Side Show - Review

Southwark Playhouse, London


****

Book and lyrics by Bill Russell
Music by Henry Krieger
Additional book material by Bill Condon
Directed by Hannah Chissick

Louise Dearman and Laura Pitt-Pulford

Originally opening on Broadway in 1997 then revived in 2014, Side Show by Bill Russell and Henry Krieger finally finds its way to the London stage thanks to Hannah Chissick’s ingenious production now playing at the Southwark Playhouse.

Based on the true story of the Daisy and Violet Hilton– conjoined twins who became famous in the 1930s as a vaudeville double act – the musical follows the decade of their fame from its beginnings in Texas through to New York and ultimately their Hollywood debut.

Through their fascinating and unconventional lives, Side Show succeeds in engaging the audience with an open question about individuality and identity; the two girls’ struggle to just be themselves (or “Like Everyone Else” as they sing) is a never-ending controversial and painful process of auto-definition. The contradiction lies in their desiring to be two separate people, on the one hand and the fear of losing a deep part of their inner selves in doing so, on the other.

Bringing a fabulous pedigree to the show, its strong cast is led by Louise Dearman as a saucy and strong Daisy and Laura Pitt-Pulford who plays the sensitive and dreamy Violet. The two are the living embodiment of yin and yang, where the need to be accepted and the desire to live a normal life are intertwined with the sparkle of showbiz and they are utterly convincing in portraying the twins’ double act, especially in songs like “Buddy Kissed Me” and “Typical Girls Next Door”. Their male counterparts are equally impressive: Haydn Oakley is a rascally, charming Terry while Dominic Hodson is a naïve and controversial Buddy.

To deliver such a distinctive story the show can count on some striking songs, from the strongly energetic opening number “Come Look At The Freaks”, to the funny and entertaining “Very Well Connected” and “One Plus One Equals Three”, to the tender “Feelings You’ve Got To Hide” that clearly succeed in moving the audience.

Chissick guides her top-notch company through a virtually flawless production, thanks also to takis’ thought-provoking set which, in its simplicity cleverly alludes as much to the golden lights of the music hall as it does the harsh restraint of circus cages, alongside his glamorous costume designs. As ever, Howard Hudson's lighting plots excel, while Jo Cichonska keeps the band perfectly nuanced under her classy direction.

An uncommon musical infused with both uneasiness and joy, Side Show is a unique, rare experience that will stay with you long after the finale. Go and see it!

Runs until 3rd  December
Reviewed by Simona Negretto
Photo credit: Pamela Raith

Of Thee I Sing - Review

Royal Festival Hall, London


***

Music by George Gershwin
Lyrics by Ira Gershwin
Book by George S. Kaufman and Morrie Ryskind

All credit to Elliot Davis, Senbla and the genius of casting director Anne Vosser, for assembling such a platinum plated cast to perform the little known Of Thee I Sing. But whilst this one-night-only's company was majestic, the show itself plumbs the crassest depths of jingoistic prejudice, sexism and febrile farce. Quite how it won the 1932 Pulitzer Prize (the first musical ever to do so) beggars belief.

Described as a lampoon of the American political machine, Of Thee I Sing not only mocks the nation’s executive, it mocks a dumb redneck electorate too, spinning a ridiculous yarn surrounding the election and subsequent presidency of a John P Wintergreen. The story does not merit description, but on the Festival Hall stage, some of our finest performers nonetheless proved that that they've truly earned their 5* reputations.

Hadley Fraser was Wintergreen, displaying the chiselled charm of a President and lending his magnificent voice to songs that were largely forgettable. Louise Dearman enchanted as his true love Mary, whilst Hannah Waddingham, as a hopeful, but ultimately rejected First Lady, offered her usual magnificence, tearing up the stage in a hybrid of Southern Belle cum Brunhilde. 

Offering a Rowan Atkinson inspired Vice President, Tom Edden was a masterclass in comic timing and presence, though when it comes to world class excellence in comedy acting through song, there is none finer than Peter Polycarpou, whose blustering French Ambassador made the very best of an awful role.

