Me, Tom Self & I - Review

Crazy Coqs, London

****

Me, Tom Self & I marked the cabaret debut of Tom Self, showcasing an evening of the man’s own writing. The gig was polished, witty and wonderfully performed with an ambience that suggested an accomplished cabaret artiste rather than debutant.

Hitherto a musical director, teacher, writer and actor-musician, Self has already notched up an impressive tally of 20 pantomimes that he has written for or musically arranged. Only in his early 30s he shows a keen eye for sharp lyrical connections and an impressive range of musical styles around which he has arranged his words. 

The one-act set lasted a crisp 75 minutes with Self’s autobiographical patter matching the wit of his songs. Looking out at a packed Crazy Coqs filled largely on this opening night with family and friends, Self remarked that it all was “a bit like being at my own wake!”. A clever and confident gag that set the tone for the evening.

Self played 10 of his own compositions on piano, ably accompanied by Elliot Mackenzie on bass and Luke Thornton on drums with Laura Sillet, Lewis Asquith and Alex Tomkins providing vocal support. Opening the show with the appropriately titled The Opening Song, Self displayed a clever understanding of melody, structure and humour in his writing. Cockney Knees Up followed, deploying a knowing use of Cockney rhyming slang.

Royal Dreams Come True from Self’s Sleeping Beauty pantomime score was a fun duet between the writer and Tomkins set to a bossa nova, while The Cinema Song (from the Brief Encounter stage show) brought an authentic 1930’s feel to its words and music.

The evening’s vocal highlight was Sillett’s take on Don’t Talk About Christmas, while Self’s Post Show Blues, written about the melancholy that can descend when a show’s run ends and the company break up, contained perhaps the evening’s killer lyric: “How quickly an overture becomes the final bow”. Powerful, perceptive writing.

Sasha, Nadia and Jasmine, a trio of students from Self’s alma mater Trinity Laban made fine work of another Sleeping Beauty number Fight For The One, before Self brought the proceedings to a close with a cover of the Victoria Wood Covid-inspired classic, Let’s Do It.

For a newcomer to the world of cabaret performance, Self’s confident charm and musical talent are an astonishing delight. This evening’s performance marks what must surely be the launch of yet another strand to his accomplished career to date.

If you missed tonight’s show don’t worry. Tom Self is back at the Crazy Coqs in two weeks time in what will most likely be another sell-out performance!

Me, Tom Self & I returns to the Crazy Coqs on 12th February

Animus - Review

Laban Theatre, London

***

Music by Michael Webborn

Lyrics and book by Daniel Finn

Directed by Simon Grieff

The company of Animus

Set amidst family strife in 1700’s London, three children bicker and squabble over their inheritance after their father has mysteriously died. Charlotte, the eldest, a headstrong and determined young woman who’s been bequeathed her father’s wharf business is determined to prove to the patriarchal society around her that she is their equal, however deadly the consequences. 

In what is the second collaboration from British writing team Webborn and Finn, Animus delivers a cleverly constructed plot including complex characters and a chilling mystery that keeps one guessing.

There was fine work here from the students of Trinity Laban who gave the piece a 3-show outing. Animus is no easy beast to tackle comprising a dark subject matter, challenging score and multifaceted characters. Played out on Amy Yardley’s sparse set, the audience had to use their imagination to envision the settings. This may have been another hurdle for the students to climb but they did so with precision and confidence. While no doubt well intentioned, Yardley’s projections of 18th century London were at times an unnecessary distraction, failing to fill the backdrop that they were intended for.

Three specific names must be mentioned for their performances. Danielle Whittaker as Fanny Penhaligon, the powerhouse madam of the local brothel was a joy to watch. She brought an excellent comic timing that lent itself so imperatively to the nature of the character and her voice while powerful was delicate enough to suit the style well. Similarly, Harvey Westwood as Joe Grey, the loveable cheeky street urchin/thief, who helps Charlotte, track down her enemies was very easy to watch. Westwood brought a welcome, relaxed vibe to the piece that lifted the mood continuously. Resembling something of a young Ralph Fiennes, he’s an honest actor with an impressive vocal range that comfortably met Webborn and Finn’s challenging melodies.

The most striking performance however came from Laura Barnard as Lily Donne, Charlotte’s younger sister. In an incredibly complex role she simmered quietly throughout the show as the chaos ensues around her. Hovering in the background until her true motives are revealed in the second half proved effortless for the young actress and was truly the highlight of the evening. Barnard has a soaring and emotive voice and her visible turmoil had one ensnared throughout.

The students of Trinity Laban should be proud of their achievements. They have tackled a monster of a piece with professionalism and skill. It will be intriguing to see what else this year has to offer, later down the line.

