REVIEW: 'One Glass of Cider and She's Anybody's' - Abigail's Party, Wyndham's Theatre, London, 21/05/2012

For a theatre fan, living in London truly is a blessing. Not only are you able to pick and choose from the best quality performances and productions in the world on iconic stages graced by some of theatre's finest, but if you happen to miss something special, you can bet your bottom dollar that you'll be presented with the chance of seeing it very soon. This was the case for me and 'Abigail's Party', written by Mike Leigh. It was playing at the Menier Chocolate Factory last year, but the play is so well known and so well done that it sold out too quickly for me to get a ticket. Needless to say, when I discovered that due to popular demand it was being reprised at the Wyndham's Theatre, I snapped the hand off the internet ticket vendor (so to speak), and thanks to a great cast and production team I couldn't be happier to have done so.

The play is a satirical comedy set in 1970s Essex, focusing on the three different tiers of the middle class. Beverly Moss and her husband Laurence are aspiring social climbers, who invite their new lower-middle class neighbours, Angela and Tony, over for drinks, along with upper-middle class neighbour Sue. Sue's daughter Abigail is having a house party, which is the cause of much discussion and distress throughout the night. Whilst the gathering starts off quite stiffly and cold, it soon livens up with flowing alcohol, music and flaring tempers and frustrations. Over the course of the night Beverly flirts more and more overtly with Tony, and argues more passionately with Laurence, ending in a fatal last scene. Through the conversations shared between the characters the  prejudices, competitiveness, fears and hopes and obsessions of the protagonists revealed to the audience.

The set design by Mike Britton was absolutely spot on, so credit is most definitely due. Picture a typical 1970s living room: garish orange and brown patterned wall paper, white rug, leather sofas and wooden storage shelves. There was even a colour changing fibre optic lamp. Tacky and distasteful, the set wonderfully reflected a social climber's view on what can be considered classy. The lighting, it must be said, was also very appropriate, subtle and warm, inviting the audience into Beverly's living room.

Now on to the cast. I've had the pleasure of watching Jill Halfpenny before in Legally Blonde at the Savoy Theatre, so I was expecting a great comical performance. She didn't disappoint. Far from it, she really let loose and had fun on stage, and that reflected in the audience's reaction to her Beverly. Humorous, bossy, slightly intimidating, and far from classy, the highlight of the performance was most definitely when Beverly starts dancing around the living room, making a fool of herself to everyone else but herself. Her constant nagging and berating of Laurence is both funny and irritating, but I have to admit that I actually felt quite sympathetic towards the character, who is definitely putting on a facade. Beverly is a character who aspires to climb the social class ladder, and perhaps feels a little unfulfilled by not having children, which Jill Halfpenny managed to subtly play to perfection. The bright green dress was an excellent costume choice too. Beverly's character is always seeking to be the centre of attention and with that on, she most definitely was.

Andy Nyman's portrayal of Laurence was a fitting opposite to Jill Halfpenny. Irritable and at times hilariously erratic, it was a pleasure to watch those two quarrel and attempt to score points against each other. There was something about the way Nyman played the role that made you pity him, being stuck with Beverly, but on the other hand it was evident on stage that deep down the characters have great affection for each other, even if they drive each other around the bend. I do feel however, that his performance in the final scene was a little too melodramatic for the rest of the play, and moved far too quickly for the audience to really feel any sympathy.

I found myself laughing most at Susannah Harker's character, Sue. Divorced and bringing up a rebellious teenage daughter, Harker brilliantly conveyed Sue to be a bit of a walkover really, who, despite large amounts of alcohol, remains uptight and quite prudish and proper to the end. Evidently intimidated and overwhelmed by Beverly, there was a slight but not overly obvious tremor in Sue's tonality which I thought was a touch of genius by Harker. Obvious discomfort in being invited to the party, and greatly dominated by Beverly throughout the play, Harker more than held her own on a stage packed with great talent.

Natalie Casey is definitely an actress to be watched. She caught my attention as soon as she walked on stage, playing the role of Angela. Uncouth, unrefined and slightly clueless, Angela is such a frustrating character, however amazingly this is never irritating. Quite the contrary, this trait is what makes her so humorous. Frankly, Natalie Casey did a wonderful job playing the still quite young Angela, who I feel is seeking acceptance into the lower middle class she has recently joined. Casey delivered her comical lines seamlessly and was so watchable on stage. Like Andy Nyman, I felt that she was a little overexcited and thus extreme in the final scene of the play. However this can be forgiven by her consistent performance throughout the rest of the production.

Joe Absolom's role was the smallest, but that doesn't reflect the talent that he contributes to the production. The character of Tony is a man of few words or strong opinions, but from Absolom's performance I felt that this perhaps that is because he is overshadowed by his wife Angela, an interesting revelation to me half way through watching the show. The problem with Tony is that he marries too young and what Absolom conveyed so well was a silent and untold feeling of a lost youth, resulting in Tony's apparent resentful and brooding nature.

