Nye - Review

National Theatre, London

*****

Written by Tim Price

Directed by Rufus Norris

Michael Sheen

Giving an extraordinary performance, Michael Sheen embodies Aneurin (Nye) Bevan in Tim Price’s new play. As Bevan lies dying of stomach cancer, Sheen takes us on a morphine-induced hallucination through the Welshman’s life, from his early career (following a brief stint down the mines) amidst the small town politics of Tredegar, through to his election as the MP for Ebbw Vale in 1929 and ultimately Cabinet Minister for Health and Housing and the visionary creator of the National Health Service in 1948.

In what is a fascinating analysis of both history and British socialism, Price’s narrative takes in Bevan’s unconventional yet loving marriage to Scottish MP Jennie Lee (fine work from Sharon Small) and sees him wittily spar with Tony Jayawardena’s brilliant cameo of Winston Churchill. Jon Furlong is equally brilliant, if repulsive, in his Mandelsonian take on Herbert Morrison (who was of course grandfather to the current Lord Mandelson). The other standout supporting roles are from Stephanie Jacob as Clement Attlee (driving a motorised No 10 desk around the stage), Rhodri Meilir as Bevan’s coal miner father David and Kezrena James as the starched yet supremely empathetic Nurse Ellie.

The story of the NHS’s formation is testament to Bevan’s strongly held belief in free health care for all at the point of need, forged from the iniquities of poverty and deprivation that he had seen in the Welsh mining valleys and throughout his career. Act Two’s revelation of the mercenary, self-preserving attitude of Britain’s doctors who fought tooth and nail against the privatisation of their highly lucrative profession makes for gripping drama.

The stagecraft on display is the National Theatre at its finest. Vicki Mortimer’s set sees hospital bedside curtains drawn across the stage in a variety of permutations including an ingenious suggestion of the House of Commons. Canny projections and an inspired use of laser-light to depict an underground seam of coal, only add to the evening’s theatrical magic.

The night however belongs to the pyjama-clad Michael Sheen. On stage virtually throughout and in a turn that includes a fabulous cover of Judy Garland’s Get Happy, Sheen is a tour-de-force treat in an evening of exquisite, unmissable theatre.

Runs until 11th May at the National Theatre and then at the Wales Millennium Centre from May 18th to 1st June

Photo credit: Johan Persson

The Story of Bart - Review

Mirth, Marvel and Maud, London


****

Written and directed by Simon Hanning

On the hottest weekend of the year so far, it says much for the combined talents of John Barr and the much missed Lionel Bart, that Walthamstow’s quirky Mirth, Marvel and Maud venue was sold out to hear Barr’s take on the man who was to become one of England’s most successful composers of the last century.

Simon Hanning’s debut play is a meticulously researched biopic with Barr assuming the role of the songwriter throughout. The evening’s first half charts Bart’s rise from writing songs for Tommy Steele (Little White Bull anyone?) and Cliff Richard (Living Doll) through to the acclaim of the West End, Broadway and Hollywood that was to come from Oliver!

The script is sprinkled with as many songs as anecdotes – who knew for example that Bart could not write music? He would hum out a tune on his kazoo, while his good friend Eric Roberts (who was to score most of the Carry On movies) transcribed the melodies to written manuscript.

Bart’s compositions were (for the most part) inspired and in Barr, whose stage debut aged 12 had been in Cameron Mackintosh’s 1977 revival of Oliver! and who was himself to meet Bart on several occasions, the casting is as inspired too. Barr’s love for Bart’s work is almost tangible and when he dons one of the evening’s many hats, he truly inhabits the man’s persona.

It’s not just a one-man show however. While Barr is virtually onstage from start to finish relating all the narrative, there is sung support from Oli Reynolds as an impressive Cliff Richard, from Sophie Isaacs whose vocal beauty in copying Barbara Windsor was breathtaking and finally from the always excellent Jodie Jacobs who from time to time pops up either covering Judy Garland’s Maggie May or else as a show-stopping Nancy. 

It’s worth noting here that Barbara Windsor who knew Bart well has worked closely with both Barr and Hanning in the show’s development. There is also a further remarkable coincidence - Jodie Jacobs is a cousin of Georgia Brown who in 1960 had created the role of Nancy on the London stage. 

