who accompanies Ruffelle on a cover of Georgie Fame's eponymous title track - the CD offers a most delicate of musical mille feuilles, a finely crafted foray Français. Ruffelle adds that she recorded I Say Yeh-Yeh for love, rather than the pressure of any commercial or contractual requirement and it shows. A must-have for her fans and Francophiles alike!

Available for download from iTunes

Frances Ruffelle - Review

Crazy Coqs, London

*****

The term ‘icon’ is often freely used with little regard for it’s true definition – however from last night’s gig at The Crazy Coqs, Frances Ruffelle clearly merits the title.

The Tony award winner is an acclaimed stage and recording artist who originated the role of Eponine in the legendary Les Miserables (which “On Its Own” might qualify her for icon status), but it’s also her electrifying authenticity that radiates from her in every part of her performance that makes her truly special. 

Promoting her new album ‘I Say Yeh Yeh , that coincides with Les Miserables 30th Anniversary, seems like no real coincidence as from the outset the audience were enthralled by Ruffelle singing in perfect French with the accompaniment of a four piece band. She offered a Parisian sensuality in her story telling, which L’un Vers L’Autre the opening number demonstrated eloquently. 

As Ruffelle interjected a spoken interlude to describe a lovers' bedroom scene, including crisp bed sheets and clothing scattered around the floor, the first glimmer of her comedic excellence shone through. This contrasted with a hauntingly beautiful duet, Paris Summer, sung at the bar with guest singer Rowan and proving one of the evening’s early highlights, showcasing Ruffelle’s distinctive vocal quality.

Ruffelle’s naturally vivacious personality was so joyfully evident, not only in her witty spoken dialogue, but in her songs. When joined by Gwyneth Herbert who has produced the new album, the two complemented each other perfectly. Their duet of the album’s title track was simply infectious to all who had the pleasure of being in the room, voices blending together effortlessly, along with playful interaction with the band.

The most breathtaking moment of the evening ( and there were many!) was Ruffelle singing Eponine’s On My Own in what can only be described as a homage to the role that catapulted her in to public recognition thirty years ago and a way of interpreting the song to reflect her as a performer and most importantly as a person. Kneeling on the piano, with the double bass hinting at a 1930’s jazz number, Ruffelle put her heart and soul as well as her powerful upper register in to the song, making it sound as fresh as ever, 

Her performance will linger in your memory long after leaving the Crazy Coqs. As she says in her concert “Love is rare, life is strange”. What is certain however is that Frances Ruffelle is one of the most gifted and iconic performers that the UK has ever produced.

Frances Ruffelle is in residence until 17th October

Guest reviewer: Francesca Mepham

The A-Z Of Mrs P

Southwark Playhouse, London

***

Book by Diane Samuels

Music & lyrics by Gwyneth Herbert

Directed by Sam Buntrock

Isy Suttie

The A-Z Of Mrs P is a charming show that tells of the birth of London's A-Z, in song. For those who remember navigating the city before the digital age, the eponymous book was everywhere and even today its graphics still power many online map sites.

The human tale behind the map is a grand fable. Hungarian emigre Alexander Gross having mapped New York, saw the potential in similarly charting the streets of London. Marrying local girl Bella, it was their artist daughter Phyllis who was to step up to the challenge of recording the capital's streets and mind-bogglingly, indexing them too. We see Gross as an outwardly callous man. A visionary maybe but a selfish womaniser, ruthlessly focused on profit. When his marriage collapses he retuns to America as Bella loses her mind and against this turmoil, Phyllis remains steadfast, capturing the streets of her Lovely London Town (a gorgeous song) and with the help of a sage draughtsman, creating the iconic guide. Struggling with huge family pressures, the A-Z is to prove not not only her guide, but also the purpose to her life.

Isy Suttie of television shows Peep Show and Shameless is Phyllis, the Mrs P (for Pearsall) of the title. Embodying this eccentric yet tenacious and compassionate woman, Suttie's acting is on point throughout, well reflecting a woman who is to witness her mother's mental collapse as well as endure her father's cruel commercial envy. A plane crash was to cripple Phyllis in her later years and Suttie subtly evokes the onset of frailty, played out through sensitivity rather than stereotype. The show however does bear a hint of “stunt-casting”. This is the actress’ brave debut into musical theatre and one cannot help but wonder if the producers selected her (in part) on the strength of her significant Twitter following, rather than musical ability. Suttie is not helped by the show's sprawling structure which at times demands an A-Z of its own. The narrative jumps distractingly in and out of flashback and its nascent flaws demand the spine-tingling vocal impact of an established musical theatre leading lady, one that is able to pull the audience along with an inspirational performance however shaky the plot may be at times. 

Whilst the fable may not be fabulous, many performances are. Called upon to play yet another flamboyant European, Michael Matus is Alexander. Assured throughout, Matus is a vocal Rolls Royce of his generation. He cruises smoothly through the lower ranges of his role, yet can effortlessly shift through the gears, producing a powerful and when necessary, menacing sound that fills the traverse theatre. He deftly tackles the paradox of his paternal love for Phyllis conflicting with his profound resentment and envy of her commercial flair. Frances Ruffelle plays the fragile and damaged Bella. Vocally her distinctive tone and timbre is well suited to the troubled woman and her transition from coquettish Nippy, to worn-down wife is executed perfectly. Stuart Matthew Price charms as Phyllis' brother Tony, but not for the first time we find that this beautifully voiced actor is barely given a song to sing.

All of the ensemble shine, with veteran Sidney Livingstone in particular providing a range of charming cameos, never more delightful than as kindly draughtsman Mr Fountain, whilst Sarah Earnshaw deploys her sharply honed West End skills in a range of roles.

The A-Z Of Mrs P is beautifully intentioned and homely, but ever so slightly muddled. Herbert has composed a handful of enchanting melodies, though her lyrics and rhyme could be sharper. Nick Winston's movement work cleverly captures a spirit of London together with key events of the city’s 20th century history, whilst Klara Zeiglerova's set deploys numerous front doors and countless suspended curios, to suggest the Herculean task that Pearsall faced. Unquestionably innovative theatre, with moments of stunning stagecraft.

Runs until 29th March

Picture by Jane Hobson