Lucie Jones Live at The Adelphi - Review

Adelphi Theatre, London

****

Lucie Jones

Having captured the public’s attention back in 2009’s X Factor series, Lucie Jones this week played her first solo gig (with guests), impressively packing out London’s Adelphi Theatre.

That same stage has seen Jones play the title role in Waitress for the past 7 months and in a sassy touch the singer opened her set with that show’s well-known "sugar, butter, flour" motif from What’s Inside, segueing into a powerful performance of Funny Girl’s Don’t Rain on My Parade’. A bold choice of an opening number with an even bolder lyric tinkering to “Hey The Adelphi, here I am” receiving a rousing cheer from the adoring crowd. 

Throughout the evening the audience were treated to various anecdotal moments from Jones’ early life and career, highlighting her down to earth nature. Her natural charisma and warmth giving an almost cabaret-style intimacy to the vast venue. 

Providing the musical accompaniment was Freddie Tapner’s 22 piece London Musical Theatre Orchestra. Jones and Tapner have worked together on numerous occasions, their synergy and tightness evident from start to finish. 

In occasional support were John Owen-Jones and Marisha Wallace, the latter having played Waitress’ supporting role of Becky alongside Jones’ Jenna. Rent’s female duet Take Me Or Leave Me was performed with all the tricks, flicks and flair that you would expect from these two West End leading ladies. Equally impressive was a beautiful rendition of ‘The Prayer’ sung alongside Owen-Jones, with these two Welsh singers demonstrating a beautiful handling of the Italian lyrics with soaring melodies and pitch-perfect harmonies sung so tenderly one could have heard a pin drop.

Other stand-out songs were Gimme Gimme from Thoroughly Modern Millie, Lucie’s original song from her 2017 Eurovision entry I Will Never Give Up On You and Into The Unknown from Frozen 2. It is just a shame that the gig was for one-night only as Jones will have no trouble filling out the Adelphi again!

Reviewed by Sophie Kale

Somebody Loves Me : The Songs of Gershwin - Album Launch

Friederike Krum, one of Germany’s finest mezzo-sopranos captivated a Ronnie Scott’s audience with a handful of the composer’s classic numbers to launch her album.

Assuming an improvised, off the cuff jazz style, there was but the tiniest hint of restraint as Krum delivered a delicious take on some of the last century's most beautiful songs. Displaying a modest playfulness with the audience as she performed the album's title track, Krum went on to shine in her closing rendition of Summertime, sung in its originally intended operatic style. This wonderful ending to a very modest set allowed Krum to highlight the beauty of Gershwin’s music and her ability to bridge the gap between classical and jazz through powerful, perfectly nuanced vocals. On piano, James Pearson’s accompaniment was sublime. His riffs, while never overshadowing the vocals, inserted just the right level of both gravitas and jauntiness to the occasion.

Krum's album will complement any collection of jazz recordings.  of stunning songs, beautifully sung.


Written by Dina Gitlin-Leigh

Faustus: That Damned Woman - Review

Lyric Hammersmith, London


**


Written by Chris Bush
Directed by Caroline Byrne

Jodie McNee

Life imitates art with the opening of Chris Bush’s latest play Faustus: That Damned Woman at the Lyric Hammersmith. For where the original tale saw Dr Faust bargain with the Devil to exchange his soul for all worldly knowledge – so here does Bush seek to swap the classic parable for a feminist-angled perspective that fails to hit its target.

There is fine work from Jodie McNee as Johanna Faustus and an equally enchanting turn from Danny Lee Wynter’s diabolical Mephistopheles. But as Ms Faustus seals her pact, and in the future encounters Marie (Curie) played by Alicia Charles, we see Bush scoring the most spectacular own goal. For rather than Curie’s achievements being celebrated for the (true) heroine that she was in her scientific discoveries, Bush relegates her to little more than a sidekick to husband Pierre (Tim Samuels) and where Marie could have been portrayed as a strong, smart and independent woman, Bush and director Caroline Byrne reduce her to little more than a spouse who is both humble and scared. This shallowness of perspective clouds the whole piece, and while there may be some wit in Bush’s words, it is overshadowed by a disappointing structure that sidelines real, factual female achievement in praise of the patriarchy.

The set and costume designs from Ana Inés Jabares-Pita and Line Bech impress, but not enough to avert a disappointing evening.