The show’s second half profiles Bart’s decline. The fortune that he’d earned from his 60’s success having been squandered on drugs and partying – with perhaps the most heartbreaking revelation being that, in dire straits, Bart sold the rights to his catalogue royalties to Max Bygraves for a paltry £1,000 with Bygraves soon to sell them on for more than a million. Underlining the tragedy, Barr sings a plaintive Who Will Buy? that strips back the Oliver! classic to reveal a previously hidden pathos and reduces the audience to tears. Barr went on to relate that when Cameron Mackintosh re-staged Oliver! at the London Palladium in 1994, he generously cut Bart in for a share of the show's profits, as an act of sheer kindness. 

Bart also composed the title song for the Bond movie From Russia With Love. Famously recorded by Matt Monroe, there was a truly magical moment in the evening as Barr played the Monroe recording allowing it to seamlessly fade and segue into Barr himself taking over the number with musical director Noam Galperin picking up the melody.

The production wrapped up with a rousing Oliver! sung-along tribute from the full cast with Galperin’s band, who had been on immaculate form throughout, sending the audience on their way with toes tapping.

There is talk of the show taking a limited tour of the UK. Putting it simply - this has to happen. The gig may still be a little rough at the edges but nothing that can’t be sorted.

In the hands of John Barr, The Story of Bart is nothing short of sensational musical theatre.

Miss-Leading Ladies - Review

St James Studio

*****

Co-written and directed by Sarah-Louise Young

Ria Jones and Ceri Dupree

Before launching into a sassy opening routine of Irving Berlin's Sisters, Ria Jones and Ceri Dupree tease their audience with a hint of Gypsy's act one Let Me Entertain You - sung of course originally by that show's child sisters June and Louise. And in that moment these two gifted performers achieve a rare and elusive vanishing point that sees dramatic irony fade into reality. For Dupree and Jones really are siblings, Dupree by a few years being Jones' elder brother.

Miss-Leading Ladies is an expertly crafted tribute to the (mainly Broadway) female musical theatre stars of the last century. Amongst many moments of side splitting humour, there can be glimpses of gut wrenching pathos - and it is a tribute to both the performers and their director Sarah-Louise Young that such a whirl through history can be as informative as it is perfectly drilled and delivered.

Jones and Dupree know how to work a crowd – and where Jones, a former Eva Peron, Fantine and Grizabella in her time, has a voice that is simply majestic both in its refined elegance and in her astonishing belt that she unleashes from time to time, it is Dupree’s outrageously glamorous drag outfits (I lost count of his wardrobe changes - bravo costume maker James Maciver ) that garner the evening’s biggest laughs.

Not just songs and patter, there’s a hint of Music Hall too complete with seaside-postcard style saucy lyrics, along with the occasional spot of encouraged singalong. As Dupree’s ability to rattle off bawdy gags hits a sweet spot, so his mimicry of Broadway’s Grand Dames is sensational. There’s a rictus Bette Davis (or was that Carol Channing?), Eartha Kitt becomes a prosecco pouring soak (thanks for the unexpected glass of fizz, mind) whilst his Marlene Dietrich, sporting a white fur train that goes on forever, sings Falling In Love again re-written to Lifting My Face Again. And those are just a few of Dupree’s personae.

Another one of Ceri Dupree's sensational outfits!

Jones plays a straighter bat, her numbers evidencing a love for Ethel Merman, though the welsh diva also gives a sublimely understated nod to Judy Garland with The Man That Got Away. As she mounts the stage clad in black and sporting a crucifix, it only takes a hint of accordion, along with her grip of a 1950’s microphone stand to suggest Piaf. Je Ne Regrette Rien and Hymn To Love duly follow and as Jones scales the latter’s simply enchanted chords, with head bowed and a perfect presence, she captures the essence of the enigmatic chanteuse.

To be honest, Miss-Leading Ladies deserves its 5 stars for Dupree’s costumes alone – but more than that - these two singers, blessed with sharing what is clearly the most gifted of gene pools, are just a terrific act. Their penultimate number Rose’s Turn, again from Gypsy, works not just as a nod to Imelda Staunton’s excellence that’s carrying on down the road, but rather gives the song an entirely new interpretation. It is a special moment to witness these talented siblings singing such a withering comment upon a failed parental ego.

Edward Court on piano together with Sally Peerless on flute and reeds offer an accompaniment that only matches their singers’ polish and to be fair, Ben Roger's lighting is a bit of a treat too.

