Pippin - Review

Theatre Royal Drury Lane, London

****

Music and lyrics by Stephen Schwartz

Book by Roger O. Hirson

Directed by Jonathan O'Boyle

Patricia Hodge

In what was quite possibly the finest vocal interpretation of this show to be heard on this side of the Atlantic, Stephen Schwartz’s Pippin played to a packed Theatre Royal Drury Lane for two nights only.

Written in the 1970s as part-allegory against the Vietnam War, Pippin is a curious work that was never to achieve commercial success in the West End. Unquestionably a show of two-halves, act one is a magnificent pastiche of the medieval court of Charlemagne with grand romance, intrigue and glamour and some of Schwartz’s finest compositions. The second half in contrast tails off into a quirky domestic love story that lacks voltage and excitement. One can understand how, outside musical theatre enthusiasts, the show has failed to gain traction in front of large-scale British audiences.

All that being said, the cast that Jonathan O’Boyle has assembled for this concert production were sensational. Jac Yarrow stepped up to the title role and from his sublime handling of Corner Of The Sky early in the show, his credentials were defined. Alex Newell is flown in from the USA to take on the challenging role of Leading Player. Newell brings charisma and strength to a part that demands pinpoint timing alongside strong vocal presence and delivers magnificently. Zizi Strallen plays Fastrada, Pippin’s scheming stepmother. Strallen only knows world-class performance values and her balletic take on the evil queen is sensational. She also knocks her big solo, Spread A Little Sunshine straight out of the park.

The evening’s biggest delight however is in Patricia Hodge’s take on Berthe, Pippin’s elderly grandmother. Her number No Time At All is perhaps the most glorious celebration of life to be found in the entire musical theatre canon. Hodge delivers the song and its singalong chorus to note-perfect precision, with a power that belies her years. Lucie Jones is given the spotlight after the interval as Catherine, Pippin’s love interest. Jones of course is flawless in her singing but she’s battling against a storyline that defies credibility.

The production’s choreography was ambitious in its Fosse-tribute intentions - but while the dancers’ talents were unquestioned, they needed far more rehearsal time to pull off Fosse, well. 

Never say never, but it is unlikely that Pippin will ever sound as good in London as what O’Boyle has achieved at Drury Lane this week. A neat touch saw a 50-strong choir of ArtsEd’s finest adding impressive vocal heft throughout the evening. Equally Chris Ma’s directing of the London Musical Theatre Orchestra was spot-on throughout.

Pippin’s 50th anniversary concert production was a memorable musical theatre treat.

Photo credit: Pamela Raith

Lucie Jones Live at The Adelphi - Review

Adelphi Theatre, London

****

Lucie Jones

Having captured the public’s attention back in 2009’s X Factor series, Lucie Jones this week played her first solo gig (with guests), impressively packing out London’s Adelphi Theatre.

That same stage has seen Jones play the title role in Waitress for the past 7 months and in a sassy touch the singer opened her set with that show’s well-known "sugar, butter, flour" motif from What’s Inside, segueing into a powerful performance of Funny Girl’s Don’t Rain on My Parade’. A bold choice of an opening number with an even bolder lyric tinkering to “Hey The Adelphi, here I am” receiving a rousing cheer from the adoring crowd. 

Throughout the evening the audience were treated to various anecdotal moments from Jones’ early life and career, highlighting her down to earth nature. Her natural charisma and warmth giving an almost cabaret-style intimacy to the vast venue. 

Providing the musical accompaniment was Freddie Tapner’s 22 piece London Musical Theatre Orchestra. Jones and Tapner have worked together on numerous occasions, their synergy and tightness evident from start to finish. 

In occasional support were John Owen-Jones and Marisha Wallace, the latter having played Waitress’ supporting role of Becky alongside Jones’ Jenna. Rent’s female duet Take Me Or Leave Me was performed with all the tricks, flicks and flair that you would expect from these two West End leading ladies. Equally impressive was a beautiful rendition of ‘The Prayer’ sung alongside Owen-Jones, with these two Welsh singers demonstrating a beautiful handling of the Italian lyrics with soaring melodies and pitch-perfect harmonies sung so tenderly one could have heard a pin drop.

Other stand-out songs were Gimme Gimme from Thoroughly Modern Millie, Lucie’s original song from her 2017 Eurovision entry I Will Never Give Up On You and Into The Unknown from Frozen 2. It is just a shame that the gig was for one-night only as Jones will have no trouble filling out the Adelphi again!

