The Jay Rayner Quartet: Hungry Jazz

Crazy Coqs, London

****

Jay Rayner

In reviewing Jay Rayner's Quartet at the Crazy Coqs, I need to declare an interest. My family and the Rayners go back a very long way, whilst Jay and myself overlapped secondary education for a good few years in Elstree. This review also daunts for another reason: Not only is Rayner a talented jazz pianist, he earns a respected and respectable crust as one of the nation's leading food critics. His pith-meistery is professional, whereas my punditry is purely promoted by passion. No pressure then, here we go.

A packed venue saw the relaxed Rayner take his audience through an evening of gastro-jazz and flowing bon-mots in an evening of mellow music infused with references and recollections of growing up as the youngest child of the country's favourite agony aunt (the late Claire Rayner), alongside tastefully placed nods to the culinary world. He confessed to having earned pocket money as his mother's 10yo letter-opener - sagely adding that most songs in the jazz canon sound as though they may have been letters written to an agony aunt, with the tale about the wooden cock (Coq?) sent to his mother in the mail, proving of particular fascination.

With no lack of modesty, the floppy haired pianist declared himself the best jazz pianist amongst the UKs food critics. He's probably not wrong, though the self-deprecation is undeserved. As confident and fluent at the (grand piano) keyboard as at a QWERTY work-station his whirl, mostly through the American songbook was a selection of choice morsels.

The evening's vocals came from Pat Gordon-Smith in a performance that was never less than assured and beautifully pitched with her interpretation of familiar numbers proving an utter delight. Her (almost) a capella Blue Skies, with just the merest hint of accompaniment from the talented Rob Rickenberg on bass was sensational. Dave Lewis' accomplished contribution on sax completed the quartet.

For a foodie to present a gig, one expects the links to be nothing less than cheesy and Rayner didn't disappoint. His patter on the subject of chocolate led naturally into That Old Black Magic, an intro that would have had Messrs. Mercer, Arlen and Rowntree smiling down benignly, whilst his closing number served up with a reference to a good steak, could only be Love Me Tender. The audience groaned.

Enchantingly corny? Perhaps. But unremittingly excellent? Unquestionably. Promoter Ruth Leon has unearthed another treasure here, with Rayner and his quartet proving a welcome addition to the capital's jazz scene.

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.

Thriller Live - Cleo Higgins Joins The Cast

Lyric Theatre, London

*****

Conceived by Adrian Grant
Directed and choreographed by Gary Lloyd

Cleo Higgins

A change at the top in Thriller Live's cast offers a welcome invitation to revisit the show and in a week that sees Gary Lloyd’s T.Rex inspired jukebox musical 20th Century Boy pack out the New Wimbledon Theatre, its impressive to see the talented choreographer’s tribute to Michael Jackson continue to light up London.

The newest face amongst the cast and making her West End debut is Cleo Higgins. Originally a member of the 90’s pop group Cleopatra and most recently a contestant on BBC's The Voice, Higgins has an outstanding vocal presence pulling no punches as she fills the role of Janet Jackson,. Her performance is equally matched in the talented work of Ricardo Afonso, tasked with portraying the iconic singer. Afonso continues to deliver nothing less than excellence with his flawless vocals wrapping themselves around some of the star’s most loved numbers.

The ensemble work continues to be perfect with Lloyd’s interpretation of the King Of Pop’s movement and John Maher’s musical arrangements, continuing to astound and where the juke-box musical occasionally draws (deserved) criticisim from musical theatre devotees demanding more artistic originality, Thriller Live remains a leader of the pack. The production’s unstinting commitment to perfection ensures that it stays a finely crafted tribute to the vision and the sound of Jackson, continuing not not only to celebrate his work but also to provide one of the most thrilling evenings on a London stage.

Plays at the Lyric Theatre, London

My Girl 2

Old Red Lion Theatre, London

****

Written by Barrie Keefe
Directed by Paul Tomlinson

Emily Plumtree

Sam is a social worker. An over worked, underpaid carer on the front line, confronting horrific child cruelty and neglect whilst drowning in debt. His wife Anita stays at home in their impoverished drafty council flat, a loving mum but emotionally chained and drained by parenthood and heavily pregnant with a second baby. Sam's 30th birthday looms and whilst he may be a hero to the abused at work, at home he threatens violence to his child and tells lies to his wife, as the couple drift further apart.