There is only one real (and gorgeous) classic Gershwin number in the show, Love Is Sweeping The Country and the tightly choreographed routine, as well as a delicious delivery that Daisy Maywood and Gavin Alex gave to it in the compact space available, proved the evening's highlight. To be fair everyone else on stage was fabulous too, including Gareth Snook playing a multitude of roles and some polished ensemble support from the Musical Theatre Academy.

Under Michael England’s baton the Royal Philharmonic Concert Orchestra were delightfully spot on throughout the evening.

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

Kerry Ellis In Concert

London Palladium

*****

Sunday nights these days seem to be full of London’s musical theatre performers occupying various cabaret venues to showcase their (not unremarkable) talents, accompanied by a whizz of a Musical Director and maybe a guest or two thrown in. The evenings are invariably lovely and the talent on offer is always choice.

It takes a rather special star however to display not just talent, but awesome showmanship and thus it was this Sunday night at the London Palladium where Kerry Ellis, onstage for the best part of two hours and accompanied by some outstanding guests wowed a packed house.

Ellis' set had been preceded by Woman The Band, who warmed up the evening with 30 minutes of chic chick rock that included clever covers of I Don’t Wanna Talk About It as well as Sweet Child Of Mine. Lead singer Mazz Murray (who like Ellis has significant previous from We Will Rock You) fronted the trio well and they set the crowd up nicely, with just the right tone for the show to follow.

The curtain rose and sparkling in a black evening dress and with heels that were either to die for or to be killed by, Ellis strode to centre stage, commanding the vast auditorium with John Barry and Don Black’s Diamonds Are Forever in the arrangement from her album Anthems. Adele’s Skyfall (arguably the best part of that particular Bond)  was the next number and again, Ellis made it her own. As the Bond medley segued into Live And Let Die mixed with Goldfinger, many in the audience were perhaps hoping that Barbara Broccoli might ask Kerry to record a future Bond theme. Ellis may not (yet) be a global rock star but her vocal presence is more than a match for the demands of the 007 franchise. Eon Productions, please take note. Lyricist Black is clearly an inspiration to Miss Ellis. As her set went on to include his I Can’t Be Your Friend from Anthems, together with a later brace of Tell Me On A Sunday classics, the evening almost verged on being a modest tribute to the writer who was sat amongst the Palladium throng.

Ellis’s vocal power and presence at times strongly suggested the potential of an English Streisand and the arrangements for her concert prepared by talented MD Craig Adams, were innovative and refreshing. In a nod to her My Fair Lady roots, she tackled the song that was never hers in the show, On The Street Where You Live and the tender rock beat that Adams had infused into the melody was an inspired touch. I Could Have Danced All Night similarly had a rock pulse to it that invigorated a very familiar and comfortable showtune.  When her orchestra then oh-so gently released the intro to Sondheim’s Losing My Mind, spines tingled in anticipation awaiting her treatment of the spectacular song and again, Ellis did not disappoint. As Long As He Needs Me was given an authentic "mockney" treatment that served the number well and as her first hour drew to a close she sang I Dreamed A Dream, again with a distinctive sound that set it apart from the original. As she tackled the massive middle 8 of that modern classic, she sent the crowd into their first frenzy of the night.

Passions ran so high that a Doctor needed to be sent for and slipping quietly onto the stage the bobbing mass of silver hair that is Dr Brian May, Queen legend and who if he wasn’t so damned wholesome could easily be mistaken for Ellis’ Svengali, took his place beside her. In 2002 May recognised the singer’s potential when he was putting together We Will Rock You and since then he has been visionary in guiding the younger woman to critical acclaim. In an acoustic treat her voice and his guitar created a remarkable version of I Who Have Nothing. The Streisand suggestion that had emerged earlier in the evening was sealed when with May and the strings of the Bergersen Quartet, Ellis tackled the diva’s signature tune, The Way We Were. The clarity and beauty of the modern harmonies was rare and not for the first time, an oh-so familiar song was given a completely fresh interpretation. The second frenzy of the night came soon after, as with acoustic replaced by electric, May led her and the audience in Crazy Little Thing Called Love. The Queen man then magnanimously exited and in a nice touch, a modest medley of Michael Jackson numbers was Ellis' tribute to the King of Pop, Billie Jean proving the most inspired of the selection.