Reviewed by Charlotte Darcy

The Clockmaker's Daughter - Review

Trinity Laban, London


****


Written by Michael Webborn and Daniel Finn
Directed by Michael Howcroft

Spindlewood, like most towns, has its time old traditions. But no tale is so firmly adhered to as ‘The Turning of the Key’. Every year, on the last night of winter, as the first day of spring unfolds, the Northern townsfolk gather to take part in a strange ritual to honour its oldest legend.

Spindlewood was once home to a clockmaker, Abraham Reed. A tormented genius who, stricken with grief over the loss of his beloved wife and through methods hidden even to himself, created something much, much more than a machine. Every year the Townsfolk now meet in the centre of the town square, where a statue bearing the likeness of a young girl stands, poised and still. This is Constance and she has stood in the square for as long as any can remember.

With direction from Michael Howcroft and a minimalist but highly effective set design from Amy Yardley this epic new musical has been visually scaled down and made more simplistic, though this does not deter from the stunning score, story line or performances given by the students of Trinity Laban. What it may lack aesthetically has been more than made up for with intricate costume, creative staging and the sheer blossoming talent on stage.

The ensemble did a phenomenal job in creating the feel of the ‘stuck in its ways’ town, Set in the North of England as opposed to its original setting in Ireland, it gave the townsfolk more of a working class feel that helped differentiate the class divide. Note must be given to Jenny Arnold for her stunning choreography, her use of movement in the final number of act one, Raise A Glass, was a joy to watch and showed true vision.

Alexandra Davies gives a hilarious performance as the vicious and wholly self-centred Ma Riley. Her delivery and comic timing of the witty dialogue shows the makings of a truly fabulous actress. Despite her negative attitude to her work life, her employees and even her own son Will, Davies’ delivery makes this a character that you cannot help but love to hate and hate that you love.

Similarly, Leo Rowell in his performance of The Clockmaker showed a maturity beyond his years with an emotional delivery of the tragic storyline and a rich, beautiful voice that suited the dramatic composition.

Two specific mentions must of course, go to the key characters Constance and Will, played by Christy Bellis and Jack McNeill. The writings of Webborn and Finn are not simple, but with a powerhouse voice and a stunning, emotionally involved display of acting, Bellis shows real intelligence in her depth of character. She hits all the marks, not missing a beat, whether it be comedy, heartbreak or sheer elation. Her final number in Act 2 was suspense-filled and mesmerizing. 

Likewise McNeill is definitely one to watch. Easily embodying the charm and playfulness of Will, he is desperate to escape the mundane nothingness of Spindlewood and you do not doubt for a second his adoration for Constance. He is a constant presence on stage and is a joy, not only to watch as a clearly skilled dancer, but to listen to. His clear quality of voice makes him a stunning tenor whose overall performance was faultless.

The future looks bright for Trinity Laban’s graduating year!

Reviewed by Charlotte Darcy

City Of Angels

Stratford Circus, London

****

Music by Cy Coleman
Lyrics by David Zippel
Book by Larry Gelbart
Directed by Sarah Redmond

Alex Gilchrist, Tom Self & Charlotte Allchorne

There is clearly an appetite in London right now for Hollywood in the 1940's. As The Drowned Man takes its last gasps over in Paddington and the Donmar is already sold out for its star-studded City Of Angels in the Autumn, those canny folk at Trinity Laban recognised that the Coleman, Zippel and Gelbart's Tony-winning nod to Tinseltown would prove excellent fare for their 3rd year Musical Theatre students. Stratford Circus made for an engaging venue in which visionary director Sarah Redmond was able to put her graduates through their paces.

As the time and genre demands, the show was heavy on the noir. Billed as a musical comedy the plot weaves in front of and behind the camera as struggling writer Stine, battles it out with his Corona typewriter and a typically megalomaniac director/producer, channelling his frustrations through the scripted twists and turns that befall fictional private-eye Stone. 

The mature themes of adultery, revenge, oversized egos and murder were at times challenging to such a youthful cast and the production was generally at its best with ensemble numbers or duetted songs. David-Jon Ballinger was every inch the movie mogul Buddy, whilst particularly impressive were Alex Gilchrist and Tom Self as Stine and Stone. Both men respectively nailed their parts with the closing numbers to each half of the show, You're Nothing Without Me and I'm Nothing Without You each song a celebration of two strident voices. Amongst the ladies Cathy Joseph and Bethany Wilson's double act of What You Don't Know About Women proved a spine-tingling, perfectly weighted duet. Redmond also coaxed nuggets of delight in a raft of cameo performances that were sprinkled throughout her ensemble. 

A stirring aspect of the production was the 20+ piece band, drawn from Trinity Laban students under Tony Castro's direction. The predominantly brassy sound was beautifully easy on the ear, adding a depth to the show's orchestration rarely encountered in student productions. 

A brave choice of show for sure, but with their take on City Of Angels, Trinity Laban's class of '14 spread their wings impressively.