Sam is an everyday Walter Mitty, though possibly a far too recognisable reflection to too many. He avoids telling his wife about the extent of their payday loan indebtedness and spins pie-in-the-sky yarns to his bank manager about when the overdraft will be repaid. He is also involved in a relationship with a case/client which is at best inappropriate and at worst un-believable. In what is a tough role, Alexander Neal makes a fine job of bringing Sam's life into the confines of the flat from which the play's action never leaves. Burdened by painful boils, that he responds to with acute hypochondria he remains a whinger, whilst Anita remains the heavily tested glue that binds their nuclear family. 

Keefe is an astute writer who doesn't just have his finger on the pulse of modern England, he presses the nation's carotid, hard. Updating his 1989 play My Girl which was a comment on Thatcherite times, he is in fact at his best when he goes off-picket line and writes about people driven to extremes, rather than politics. In Emily Plumtree's Anita one finds a stellar off-West End performance as she wrings the profound perception of the human condition from Keefe's writing. Perceptive to her husband's failings, but unaware of the depths of his flaws, she dreams of escaping their urban slum for a big house in Braintree. As Keefe’s narrative reveals quite how deceitful Sam has been to her, Plumtree's character goes from disbelief to defiance and ultimately desperation. Brilliant, harrowing and often unbearable to watch, Anita is a heroine in a play that at times suggests a modern day Greek tragedy.

Paul Tomlinson directs with sensitivity, coaxing the nuances of well written cockney grit from both performers. My Girl 2 does not make for easy watching, particularly with an ending of ambivalent despair, but it is one of the more thought-provoking pieces of theatre in town.

Runs until 12th July 2014

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.

The Guvnors

****

Written and directed by Gabe Turner

Harley Alexander-Sule

Set in South London, The Guvnors sees the feral, fatherless, hoodied hoodlums of the modern era rail against the gangs of 30+ years ago, when there is suggestion that crime was more "decent".

Recent movies (Harry Brown etc) have trod this well-worn path, but the The Guvnors' strength lies in a combination of a gritty yet credible story, brought to life by an ensemble of outstanding performances. Hip hop star Harley Alexander-Sule, half of the platinum-selling Rizzle Kicks is Adam, a disaffected young man who commands respect from his peers with an uncompromising mix of intimidation and blade. Showing no hesitation early on in horrifically cutting a girl's face who he suspects as an informer, he moves on to demand respect from old-timer Mickey, (a classy cameo from honey-voiced David Essex). The old-school old man, a former boxing coach, floors the young pretender with one magnificent punch but tragically fails to recognise the consequences of his nobility. Adam's gang waste no time and ignoring Queensberry rules their revenge, with the brutality that the half dozen young men can inflict upon a principled pensioner, is as cowardly as it is bloody. The vicious circle spirals as the (now middle aged) former boxing club members vow to avenge their mentor's murder and leading this line of fifty-something vigilantes, Doug Allen's Mitch, a former gangster who’s still a chiselled alpha male, squares up to Adam...

Gabe Turner writes and directs a fable that is a bleak snapshot of London's underclass with just a hint of social comment. The police are an impotent force who also miss the authority imposed by old-style "firms" and who resort to brutality whenever they can get away with it. Turner also suggests that violent behaviour is more nature than nurture - Mitch's young son, a product of a comfortable two-parent home is a foul mouthed bully at his grammar school, whilst Adam's young lad, being raised motherless in a council flat by a thug, is angelic. A neat touch from Turner has the feckless father touchingly chastise his son to "eat his greens".

The soundtrack stuns, with Rizzle Kicks having written two of the numbers that give the film an edgy contemporary pulse, whilst a spot of Madness' funk offers a crumb of recognisable music for the greying dads in the audience. Turner is nothing if not a respectful filmmaker and where once The Long Good Friday spoke of a new order taking over the capital, so too does The Guvnors pay homage to that seminal London movie, with a few nicely placed nods for the film-buffs. 