With the stage bathed in a green floodlit wash, there could be but one finale and as the opening chords of Defying Gravity sounded and free of the constraints of having to sit quietly in the Apollo Victoria, nearly every man woman and child in the Palladium whooped their appreciation. The screaming only increased as one by one, Ellis was joined by Alexia Khadime, Rachel Turner, and Louise Dearman (a former Glinda no less, and the sole actress to have ever played both of Wicked's witches), for what can only be described as the most spellbinding and talented British coven ever to grace a London stage. These four Elphabas gave a unique performance, that as well as celebrating Ellis’ stardom on the night, also recognised equally the talents of these three enchanting sisters of sorcery.

Of the several encores that the over-running show stretched to and with Ellis accompanied by May and the heavenly voiced Arts Ed Choir, No One But You (Only The Good Die Young) proved a moving yet profoundly inspirational end to an outstanding evening.

There is talk of this concert touring the UK and such talk should be fuelled and encouraged. It is simply a privilege to hear the talent that is Kerry Ellis and in the event that her gig does pitch up in a town near you sometime in the future, go buy the best tickets you can afford. You will not be disappointed.

Here Comes The Sun - CD Review

*****

Here Comes The Sun is Louise Dearman’s second solo album. Where her first offering was a showcase of musical theatre, this album is a bold journey into the territory of strong R&B and soul numbers that span five decades.  

The album’s title track is George Harrison’s composition , first recorded on The Beatles Abbey Road LP. Where the original is of course a word class performance in acoustic guitar, Dearman boldly replaces that famous intro with piano and vocals, and within just a few bars makes the statement that for this CD she is taking classic numbers and recording them on her terms and with her interpretation. Vocally, she mixes fineness of pitch with powerful strength and clarity. Whilst Harrison purists may see her version of this number as sacrilegious, it has a beauty and it works.

Squander, the album’s second track, is a delightful surprise. Dearman takes this Skunk Anansie signature tune and reworks it, producing a soulful melody that it is intoxicating to listen to. The suggestion of covering this song on the album was truly visionary .  A soulful Time After Time proves to be another classic song, beautifully re-imagined by Dearman into a recording that whilst echoing aspects of Cindy Lauper’s original, invigorates the melody into a performance that is at once familiar yet also refreshingly new.

The strength and range of Dearman’s voice is magnificently displayed in different numbers on the album. With Gravity, her cover of Sara Bareilles’ original evokes the legendary chanteuses of recent years, and suggests that she has the potential to match Celine Dion or Barbara Streisand, such is the spine-tingling effect of her voice. The performances of See The Day, and also This House, similarly serve to emphasise the power that Dearman can deploy to not only tame and master a big song, but also to show how she can coax the arrangements into moments of sheer vocal magnificence.

Dearman’s version of One Day I’ll Fly Away , whilst again a beautiful and striking performance, is, being critical, perhaps the only number on the album that is outshone by the original . Randy Crawford’s unique timbre, and the skillfully arranged strings accompaniment from 30 years ago are acknowledged, but not quite matched, in this recording.

This collection of songs is predominantly outstanding. If Louise Dearman’s first album acknowledged the musical theatre background that she has come from,  Here Comes The Sun, produced by Ben Robbins, is a definite and stunning statement from the singer of where she wants to go to. Only last week, Miss Dearman tweeted that she wanted to be cast “in a play”. This album, following hard on the heels of her impressive,  nearly two-year, stint in Glinda’s bubble in the West End smash Wicked, suggests that the performing world should be her oyster. Here Comes The Sun is a perfect addition to any Soul or R&B collection.

Louise Dearman