The beauty of this play is that, as a situation comedy, it is able to effectively keep the atmosphere and attention of the audience whilst the action remains in one place. The actors on stage played off each other extremely well and that shows in the lack of a stand out performance; they were all just so well suited to each other. I'm giving this production of 'Abigail's Party' four stars out of five. Mike Leigh's writing is without a doubt truly funny, without being crude or forced as some comedies can be, but the manner of the production means that, I feel, it is only really at home in a more intimate theatre. The play and its characters are so relatable because they reflect the lives, problems and aspirations of so many of Britain's middle class not just in the 70s, but today also. I understand why this production sold out so quickly at the Menier, and it is more than worthy of its West End run. I implore you to go and see it while there are seats available, or you will most definitely regret it!

In the Spotlight: East 15 Acting School - 11/05/2012

Last Friday afternoon, (11/05/2012) I received a message from a friend of mine, who is in his final year of studying Contemporary Theatre at East 15 Acting School in Loughton, Essex. The message was a last minute invite to the showcase performance the final year students were giving at the East 15 theatre, involving two 15 minute scratch performances, one a play, the other a musical both written by current students, and 30 minutes of improvised theatre based on the suggestions and shout outs from the audience. A few months ago, I travelled to see the play my friend had written be performed by some of the students and I had been very impressed with the talent and professionalism I had seen on display, so I wasn't going to pass up the opportunity to see some more! Rather than writing a review of what I saw, I think it best to write more of a report, explaining what was on show, who was performing, and generally celebrating the talent that is still pouring out of Britain's drama schools today.

The evening began with a 15 minute two-man play called 'The 8th Wave', written and directed by student James Ernest. Set in a hostage situation, Mathew (Nasi Voustas) is tied to a chair by Brian (Luke Clarke). Watching the play we see the relationship between captive and kidnapper develop over a conversation about smoking habits. Edgy, slightly scary yet at times comical, it's amazing how in just 15 minutes of watching someone eating beans on toast and chatting almost amiably with a hostage about cigarettes can be so captivating.

The next 15 minutes was quite different in comparison, this time I was watching an exert of a musical called 'Young at War' by Anthony Stephen Springhall, Daniel Brewerton, Matt Wall and Matt Lapinskas. The music was original and fitted well with the theme of the plot. After a rousing rally in the town hall a young man (Adam El Hagar) enlists in the army and sets off for war in 1914. The goodbyes were moving and the musical arrangements and harmonies were pretty. The full musical is proposed as a production to take part in the 100th anniversary national remembrance of World War One in 2014, and if the 15 minute snippet I saw is anything to go by, I think it'll be greeted very warmly.

The final 30 minutes of the evening was by far the most exciting, as we got to see the students completely improvising based on audience suggestions. All of the third year contemporary drama students present on the night took part, and they managed to create ideas that were funny, original and energetic, if at times a little mental. In the final moments we had both Jesus King of the Jews and Shesus King of the Shoes on stage singing in 'Drug Trafficking the Opera'. Each new concept was introduced by Head of Contemporary Acting Uri Roodner, who was very helpful in explaining dramatic styles, as well as encouraging the audience to really challenge the performers. I thought they all did really well, even making 'Meerkat Manor' fun and interesting. The improvisation skills weren't just evident in the acting though, with some of the students taking instruments on to the stage, managing to create music on the spot which completely fitted the stories and songs being created on stage.

As I said before, this isn't a review, just a report of what I saw, and it was a great learning curve for me as an amateur critic to be invited to see the makings of some of Britain's future talents and stage performers. It was an enjoyable experience, and the students at East 15 Acting School really should be commended for their talent, energy and obvious passion for their field. I imagine many will go on to be very successful in their careers, and I wish them all the best of luck as their final year of training comes to an end

The performers on show were:

Daniel Ainsworth
Patricia Blixen
Luke Clarke
James Ernest
Adam El Hagar
Aiden James
Melissa Johns
Lily Levin
Daniela Pasquini
Richard Perryman
Nicola Rainford
Anthony Stephen Springhall
Jessica Stone
Louise Trigg
Nasi Voustas
Jasmine Woodcock Stewart

Pictures taken from the East 15 website www.east15.ac.uk

REVIEW: 'Love should be used, not fallen into!' - Dangerous Liasons, The Oxford Playhouse, Oxford, 04/05/2012

A couple of weeks ago a friend of mine suggested that we take small trip up to Oxford for the evening, see the University of Oxford Student production of Dangerous Liaisons and get a few drinks to escape the stress and hopelessness of exam revision. I'm very glad she did, an enjoyable evening was had by all and I have been presented with the opportunity to write my first review of a straight play on Theatre Focus. I therefore feel obliged to open this review with a brief thank you to Gabs Kofi for such a lovely idea you "totes" awesome person, (sweeping the fact that she mentioned on several occasions throughout the night that I had to give her a public thanks). So, now that the formalities are out of the way, on to the review.