Reviewed by Sophie Kale

A Christmas Carol : The Musical In Concert - Review

Lyceum Theatre, London


****


Music by Alan Menken
Lyrics by Lynn Ahrens
Book by Mike Ockrent and Lynn Ahrens
Based on the story by Charles Dickens

Griff Rhys Jones

It’s that time of year where once again Freddie Tapner gleefully conducts A Christmas Carol: The Musical in Concert at the West End's Lyceum Theatre for two nights (and a matinee) only. The classic tale is told with the help of a gorgeous cast including Welsh treasures Griff Rhys Jones, X-Factor finalist Lucie Jones together with the fabulous Cedric Neal who, along with an excellent company, bring Alan Menken’s score to life with plenty of Christmas cheer.

Charles Dickens’ story of Ebenezer Scrooge and his moral comeuppance from three ghosts of Christmas Past, Present and Future is a much beloved yarn. Here it is Rhys Jones who bah-humbugs his way through life much to the disappointment of his orphan nephew whose yearly invite to Christmas Dinner is met with gruff Griff’s lust for solitude (“Nothing to do with me!”). David Hunter is Bob Cratchit, his ever-suffering and ever-faithful employee whose son, Tiny Tim is on his last legs (sorry) not that Scrooge seems to mind nor notice. On Christmas Eve, Scrooge’s old partner Jacob Marley (a menacing performance by Jeremy Secomb) arrives with a spooky warning (“Link by link”) that Scrooge may be working his way toward an eternity of torment if he doesn’t give up his self-serving ways. Soon after, the three spirits show up to further open his curmudgeonly eyes to the error of his ways.

The score is full of old-school sentiment, arguably perfect for the time of year, though Cratchit’s sickly sweet exchanges with his son (the adorable Tobias Ungleson) are perhaps a little over sweet and hard to swallow. A few dance-along tunes help bring the festive spirit with Abundance and Charity, a company number led by the delightful Neal, a particular joy.

A few technical issues and lines lost in the London Musical Theatre Orchestra’s melody get in the way of a perfect evening but there is something to be said for gloriously unashamed Christmas celebration in this continuously turbulent time. Get a ticket and settle in for a fun night of relentless festive frolics, indulging yourself in the sheer escapism that comes with the season.

Performances on Monday 17th December at 4pm and 7.30pm

Reviewed by Heather Deacon

Photo credit: Nick Rutter

A Christmas Carol - The Musical In Concert

Lyceum Theatre, London


*****


Music by Alan Menken
Lyrics by Lynn Ahrens
Book by Mike Ockrent and Lynn Ahrens
Based on the story by Charles Dickens

Robert Lindsay

Much like a rich brandy butter complements a fine Christmas pudding so too does Dickens’ classic Christmas fable nestle cozily into an Alan Menken score. His tunes are soaring, grand and just a little bit Disney-esque and in a story that’s all about redemption and humanity that’s a perfect fit.

What makes this concert performance of A Christmas Carol all the richer is the sumptuous sound of Freddie Tapner’s 32 piece London Musical Theatre Orchestra playing to support a stellar cast of musical theatre’s finest, alongside a 16 strong chorus. With just a hint of props and costuming, along with Mike Robertson’s ingenious lighting, the imagery of this show lies entirely within the audience’s imagination. 

Reprising his 2016 creation, Robert Lindsay is a gnarled and grizzled Ebenezer Scrooge, blossoming as he journeys to discover compassion and kindness. Lindsay brings a weathered London nuance to Scrooge and what makes his skinflint all the more compelling is that not only is he a top notch actor with immaculate timing and presence, he is also blessed with a stunning musical talent. 

A concert performance of any musical is all about acting through song and the assembled talent playing to a packed Lyceum offer a masterclass. In what is, probably, the UK’s definitive Bob Cratchit for the 2017 season, Michael Xavier delivers a cracking combination of power and pathos. Xavier knows the subtleties of working a massive West End crowd into an atmosphere of intimacy - and that he manages to capture the tragedy of Tiny Tim’s graveside aided only by Menken’s music is testimony to his craft,

The company’s other Christmas cracker is Sophie-Louise Dann as Mrs Fezziwig. The show’s writers have (mercifully) trimmed the original tale and where once the Fezziwigs were focal to the narrative of not only the Ghost of Christmas Past but also the Christmas Present phantom, here they play in just the historical chapter. Dann however relishes every word, lighting up the stage with a fabulous flamboyance.

