The Choir of Man - Review

Arts Theatre, London

****

Created by Nic Doodson and Andrew Kay

Directed by Nic Doodson

The cast of The Choir Of Man

In an evening that sees the Arts Theatre’s stage transformed into the Jungle Pub, The Choir of Man is an immaculately delivered tribute to glorious masculinity (yes, you read that correctly) and the importance of friendship, talking and, for the single-act ninety minutes of this show at least, the power of song.

More of a playlist than a jukebox musical, The Choir of Man incorporates bangers from across decades, bands and both sides of the Atlantic, performed by 9 actors accompanied by a 4-piece band. The cast’s air of folksy camaraderie is convincing, but look closely and the evening is (as a West End show should be) immaculately rehearsed and drilled. Before the show the audience can buy pints from the onstage bar and with frequent moments of in-show audience participation, the ale flows liberally throughout.

From ballads to rock classics and anthems, you have to hand it to Nic Doodson and Andrew Kay for seeing the potential of fusing The Proclaimers’ 500 Miles, Luther Vandross’ Dance With My Father and Queen’s Somebody To Love into the same setlist. The evening’s compilations are inspired - and hats off to any show that includes Rupert Holmes’s Escape (The Pina Colada Song), albeit that number went down very well with an audience mostly comprised of women having a great night out.

The actors are all pitch perfect quadruple-threats but a nod to Ben Goffe who not only pulls off a stunning tap routine to Paul Simon’s 50 Ways To Leave Your Lover, but offers up a brilliant trumpet riff to the Pina Colada song too.

There are moments of narrative betwixt some of the songs that very occasionally stray into schmaltz - but these monologues albeit rehearsed, are sincerely researched and there’s a heartfelt plea from the stage to support CALM, a charity that seeks to reduce UK suicides, 75% of which are men.

Amidst blinding talent that includes some jaw-dropping acapella work, a refreshing message and sensational craic, The Choir of Man makes for a cracking night out.

Runs until 18 February 2024

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