Faustus: That Damned Woman is a Lyric Hammersmith Theatre and Headlong co-production, in association with Birmingham Repertory Theatre.

Playing at the Lyric Hammersmith until 22nd February before playing at the Birmingham Repertory Theatre from 24th February and then touring the UK, visiting Bristol Old Vic, Leeds Playhouse and Northern Stage throughout March and April 2020.

Photo credit: Manuel Harlan

Les Misérables - Review

Sondheim Theatre, London

****

Concept, book and original French lyrics by Alain Boublil

Book and music by Claude-Michel Schönberg

Lyrics by Herbert Kretzmer

Directed by Laurence Connor and James Powell

Bradley Jaden and Jon Robyns

Arriving in London following a toured and international try-out, Les Misérables (or rather Les Mis 2.0 as the programme affectionately describes it) opens at Cameron Mackintosh’s newly revamped Sondheim (formerly the Queens) Theatre on Shaftesbury Avenue.

For nearly 35 years this behemoth of show has dominated the global musical theatre scene, spawning a movie treatment along the way and for one simple reason. For not only are Claude-Michel Schönberg’s melodies as stirring as they are heart-rending in equal measure, with Herbert Kretzmer’s lyrics skewering the very essence of humanity with wit and tenderness, but at the core of Les Misérables is Victor Hugo’s classic novel that is possibly unmatched in its ability to drive a musical. For however smart the words or snappy the tunes, a good show demands to be constructed upon a sound book and Hugo’s is the best. It may be set at least two centuries ago, but this epic tale of humanity, redemption, forgiveness, envy and greed still packs a relevant and oh-so timely punch, particularly as cries for the recognition of democracy have only recently been heard echoing around these isles. Did we hear the people sing (or vote)?

There are some modest, subtle changes to Kretzmer’s prose, but the tunes are still the same and the narrative still gorgeous. The Queens’ revolve has been rolled away and in its place are Matt Kinley's automated scenery trucks married to Finn Ross' ingenious projections. It is no wonder that this production has achieved such acclaim on tour with a technical portability that the original show never could match. For the most part the new designs generally deliver an innovative take on their predecessor, but it has not been a perfect transition. The tragic impact of the second half's Final Battle, where back in the day and with one half-turn the old revolve revealed the massacred students’ bodies, is not lived up to in v 2.0. The projections and techno-wizardry are fun though, as pyrotechnically enhanced fusillades ricochet around the auditorium (credit to Mick Potter's sound design). reminiscent of the audio brilliance of Saving Private Ryan’s opening battle scene.

[SPOILER ALERT] Javert’s Suicide is a (visual) treat. In place of the bridge’s balustrade being whisked up to the flies, the eponymous cop himself joins the flying squad. Indeed, so spectacular is Javert’s death that one is only left hoping for something even more celestially impressive for Jean Valjean’s last gasp. Sadly, when our hero does eventually expire, the moment is nowhere near as visually thrilling as Javert’s demise.

Vocally the piece remains a classy gathering of talent. Jon Robyns ages majestically through the piece as Valjean, his dramatic tenor tones catching the full range of his heroic character’s power and sensitivity. Opposite Robyn and hunting him across the years, Bradley Jaden captures Javert’s flawed but principled complexities.

Carrie Hope Fletcher sees a sideward promotion (to the Green Room for most of the show) as she takes over Fantine. Fletcher’s vocal talent and presence remains is amongst the finest of her generation and her singing exquisite. But is she a Fantine? Although this reviewer is unconvinced, Fletcher’s 500K Twitter followers may well have a different view. 

Hauled back in from the touring production, Ian Hughes’ Thénardier is in fine form capturing the show’s comic moments with perfect timing and delivery. Opposite him, the always outstanding Josefina Gabrielle’s Mme Thénardier is equally brilliant. But to take a step back for one moment, times have moved on since the 1980s. In this #MeToo era is it really right to be laughing so whole-heartedly at such a couple of child-abusers as the Thénardiers? The pair are actually terrifying monsters, rather than clowns. Elsewhere, the eternal triangle of Marius, Eponine, and Cosette is played well by Harry Apps, Shan Ako and Lily Kerhoas respectively. There is vocal talent here a ‘plenty but the true and passionate chemistry that these roles demand has yet to fully emerge.