Alexander-Sule's massive fan base will see that one way or another The Guvnors will clean up either at the box office or online (though probably at both). But notwithstanding its platinum plated star the movie demands respect on merit. It is a gripping and well crafted tale, that will shock, amuse and ultimately stun with a devastating climax.

The Guvnors will be released to cinemas in August 2014

Carousel

Arcola Theatre, London

*****

Music by Richard Rodgers

Book and lyrics by Oscar Hammerstein II

Based on Ferenc Molnar's play Liliom as adapted by Benjamin F Glazer

Directed by Luke Fredericks

Tim Rogers and Gemma Sutton

Producers Morphic Graffiti present a re-engineered Carousel at London’s Arcola Theatre. With the blessing of Rodgers and Hammerstein’s publishers, they have pitched the tale around the time of the Great Depression, with a costume and style that sets the era apart from traditional turn of the 20th century stagings and it’s an interpretation that works, for the sense of poverty and depravation that surrounded the clapboard housed whaling communities of New England has long been a consistent theme of the show.

The time shift however is only an adaptation of style rather than substance. The grand human struggles of love and redemption, crime and endeavour that underpin Ferenc Molnar’s original play have a timelessness that speaks to us today – with perhaps the one exception being the un-conditional love that Julie Jordan feels towards Billy Bigelow whilst demonstrably accepting her lot as the victim of his domestic violence. Julie’s is a love that is tested in a way that is at best outmoded and at worst a misogynist’s charter.

But it remains Julie’s love and Billy’s futile doomed hopes to better himself that are the engine room of this show. Gemma Sutton is Julie and in the intimate cockpit of the Arcola, her expressions of passion and yearning towards her future husband are played out with pinpoint definition. Sutton masks the steel of her character in layers of hesitant tenderness and when this is married to her exquisite vocal work, the fusion is musical theatre bliss. When she sings If I Love You, her take on the complex melody is pitch perfect and later in act two, when her character, faltering, stumbles choked in her grief and unable to sing You’ll Never Walk Alone until Nettie takes over, the poignancy of the moment is at once both exquisite and unbearable. 

Opposite Sutton, Australian Tim Rogers brings an energy to Billy that suggests Hugh Jackman’s Curly, performed at the National Theatre in 1998. Rogers’ technical excellence manifest through his irreverent energy is another treat of a performance rarely found with such intense beauty on London’s off West End theatre scene.

And around these two lead performers beats a company that drips with perfection. There follows a name check of the most memorable, but all the company were no less than outstanding. Vicki Lee Taylor’s Carrie Pipperidge is a confection of perfect poise, presence and tone, whilst Joe Montague’s Enoch Snow nails the humerous foibles of the pompous but ambitious puritanical procreator. Joseph Connor, Katrina Dix and Susie Porter all display a balletic or acrobatic talent that is never less than breathtaking. A twirly-moustachioed Paul Hutton plays all manner of male authority roles with panache, whilst Amanda Minihan never falters as an inspiring Nettie, Richard Kent chills as a spiv Jigger and Valerie Cutko defines the wise yet complex cravings of carousel owner Mrs Mullins

The show’s design is perhaps the most visionary interpretation of low-budget scenery to be found, with the emotional impact of the opening Carousel Waltz reducing me to tears in minutes. The brilliant use of simple gates and boxes, combined with an acrobatic movement of the company that suggested a hint of Broadway’s Pippin is visionary dance work from Lee Proud and amongst all the numbers, Proud’s talent shines. The act two ballet in particular, a challenge to mount on a more generously proportioned stage let alone the Arcola, proving yet another display of masterful movement.

Stripped down to a 5 piece band, Andrew Corcoran gives Carousel’s timeless melodies a makeover. A subtle use of flute and bass is enchanting, whilst the harp accompaniment to You’ll Never Walk Alone is as subtly inspiring as it is heartbreaking.

Luke Frederick has fashioned a production of flawless technique and artistic excellence. Shows this good don’t come along that often and Carousel deserves a West End transfer. Whilst it plays at the Arcola until July 19th, don’t miss it.

Plays until July 19th.