In chronological order the three Christmas Ghosts, are played by Gemma Sutton, Hugh Maynard and Lucie Jones. Sutton manages what is in effect a therapy session for the old man, perfectly. As she whirls Robert Lindsay through Scrooge’s troubled childhood, bereft of love, the pair bring a sad, beautiful resonance to The Lights of Long Ago.

Maynard crowned in a holly wreath brings a haunting gusto to the stage, though it is the silent veiled Jones, signalling Scrooge’s impending doom that truly chills. A doubling up in the cast however does allow Jones (as Emily) a beautiful duet with Young Ebenezer (Cameron Potts), A Place Called Home, sung when the two were married many years ago.

Throughout, Tapner’s casting proves a delight. Glenn Carter brings an ugly yet compellingly youthful virility to Jacob Marley - rarely has this miserably spectre been played out so appealingly. Carter’s big solo Link By Link is Menken and Ahrens at their wickedest. Rebecca Lock and Nicholas Colicos turn in similarly top-notch cameos as Mrs Cratchit and Mr Fezziwig.

And the kids are professionally cute too. Tobias Ungleston is a cracking Tiny Tim, while Aaron Gelkoff who plays a number of Dickensian juveniles through the evening brings a beautifully voiced chutzpah to the stage that is made for Menken. Nods too to young Sylvia Erskine and Ivy Pratt, both also on top form.

When the show premiered in New York in 1994, it was to famously and festively return for ten subsequent sold out seasons. Lindsay makes this iteration of the timeless tale his own, and free of the wizardry of stage-crafted special effects, resting solely on the talents of its cast and orchestra, this musical concert becomes an enchantment.

Returns to the Lyceum for one further performance on Monday 18th December.

Legally Blonde The Musical - Review

Churchill Theatre, Bromley

****

Music and lyrics by Laurence O'Keefe and Nell Benjamin

Book by Heather Hach

Based on the novel by Amanda Brown and the Metro-Goldwyn-Mayer motion picture

Directed and choreographed by Anthony Williams

Lucie Jones

Oh my god, you guys. So, this blonde sorority girl from Malibu like totally defies the odds and gets into Harvard Law School to win back her ex-boyfriend who dumped her because she wasn't serious enough, and it's, like, totally awesome!

It's a unique start to a law career but, then again, Elle Woods is the epitome of unique.

Legally Blonde The Musical is the stage adaption of the classic 2001 film, which starred Reese Witherspoon, Luke Wilson and Jennifer Coolidge. At its core, it is a tale of aspiration with the message that anything is possible if you only believe in yourself.

It's a shame that Woods' rousing valedictorian speech - which neatly summarises this concept in the movie - is omitted from the stage version, but its absence serves as a reminder that the musical is wildly different from the film. And treating this show as an entity of its own, offers up a slightly different story. The importance of love as a motivator becomes its own thread, the role that physical appearances play in society is amplified – and it's all served up with a huge dollop of joy.

That much is evident from the outset. The gaudy set design (Jon Harris, Jason Bishop and David Shields), beautifully condensed for this touring production, is over-the-top and dazzling, elevating the story further into a fantastical space. The costuming from Elizabeth Dennis is outstanding, channelling 90s American styles. Each number is a fashion show in itself, making the whole gig feel like an extension of London Fashion Week that ended only a few days ago. 

What's more, the cast are clearly having a wonderful time. Lucie Jones is exquisite as Elle, seamlessly blending nods to Witherspoon's portrayal with her own flavour. This Elle comes with a level of self-awareness and sass that makes her truly memorable. And with a voice that is made for the stage, complete with mesmerising blonde hair, Jones truly embodies the character.

Rita Simons as the flamboyant Paulette Bonafonté is another remarkable performance; the hopeless romantic hairdresser with a knockout voice and witty zingers that elicit rapturous laughter.

The musical numbers make for occasional treats; there is a particularly exceptional number starring Brooke Wyndham (Helen Petrova) performing skipping rope-based choreography, followed soon after by a deliciously comic routine in a courtroom. Under James McCullagh’s direction, the orchestra is fantastic and you can’t help but feel as though they are having just as much fun as their colleagues on stage.

