Beautiful - The Carole King Musical - Review

Churchill Theatre, Bromley


****

Directed by Marc Bruni

It’s rare to get a glimpse into the magic of the songwriting process. From idea to creating initial elements, to arrangement and recording, before finally arriving at the final product, each song progresses through an alchemy of talent, collaboration and, quite often, a dash of luck. Beautiful provides a window exceptionally well, often beginning with flashes of inspiration, sketching out the skeleton on the piano before transitioning into the final version as performed by the recording artist themselves. However this is just one of the qualities that contributes to truly memorable music.

Carole King’s remarkable journey is reflected in this delightful jukebox musical. From writing songs throughout childhood, to joining the Brill Building and Aldon Music, Don Kirshner’s publishing “hit factory” (with fellow writers and friends Barry Mann and Cynthia Weil and which also included Paul Simon, Neil Diamond and Neil Sedaka), having two children with then husband Gerry Goffin and moving from New York to Los Angeles - all before turning 30 - it’s quite the adventure.

Of King’s marriages, this story focuses exclusively on the first with Gerry Goffin; partner in life and work. The two churn out an impressive  discography, writing hits for The Drifters, The Shirelles and The Monkees, with many songs taking on a life of their own with recordings made over the years by various artists, some of the more recent covers being; Will You Love Me Tomorrow (Amy Winehouse), The Loco-Motion (Kylie Minogue) and (You Make Me Feel Like) A Natural Woman (Aretha Franklin). It is all as educational as much as it is entertaining, providing ample reasons to support King’s numerous accolades, including induction into the Rock and Roll Hall of Fame in 1990, alongside Goffin.

Douglas McGrath’s book is snappy, funny and moving. And with words and music by King, Goffin, Mann and Weil, each song is nothing short of exceptional. These are, after all, pop masterpieces. With these foundations in place, a stellar cast in possession of strong vocals and personality is required – delivered impressively in this iteration of the show.

Helmed by Daisy Wood-Davis’ Carole, the bar is set high. Wood-Davis manages to be sweet and driven, while being phenomenally talented. Her vocal performances are outstanding, particularly when in higher registers. Yet what’s most enjoyable is her characters interactions with her peers; Laura Baldwin’s sharp Cynthia Weil, Cameron Sharp’s Barry Mann and Adam Gillian’s Gerry Goffin. Special mention too to Oliver Boot, playing impresario Donnie Kirshner in a warm and engaging mentor-like role. 

For a touring production, one of the greatest challenges is a flexible set design and on this front, Derek McLane manages to have created something that fits comfortably on stage. Certain visuals are stunning; the backdrop of the Brill Building for example. Yet on occasion, a more simple approach might possibly have been more effective - at times the supposed grandeur of backdrops doesn’t have quite the desired effect. Alejo Vietti’s costumes are peppy and each costume change leads with an element of anticipation.

This is obviously a show for fans of Carole King but more than that, it is a show for lovers of great music. Simultaneously an homage to talent, love and friendship - with others and oneself - and a masterclass in musical theatre.

Currently touring until 29th August - Details here

Reviewed by Bhakti Gajjar

Waitress - Review

Adelphi Theatre




*****


Music and lyrics by Sara Bareilles
Book by Jessie Nelson
Based upon the motion picture written by Adrienne Shelly
Directed by Diane Paulus

Katharine McPhee

Of all the new musicals that Broadway has shipped to London in recent years, Waitress is quite possibly the greatest as Sara Bareillles takes an unflinching look at 21st century America through the eyes of waitress Jenna and her two best friends and workmates, Becky and Dawn. But what makes this transatlantic transfer quite such a success, is that while the musical is set in a nameless small-town, somewhere, anywhere, in the States – and Scott Pask’s set design is terrific, all disappearing telegraph lines and ingeniously sliding interior locations – Bareilles’ tale drawn from Adrienne Shelly’s movie, is a celebration of modern womanhood that transcends all borders.

Katharine McPhee crosses the pond from the Broadway production to open the Adelphi run and she is wonderful. Unhappily married to the abusive - albeit not without his own complex history - Earl, she is a hard working woman with a gift for making inventive pies who finds herself early in the show with an unplanned pregnancy. One of the show’s gritty strengths is its ability to upend traditional trends. Devastated at her pregnancy, Jenna nonetheless vows to remain strong, making the most of hers and her baby's future, and it is this grasp of verité that places Waitress firmly within the sphere of most of its audiences. That of course, and its songs. Bareilles acute eye for life and rhythm serves up a collection of glorious numbers that range from country, to rock, to Jenna’s scorchingly tender solo ballad She Used To Be Mine.

Bareilles and Jessie Nelson sweeten their tale with liberal amounts of comedy. Marisha Wallace’s Becky is recognisably wonderful as the much put upon spouse of a disabled husband, who while she loves him deeply, seeks her sexual satisfaction elsewhere. And Laura Baldwin is the wonderfully gauche and cooky Dawn, who discovers an unlikely online soulmate in Ogie, and who steals the show in her first half big number When He Sees Me.

Waitress’ men are no more than supporting roles in this celebration of womanhood – but they are neatly fleshed out turns. Peter Hannah is a convincingly unpleasant Earl as Jack McBrayer joins McPhee as a well placed American import. McBrayer’s physical presence and comic timing as Ogie is a work of genius. In the most complex of male supports, David Hunter plays Dr Pomatter, Jenner’s (married) gynaecologist, with whom she strikes up a brief but passionate affair . Hunter captures the awkward fusion of an unethical love (complete with in-flagrante comedy) together with a sincerely credible pathos.

The modest supporting roles are all perfectly delivered. Shaun Prendergast as the wise and saintly diner owner Joe is an occasional charming diversion, while Stephen Leask’s diner chef Cal and Kelly Agbowu’s Nurse Norma are both brilliantly observed characters.

Katharine Woolley’s 6 piece on stage band make fine work of Bareilles’ score and credit to director Diane Paulus, who must truly be one of the most visionary helmswomen on Broadway today. Credit too to producers Barry and Fran Weissler who, on seeing the movie some years back, had the vision to assemble Bareilles, Paulus and Nelson and create the finest deep-dish screen to stage transition in decades.

Booking until 19th October

Photo credit: Johan Persson