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.

Thriller Live - 2000th London performance

Lyric Theatre, London

*****

Conceived by Adrian Grant

Directed and choreographed by Gary Lloyd

Invited back to Thriller Live as the show celebrated its 2,000th performance at London’s Lyric Theatre gave another opportunity to take a look at this most slick of musicals. The show was reviewed in some detail back in January of this year, but this particular visit gave an opportunity to see a new cast step up to performing the songs of the King of Pop. The show was fabulous a few months ago and it proves to be even better with the return of Zoe Birkett.

A Pop Idol finalist of some ten years ago, Birkett has since had a phenomenally busy showbiz career and was last seen by this blog stealing every scene she appeared in, in Rent at Greenwich. Birkett is also no stranger to Thriller Live having not only “previous” from the London Lyric production, but has also spent the last six months playing her role in South America. She knows the part of Janet Jackson intimately and brings a zest to the performance that is simply breathtaking.

Taking the principal role of lead singer through the show, Britt Quentin captures the style and presence of Jackson with flawless voice and dance work. Latin heartthrob Ricardo Afonso assumes the Jacko persona for two songs in particular, Dirty Diana and She’s Out Of My Life giving an almost electric tenderness and sensitivity to the latter number. It was pleasing to see young Eshan Gopal remaining juvenile enough to play young Michael. The kid sings, dances and moonwalks with ease. Cute for sure, but incredibly talented with it.

Gary Lloyd’s choreography and John Maher’s arrangements, praised here in January, remain as fresh and perfectly performed as ever. On paper, Thriller Live is simply another juke-box musical showcasing Jackson’s work. Live and on stage, it remains a sublimely designed tribute to the vision and the sound of the man. It continues not only to celebrate Michael Jackson’s songs but also to showcase some of the most talented performers and musicians to be found on a London stage.

Now booking to 2014

Rent - Review

Greenwich Theatre, London

***

Book, music and lyrics by Jonathan Larson

Directed by Paul Taylor-Mills



Edward Handoll as Roger

Rent at Greenwich Theatre is an energetic production of the Broadway hit. Inspired by the opera La Boheme of more than a century earlier, the musical is set around a Manhattan tenement block colonised by young bohemians who span all sexualities and with the plague that ravaged Puccini's characters replaced here by the modern nightmare of HIV/Aids.

 

Mark Stratton plays Benjamin Cohen, an aspiring filmmaker whose camerawork provides the medium by which the show's narrative can be played out. His roommate , musician Roger,  played by Edward Handoll is HIV+ and his number One Song Glory , in which he tells of his desire to write a powerful song before he dies is a moving moment. He falls for Mimi, a strong performance from Stephanie Fearon. A junkie, she too is positive and the point when both characters learn that they each carry the virus I Should Tell You, is powerful number to close act one.

The show offers several main characters. Zoe Birkett plays Maureen Johnson, a bisexual performance artist, in a portrayal that drips with provocative sensuality. Her vocal strength matches her physicality, and her on stage presence dominates her scenes. Noteworthy too was Mikel Sylvanus, who as Tom Collins, is befriended by Angel, the one character who succumbs to Aids. Sylvanus’ voice is a beautifully rich baritone and he is an actor to watch for the future. Jamie Birkett, as Joanne, Maureen’s lesbian partner also delivers a performance that is a delight to both observe and listen to. Birkett has previously impressed in ensemble roles in last year’s Ragtime and The Hired Man and it is particularly pleasing to see her confident portrayal of such a significant character. As Steve, Richie Gooding’s delivery of Will I?, a brutally honest description of a man being forced to confront his mortality at a far too early age also touched a chord of raw tenderness and Thomas Lloyd as the dealer peddling death through drugs set a convincing tone of evil sleaze with each appearance.

Rent’s story weaves vivacity with tragedy and whilst this production certainly has some stunning performances from it's impressively sized troupe of 28, as a whole it fails to reach the heights of passion or the chasms of poignant loss that are within its grasp. Paul Taylor-Mills’ direction lacks a degree of depth and maturity that it is not unreasonable to expect. When Angel dies, his falling into his friends’ open arms could have been conceived by a sixth form drama class, rather than the seasoned eye of an accomplished professional. The sound design was also poor. Sat in prime centre stalls seats, it was frustrating that too many voices were inaudible over the music, particularly in the ensemble numbers and this is a matter for urgent attention.

This popular show remains a production that deserves to be seen. On press night it was well received, the theatre was full and at least half the audience rose to a standing ovation, suggesting that its return to a London stage has been long overdue.  And of course Rent's signature tune Seasons of Love remains one of the most beautiful songs of modern musical theatre.

 

Runs until September 16