With both drag and false lashes removed, Dupree joins Jones for a final number of Peter Allen’s Quiet Please, There’s A Lady On Stage whence the St James audience rose as one (and not for the first time that evening either) to salute the pair. Don’t miss Miss-Leading Ladies, it is an evening of outstanding cabaret.

Runs until 30th August

Photo credit: Jamie Scott-Smith

Jack O'Brien - In Cabaret at 54 Below - Review

54 Below, Broadway

*****

A first ever visit to New York’s bijou and intimate 54 Below was to prove a surprise treat. In the heart of theatreland this chic venue attracts the cream of Broadway (and the West End) with an ambience that has inspired London’s Crazy Coqs and Hippodrome.

On the bill this particular night was Jack O’Brien – an acclaimed Tony-winning director in the States, probably best known in the UK for re-creating Hairspray in an Olivier winning production at London’s Shaftesbury Theatre in 2007. It is always fun when an artiste more used to the creative offstage process braves the spotlight themselves and O’Brien exceeded expectations. A remarkable 75 (!) his caustic wit and timing were spot on throughout and in opening with Gigi’s I’m Glad I’m Not Young Anymore, O’Brien set the tone for a mirthful (and occasionally reflective) set.

Jack O'Brien

Produced, directed and encouraged by Scott Whitman – and with an immaculately rehearsed four piece band in attendance (comprising Dan Lipton, Pete Donovan, Dean Sharenow and Eric DellaPenna) , O’Brien’s set was slick. If his patter at times descended deliciously to “Carry On” style level of smut, (with O’Brien conducting a straw poll of the audience to suggest that his ensemble be named Jack O’Brien And The Eight Balls) no one really cared. The talent on stage spoke for itself.

O’Brien’s personal history was to offer up the pearl in the evening’s oyster, as the acclaimed director revealed that one of his longest friendships, stretching back through the years, was with jazz musician and composer Bob James and how long ago they had penned numbers for a Tarzan-themed show Jungle Man. Proceeding to then sing that show’s Blue Tattoo and a strongly tom-tommed This Is The Life, proved a novel diversion to the evening’s list of more familiar tunes. 

It was however, when O’Brien invited James to the piano to perform perhaps his guest’s most famous composition Angela (aka the theme to hit 1970’s TV series Taxi) that 54 Below was first hushed, before erupting into wild applause. Angela was one of the truly evocative TV tunes of its time -  I still hum it each time I drive across the 59th Street Bridge (Simon & Garfunkel eat your heart out!) - and to hear it played live, by James, was a moment I had never expected to experience. Priceless. 

Bob James

O’Brien wrapped up his set with a generous glass of bubbly to everyone in the house and a rendition of the Judy Garland number Here’s To Us. A charming end to an exquisite evening. Maybe he (with Bob James?) might consider a night or two in cabaret on this side of the Pond. I hope so!

George Dyer At The Pheasantry

The Pheasantry, London

***


This review was first published in The Public Reviews

With a handful of professional colleagues together with a sprinkling of 3rd year students from Mountview combining to form his troupe of vocalists, George Dyer played to a packed out Pheasantry, in an evening of cabaret that comprised mainly lesser known numbers from the musical theatre canon. The show was produced by Speckulation, a company who encouragingly are as committed to supporting young and emerging talent as they are to showcasing the giants of the West End and Broadway.

In a mis-judged choice, Dyer handed the opening number, Arlen and Harburg’s Down With Love to a student who initially struggled with a confident delivery. The song is tough and bears a proud history of having been mastered by both Garland and Streisand in their pomp, so it was perhaps unfair of Dyer/Speckulation to hand such an icebreaker to a novice, performing in front of what was always going to be a critical and discerning (albeit warmly supportive) audience.

Ashleigh Gray was next up with a quirky number, Greta and her consummate professionalism and experience provided a re-assuring note of quality to the night’s singing. Gray gave several further songs through the set, including a simply spine-tingling Not A Day Goes By and quite why this woman has not commanded major recent London roles is a puzzle as she has a voice and presence that is amongst the finest of her generation.