Above all it is Kretzmer’s stunning lyrical treatment of those soaring French melodies (on press night, immaculately delivered under Steve Moss’ baton) woven around a story that is breathtaking in its scope that still define Les Misérables as a night of world class musical theatre.

Booking until 27th October

Photo credit: Johan Persson

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

JEW...ish - Review

Kings Head Theatre, London


****


Written by Saul Boyer and Poppy Damon
Directed by Kennedy Bloomer

Edie Newman and Saul Boyer

After a successful run at the Edinburgh Fringe, JEW...ish has just completed a short run at the Kings Head Theatre. The brainchild of co-creators, Poppy Damon and Saul Boyer, the play is centred around the relationship between Max, played by Boyer, and TJ, Edie Newman who are trying to navigate their way through their difficulties beyond the comfort of their university’s polyamorous society. Fraught with all the problems of an inter-religious couple, TJ is determined in her opinion that Max’s overbearing family not only cannot accept her because she isn’t Jewish but also accuse her of leading Max to becoming a ‘self-hating Jew’. 

Finding most of its comedy through the pastiche of millennial culture, the script also cuts across a broad range of themes including grief, therapy, the complexities of polyamory and of course, the Labour Party’s anti-Semitism crisis. Newman nails the woke, sexually explorative, university graduate even down to her intonation which makes everything out as a question, as though she is questioning society at every turn. This is perfectly offset by Boyer’s unflappable comedic timing, presenting Max as the recognisable male archetype who is completely lost without the direction of a woman, whether that be his overbearing Jewish mother or TJ. The chemistry between the two is visceral and believable making the audience root for these two easily dislikeable characters and want to continue on their love-hate journey. 

Georgia Cusworth’s simplistic set only adds to the atmosphere, making sure the actors’ relationship stays as the main focus and allows for an incredibly creative car ride. Working within an awkward space with the audience sat at three different angles, Kennedy Bloomer and Toby Hampton’s direction ensures that the whole audience feels involved and invested in the story throughout. 

JEW…ish plays out as a Semitic Richard Curtis-esque romp through the struggles of 21st century dating with all its pitfalls and absurdity and is well worth a watch.

Reviewed by Dina Gitlin-Leigh

Photo credit: Samuel Kirkman

Rags - Review

Park Theatre, London

****

Music by Charles Strouse

Lyrics by Stephen Schwartz

Book by Joseph Stein

Revised book by David Thompson

Directed by Bronagh Lagan

Carolyn Maitland

Rags from Stephen Schwartz and Charles Strouse is a show that is set in New York City’s Lower East Side around the turn of the 20th century. Seen through the eyes of Rebecca, a penniless seamstress straight off the boat together with her young son David, the tale largely of Manhattan’s impoverished Jewish community, but with enough references to the Jews’ Italian migrant neighbours to define it as a non-denominational commentary upon immigration.

The book is by Joseph Stein and it has long been suggested that Rags represents a sequel to his earlier Fiddler On The Roof. But where that show achieved it’s punch through simple human challenges, beautifully told, Rags is more of a melting pot of issues that, combined, lack the same emotional heft. There is a narrative here that veers too easily into cliche and this perhaps is the reason behind the show’s failure to achieve lasting Broadway success.

That being said, director Bronagh Lagan has assembled some gifted talent in her Park Theatre company with Carolyn Maitland as Rebecca driving the show. Maitland is never less than magnificent in all her work and here she both captures and stirs our hearts in her take on the beautiful, driven young mother that she plays - her solo delivery of the closing number Children Of The Wind is stunning.

Dave Willetts puts in a strong turn as the kindly Avram who takes Rebecca into his home. There is a confidence in Willetts’ performance that captures moments of complex nuance. Opposite him, is Rachel Izen’s Rachel in another genius delivery that masterfully displays understated humour finely contrasted with the wry and wise experience of a long life, fully lived. The pair’s duet of Three Sunny Rooms is a highlight.

In charge of Strouse’s compositions is musical director Joe Bunker, who not only manages half of his 8-piece band from across two lofty corners of the stage but also conducts 4 onstage actor-musos too. Credit to all the musicians - the score straddles a multitude of genres with Bunker’s band deftly delivering across the evening.

Rags may be more schmaltz than substance but in this, its London premiere as a fully staged production, it is still a fine example of off-West End musical theatre.

Runs until 8th February

Photo credit: Pamela Raith