These Trees Are Made Of Blood - Review

Arcola Theatre, London


****

Music and lyrics by Darren Clark
Text by Paul Jenkins
Original Story by Amy Draper, Paul Jenkins and Darren Clark

Directed by Amy Draper

Alexander Luttley

These Trees Are Made of Blood is quite the title, and “political musical cabaret” is quite the concept. Inspired by the director’s study year in Buenos Aires and the harrowing yet inspiring story she uncovered there, this is a performance well deserving of its transfer from the Southwark Playhouse. 

Rob Castrell as the General, making full use of his dangerous eyes and casual charm, takes centre stage. He draws us into the seemingly fine and dandy world of 1970s Argentina (The Coup Coup Club, the “p” is silent) with his brazen Wing Commander (Alexander Luttley) backup prancing in marvellous drag. Luttley is cheeky and flirtatious from the moment one enters the theatre, piquing the audience’s curiosity about what lies in store before they’ve even picked up their tickets.

The three military leads beautifully juxtapose each other, from the commanding gumption of the General, to the gentle but discerning tones of Lieutenant Suarez (Neil Kelso), who mesmerises with magic that seems playful if you don’t think about it too much and the Wing Commander in shoes that one could barely walk in.

The whole point of the 1970s military in Argentina seems to have been to ensure that the people didn’t think too much and trusted the seemingly magnanimous General, the self proclaimed Father of the Nation. With the audience taking on the role of the nation it isn’t difficult to ride the wave into stark realisation with Ellen O' Grady's Madre. 

The chief double-threat in a show of marvellous actor/singers is O’Grady, who gives the most honest performance (in the sense most others have a hidden agenda or several characters to encompass). Her stunning and heart bursting rendition of My Little Bird in the second act leaves the audience in little doubt that the perceived light-heartedness is well and truly over. 

Darren Clark's musical numbers ingeniously make the audience laugh when they shouldn’t for as long as possible before a perhaps too hasty descent into the dark reality of the plot. In true cabaret style, the music is brought to life by an incredible live band including Anne-Marie Piazza playing accordion and ukulele, Josh Sneesby on guitar and grieving boyfriend, Eilon Morris playing drums and Judge and Rosalind Ford playing cello and CIA agent stripper. 

Amy Draper directs a show that surprises, entertains and informs, bringing into the light a worryingly modern but not widely known conflict that ended with the Falklands War. The show harrowingly acknowledges the Mothers of the Plaza De Mayo, who continue to remember the hundreds of disappeared children under the stifling regime of the Dirty War.

The sometimes overly literal language hints at the show’s flaws, but that is by no means a reason not to buy a ticket. See this show to peek behind a flashy cabaret curtain and uncover a fascinating tale of subterfuge and state terrorism beyond.

Runs until 15th July

Reviewed by Heather Deacon

Photo credit: Helen Murray

Ray Shell - Back 2 Black II

Crazy Coqs, London

*****

Kim Leeson and Ray Shell

It was barely a few months ago that Ray Shell kicked off his cabaret journey to rave reviews at London's Pheasantry. Now back in the West End for a short stint at the Crazy Coqs, the art-deco venue was packed to welcome his return. Shell’s voice (and his range!) are simply sensational and that the room was well filled with original Starlight Express cast from 30 years ago, spoke volumes for the warmth of the regard in which this "legendary" (I use the word advisedly, according to Shell it means "old" in showbiz talk) performer is held.

Shell opened his set wandering around the room, greeting friends and benignly chiding any latecomers, all to a heavenly delivered Pentecostal hymn. He explained that as his father had been a minister in the church, how those melodies had been so influential in his early exposure to music. That he was singing a capella only added to the divinity of the moment. And a gig that started off fabulous, was only to get better.

Much of the set was as played at the Pheasantry (a link to that review can be found at the foot of this article) though fresh gems added to the evening's sparkle. Smokey Robinson's Tracks Of My Tears was just sublime, whilst Shell's handling of One Night Only from Dreamgirls tingled spines. Duetting with one of his impressive young singing students Shell gave a classy take on The Police's hit Wrapped Around Your Finger, before an interpretation of Miss Saigon's The Movie In My Mind that defined why the song is one of the show's finest.

Rob Barron on piano and Paul Jenkins on keys were seamless in support throughout and as Cats and Star Wars dancer Femi Taylor looked on, Shell saved the best for last. Giving a respectful nod to the late and much missed Stephanie Lawrence who created the role, he invited Kim Leeson, a subsequent Pearl at the Apollo Victoria, to join him in Only You from Starlight Express. As the song's harmonica intro played, this reviewer was just dissolved. I have not seen a finer cabaret turn.

The set ended with the sweetest rendition of Starlight Express’ title song before Shell wrapped up his second clamoured-for encore, with Amy Winehouse's Back To Black. The gig was rare and magical. When Shell returns in cabaret and he will, don't miss him.

Read my review of Ray Shell at The Pheasantry here.

Ray Shell - Back To Black

The Pheasantry, London

*****

Looking younger than his years Ray Shell skates through the decades of a remarkable career on stage in his cabaret Back To Black, in residence at Chelsea's Pheasantry for this week only. Few other performers define the crossover between soul and musical theatre as does this man and like fine molasses, the resonance of his gloriously weighted tone fills the intimate basement venue. When he sings Friends from Sweeney Todd you only wish that the show could be re-staged with Shell as the barber, it is the most gorgeous sound.

That his set list includes nods to Hair as well as to Kate Bush (no intended connection with that link but 70s savvy folk will see what I did there) is a mark of the man. When Shell sings What A Piece Of Work Is Man from Hair, (itself one of the few Shakespeare soliloquies to have made it into a rock musical), his take on the song, as with so many of his numbers, is exquisite. In recent years Shell has featured in The Lion King and The Bodyguard, neither of which are referenced in the show, but it was his creation of the steam engine Rusty in Andrew Lloyd Webber's Starlight Express that sealed his reputation on this side of the pond. Throughout Shell’s patter is warm and informative, frequent references to Starlight Express (he reveals that a skating double was used for Rusty's races around the theatre, while he stayed firmly on the level backstage) lead into his closing number of the night, the show's title song that sees his magnificent tenor reach extend into a fine falsetto. For those who recall the opening of that crazy dangerous show at the Apollo Victoria, the moment is a spine-tingling trip back in time some 30 years!

Other highlights are an a-capella take on the Gospel classic (and Parade inclusion) There Is A Fountain Filled With Blood, whilst his cover of The King Of Pain and Wrapped Around Your Finger, reminds us that the man's craft is timeless. Sting made the songs famous and Shell (who toured with The Police as a backing singer) re-interprets them with panache. Guest slots from Chardel Rhodean and Anthony Barclay provide a modest contrast as Shell joins his three backing singers in their support, but it is “Soul Man” Shell who defines the night.

Paul Jenkins directs a slick three piece musical accompaniment to the night and toes tap throughout the room as Shell, sporting Jonathan Pryce’s Engineer shirt from Miss Saigon, encores with a beautifully toned cover of Amy Winehouse’s title song for his show. A newcomer to London’s cabaret scene, (Shell confessed that this was the first time he had performed Starlight Express off roller skates) the star quality of his set demands that he returns soon. Barely scratching the vast repertoire of his career, there is simply so much more we want to hear from him. Back To Black is a rare chance to hear an exceptional voice, not to be missed.

Runs until 22nd February