There’s no denying that Legally Blonde The Musical is a raucous, silly and above all fun production. And OMG! - anyone who goes to see it over the coming months is in for a brilliantly entertaining evening.

Runs until 23 September, then tours (details here)
Reviewed by Bhakti Gajjar
Photo credit: Robert Workman

Rent - Review

St James Theatre, London


*****

Music, lyrics and book by Jonathan Larson
Directed by Bruce Guthrie

The cast of Rent

This 20th anniversary production of Rent is a heart wrenching piece of theatre that beautifully touches on the key themes of love, loss, addiction and the fear of living as HIV positive. It is engaging, touching and thought provoking.

Performed countless times across the globe, Rent can often descend into a self-indulgent performers’ showcase. Bruce Guthrie's take on the show however is heavy on integrity, with the director exploring the psyche of each character, making the performances both believable and relatable. Alongside, Lee Proud's mesmerizing choreography fits perfectly with both style and era.

Amidst a stark and rough scaffolding-based set and with the full orchestra on display, Anna Fleischle's designs create an edgy feel that is aesthetically challenging, leaving one to focus on the drama.

Mark Cohen as played by Billy Cullen is beautifully watchable, embodying his character's drive to succeed in his work but also constantly sending out the signals of his desperate need to be accepted by his friends. Ross Hunter's silky, effortless vocals as Rodger Davies are a joy. His performance engages throughout, convincing in the chemistry that sparkles between him and Philippa Stefani's Mimi. Stefani may have just transferred over from In the Heights but here she's a completely different woman, displaying a stunning depth and emotional range. Her unravelling on stage is almost elegant, depicting her character's agonising flaws as she struggles with her addiction and its dangers.

Lucie Jones' Maureen is an unconventional gem. Her cooky, charismatic and confident charm is so suited to the character that she doesn't struggle once to deliver on Maureen's obvious sexuality and allure. As always, Take Me Or Leave Me brings the house down with stunning vocals from both Jones and Shanay Holmes as Joanne. Their delivery is entirely narrative driven rather than just being the shouting match that the number can so often suggest, as they make the song an intimate and passionate breakdown of a relationship between two fiery women.

Now virtually sold out in London, the production is soon to tour and for both Rent-heads and newbies it's a treat. The entire company are outstanding - vocally, choreographically and emotionally.

Reviewed by Charlotte Darcy

Runs until 28th January 2017 - Then on tour. Tour details here

Photo credit: Johan Persson

Scott Alan :Everything Worth Holding Onto - Review

St James Theatre, London

*****

There was a deliciously different diversity that Scott Alan brought to his one-off gig at the St James Theatre. Entertaining a packed house for an eye-watering (almost) four hours, his guest list ranged from West End stars and TV Reality Show finalists through to audience wannabes.

The New York based singer/songwriter has strong friendships with many of musical theatre’s leading ladies and recent years has seen Cynthia Erivo evolve into a performer who truly gets under the skin of Alan’s writing. With a 3 night Alan & Erivo residency (sold out) about to start at the venue’s smaller Studio room, her inclusion on the bill was an unexpected treat. Erivo set the tone for the evening with her signature Rolls-Royce vocal performance – immense power couched in a silky, elegant style.

An Alan gig is never less than a ballad-fest and Oliver Tompsett, guesting with Darlin’ (Without You), sealed the atmosphere of soulful reflection. It was however to be Madalena Alberto’s take on Blessing, with its verses documenting the pain of Alan coming out to his mother, that brought many to tears. 

In another moment of exquisite soprano serenity, The Phantom Of The Opera's Christine and her cover, Harriet Jones and Emmi Christensson respectively, gave an enchanting interpretation of Always On Your Side. They proved a breathtakingly beautiful pairing, with later on in the evening and also from Phantom, Oliver Savile impressing too.

Anna-Jane Casey offered an accomplished excellence to And There It Is, in yet another performance that spoiled the audience with the riches of talent that Alan is able to invite and it was a precious moment that then saw Sophie Evans, previously one of Lloyd Webber’s Dorothys and a finalist from the BBC’s Over The Rainbow, give a fresh nuance to Look, A Rainbow.  

Newcomer David Albury performed one of the writer’s most popular numbers Never Neverland with an invigorating up-tempo beat – though in a delightful twist Alan was later to invite any audience member who wanted to sing the number, to join him on stage. Reminiscent of kids called up to a pantomime stage, this impromptu people’s chorus made for a moment that was free of all pretension, with some stunning yet to be discovered voices in the routine!