As the show warmed up, so did the student contribution with Maggie Lynne singing an exquisitely delicate Ev’ry Time We Say Goodbye prior to Rebecca Brierley’s I’ll Be Here from the chamber musical Ordinary Days, a song of desperate poignancy and sadness but also hope. The number demanded immense and precise acting throughout and Brierley captured the fragility of the melody perfectly. Another Mountview treat was Bronté Barbé’s act 2 opener, Los Penguinos, a novel song about penguins, that included their squawking. Impressively, Barbé got the guttural comedy and the swift reversion to lyrics, spot on. Act 2 got even better with Frances Mayli McCann’s Raven, this talented young professional again delivering a vocal performance of perfection to match that of Dyer at his piano.

And George Dyer evidently is an exceptionally cool, handsome and (to use the modern parlance) sickeningly talented young musician who deservedly commands the respect of his actors and students alike. With Stuart Ness on bass and Sam Edwards on drums, the musical content of the evening was faultless. Perhaps though, this skilled MD is still too young to merit hosting a cabaret night of his own. Some of his patter was witty and revealing, but too much of his dialog centered upon childish jokes and a much repeated curiosity about the Jewish provenance of musical compositions. Appearing in London right now is Lorna Luft, Judy Garland’s younger daughter. Whilst Luft’s voice is (only close to) wonderful and not quite pitch-perfect, her anecdotes are sublime and one could listen to her tales all night. Today’s younger performers would do well to pitch up and learn from Luft that a sparkling cabaret is more than just songs sung superbly. However gifted the star of the show may be, their audience expects to be respected rather than patronised and their repartee should sparkle as much as the songs and music.

An Evening With Lorna Luft

Crazy Coqs, London

****

Lorna Luft

The Crazy Coqs have a canny eye for a cabaret crowd puller. The intimate art deco venue is fast establishing itself as a stage for both discerning performers and audiences and was again a sell out as Hollywood's Lorna Luft took up her week’s residency in this elegant London haunt.

Judy Garland’s younger daughter, Miss Luft's showbiz pedigree is impeccable and accompanied by her English husband, talented pianist Colin Freeman, expectations were high as she introduced her set describing it as a journey through the American songbook. With just a couple of diversions along the way, Luft provided a polished whirl through some of the finest numbers to emerge from Hollywood and Broadway over the course of the 20th century.

Luft has a vocal presence that reminds one of a beautifully maintained 1980’s Cadillac. Impressive, American, bold, luxurious, with just a hint from time to time of needing maintenance, but above all, providing an absolutely luxurious ride. Hers is a beautifully large sound and though she hails from and speaks of her heritage as being from Los Angeles and California, to this untrained ear at least there is more than a hint of New York Bronx in her voice. This lady’s vocal strength though is in her belt. Whilst as a glamorous and beautiful woman she is of course ageless, her ability to deliver powerful melodies and hold a note for an unbelieveable number of bars was inspiring. The Crazy Coqs though is nothing if not close-up and private and there were moments when Luft's sound was perhaps a little too overbearing for the room.

Luft has lived a rich life amongst some of the most colourful and creative characters of post-war America and when she speaks one listens. Her name-dropping of performers and composers was as authentic as it was fascinating and her warm reference to Jerry Herman, composer of the comedy musical Mame, as being one of the few people to recognise her mother as being a woman with a capacity for humour even in her troubled final years and of being one of the few men to then see in Judy Garland so much more than just tragedy, was an anecdote that it felt a privilege to have listened to. As she introduced the plaintive Time Heals Everything from Herman’s Mack & Mabel, a song that the composer had told her, was now “her song”,we saw a momentary glimpse of the mutual closeness and affection that Luft enjoys with many iconic individuals. That it would be easy to listen to Luft's tales for hours is the hallmark of a fascinating cabaret performance.

Herman’s work popped up from time to time through Luft’s set, which also included an extensive nod to Burt Bacharach and Hal David, as well as Rodgers and Hart, before closing with a compilation, this being the movies awards season, brilliantly stitched together of numerous Songbook classics from the pictures, that had NOT gone on to achieve Oscar recognition. There were some surprising inclusions.

With an appreciative audience on the night, predominatly sexa- and septuagenarians, Luft’s routine garnered rapturous applause with some of the crowd making the not insignificant effort to stand and cheer. The singer's message though is for all, and not just society's seniors. Both her connection with and her interpretation of, some of America's most recognisable show tunes is a rare treat on this side of the pond, and if you love the numbers then go see the show.