Elsewhere and away from established star names, Alan had unearthed via YouTube Nicola Henderson and Dublin’s Niall O’Halloran, two performers who shone in their brief moment of West End limelight. The Irishman’s Kiss The Air proving particularly powerful.

And there was just so much more to the gig – It speaks volumes for the professional devotion of Eva Noblezada, currently performing Miss Saigon’s Kim 8 times a week, that she could find the honed energy to sing Alan’s Home with a perfectly poised passion. Lucie Jones was shown somewhat less respect in a cheekily foof-fuelled intro from Alan, but her sensational Watch Me Soar more than answered her host’s irreverence.

Teamed with Craig Colton, Zoe Birkett’s The Journey was immense. Carley Stenson wowed with her usual aplomb and in a revelatory performance Danny-Boy Hatchard, aka EastEnders’ Lee Carter took Alan’s Now, a song written amidst the still bleeding wounds of a ripped-apart relationship and stunned the room again.

Alan famously wears his heart on his sleeve, speaking to the audience of his battle with depression and doing much to trample on the stigma associated with mental health. Above all his overarching message and one that many are likely to have found inspirational, is that life is worth holding on to. (Though the frequent references to his evening’s diet comprising white wine and Xanax could have been toned down.) 

Supported on the night by a six-piece band that was all strings and percussion, Musical Director and drummer Ryan Martin delivered a perfectly rehearsed and weighted accompaniment.

As the gig came to a close Erivo returned. Broadway-bound this year as she takes her sensational Celie in The Color Purple to star in New York, when news broke of her casting Alan wrote her a song. At All captured Erivo’s excitement at the achievement of having landed the show’s transfer, yet crossed that emotion with her pain at having to leave her loved ones behind in the UK. Honest lyrics that reduced the singer to tears.

It was left to Sam Bailey to wrap a fine and moving evening with Alan’s cri de coeur, Anything Worth Holding Onto.

Duncan Sheik - Live

Bush Hall, London

****

Duncan Sheik

In London to premiere his latest musical American Psycho, Duncan Sheik headed across a wet wintry capital to front a gig at (Shepherds) Bush Hall, his first appearance in town since playing Dingwall’s in 1997.

With Spring Awakening already to his Broadway credit and notwithstanding its predominantly rapturous but certainly eclectic critical reception, American Psycho likely to follow suit (a West End transfer must surely be on the cards) it would be easy to assume Sheik is little more than an occasional writer of hit shows. Actually he’s a whole lot more and there is not just depth but breadth to his work too, with his singer/songwriter role borne out in an ever increasing number of album releases.

Under Simon Hale’s musical direction and backed by a string quartet, two keyboards and drums, Sheik was the sole and occasionally solo guitarist on the night. Starting on acoustic, The Love From Hell an acerbic album number, suggested a hint of Tom Waits amongst its angsty guilt. Lucie Jones, who impressively took time out from the gruelling demands of opening American Psycho at the Almeida, was to give a scorching Mama Who Bore Me from Spring Awakening, with Sheik’s accompaniment giving an edge of authentic nuance that sometimes only a song’s composer can truly achieve.

Sheik’s respect for the sound of the 80’s is well documented and in 2011 he released his album Duncan Sheik Covers 80s, featuring his own take on a dozen or so hits of the synth-pop era. On the night, his interpretation of Depeche Mode’s Stripped was another fine work and along with much of Sheik’s performance, continued to define him as a fine musician and performer.

With electric guitar replacing acoustic, Sheik treated the packed-out hall to This Is Not An Exit, as a snatch from American Psycho. The show is an 80’s satire and it says much for Sheik’s work that with hits from the era sprinkled throughout the work, his new compositions preserve the sound and the mood of so much that was vacuous in that decade. Matt Smith acts the song sublimely eight times a week, but in Sheik’s hands the number evolves from a musical theatre moment into a piercing comment upon the time. The show's original London cast need to release a recording soon for Sheik’s work demands nothing less than a considered listening.

Nearly twenty years has been too long to wait to hear this man on stage. He spoke of finding this west London audience and venue much more welcoming than his 1990’s Camden gig. With a new album due out in 2014, here’s hoping he returns here soon.

American Psycho plays at London's Almeida Theatre. My review can be found here.