 Set in the 18th century, shortly before the French Revolution, Dangerous Liaisons is based on the epistolary novel of the same name by Pierre Choderlos de Laclos. The book one of the most controversial novels in European literature, on a par with Lady Chatterley's Lover and Lolita, and was in fact banned for quite some time. The story is one of manipulation, seduction and revenge, using the ideas of love and sex as weapons, which ultimately ends in demise and tragedy. The Marquise de Merteuil and the Vicomte de Valmont, two rivals and ex-lovers, use sex as a weapon to humiliate and degrade others, as a part of their cruel and dangerous games. The Vicomte wishes to seduce the Marquise, who as a result manipulates him into seducing innocent women as sport. The Vicomte gets a young girl named Cécile pregnant, and comes to the realisation that he has fallen in love with his other conquest, Madame de Tourvel, and yet under the jealous instruction of the Marquise, he rejects her, leaving them both heartbroken. The Marquise reveals to Danceny, a young boy in love with Cécile that is was the Vicomte who got her pregnant, resulting in a dramatic duel to the death.

As a supporter of amateur productions, I was quite intrigued as to how well the student production would run. Whilst there were patches of weakness overall I was quite pleased with the show. As the audience entered we were greeted on stage by an elegant and typical French salon, however it was not in the model of 18th century France, but 1938 pre-war France. Chairs and tables at either corner of the stage suggested we would be watching a split stage, and I wasn't wrong. The staging aptly reflected the luxuriousness and privilege of French wealthy classes, and I didn't mind how it sometimes felt a little claustrophobic, as it tied in well with the manipulation and traps in the plot. I was however, relieved when the set was opened out during the duel scene. Not only shifting from and inside setting to an outside setting, I truly felt as if the secrets, the manipulation and the deceit of the plot was being let out with it, allowing for the dramatic and enthralling climax.

Interestingly, the Musical Director Nicholas Howley was on stage from start to finish, sat at a grand piano, but unfortunately whilst Howley is undoubtedly a talented musician, the atmospheric music being played before the play started was washed away somewhat by the anticipation and buzz of the audience. What's more, in between almost every scene, a small piece of incidental music would be played on the piano, greeted all too often by a black out or a semi-blackout, which I admit grew a bit irksome and tedious by the end of the show. I found myself crying out for a different device to be used during the transitions of scenes as the pacing seemed to be thrown down a couple of pegs each time.

I want to briefly mention that this particular production is a completely new adaptation, written and realised by Director Christina Drollas. Credit where credit is due I think she did a very good job at bringing together a script that was both humorous, ambitious, engaging and at times cheeky. Her jump to 1938 France didn't detract from the overall plot, in fact, it reflected how such activity and immorality can be seen in any societies or class in all eras.

I have to say I was very impressed by the sheer wealth and quality of talent that was on display in this production, although I also feel that the male performances slightly overshadowed those of the females. The highlight of the production was without a doubt Ziad Samaha, whose portrayal of the Vicomte de Valmont was at times so natural, he had my two friends admitting to falling and I quote, "hopelessly" in love with him themselves. Charming, provocative, persuasive and extremely watchable, his natural manner and comfort on stage was evident for all to see, and I would go so far as to say that he wouldn't look out of place treading the boards in a professional production one day. Iago immediately springs to mind! The other actors did a pretty good job too. Daniel Draper as the noble, valiant and altogether rather endearing Danceny was another strong performance. As was Jordan Waller, who managed to tackle the sickly sweet and over-attentive Belleroche with good humour and charm.

There were some good performances by the actresses as well.Whilst Alice Porter did well as the Marquise de Merteuil, at times she seemed a little forced and overwhelmed in her scenes with Samaha. The Marquise is a character who should be deliciously seductive, manipulative and evil. I picked up on the manipulation well, but for me the character just wasn't played with enough bite or allure. For once I felt it needed to be sexed up a little bit, but she did well in her scenes with Cécile, playing the doting friend yet secretly plotting her ruin. I was particularly impressed with Claudia King's Cécile de Volanges. She captured her naivety, innocence and girlish beliefs in love well, and dealt well being on stage with the show-stealing-Samaha. In fact, most of the performers did well not to be too outshone. Ella Waldham as Madame de Tourvel was able to embody her character's turmoil and resistance before bravely shifting to dependence and heartbreak, an ability that I wasn't expecting and was pleasantly surprised by.

All in all, the production was very well done and definitely deserves three stars. The cast dealt well with the explosive themes in the play, and were able to capture the audience and lead them down the path of manipulation until the play's climax. It was done so well, in fact, that I found myself almost disappointed when the Vicomte met his untimely if somewhat deserved comeuppance, as he was the character I found to be most engaging and entertaining. The production provided humour, and was genuinely fun to watch. While I do feel there were elements that could be improved, for an original student adaptation, it felt quite professional and polished, and I was very impressed.

50 Most Beautiful Songs of Musical Theatre (Part Two)

So here I am again with the next ten songs on my list. Remember, they are not in any particular order in relation to each other or in relation to previous songs posted, and they are only taken from shows that I have personally seen, or that I have been shown by other people. So here we go with the next 10:

As if We Never Said Goodbye - The iconic song from Andrew Lloyd Webber's Sunset Boulevard, a 1993 musical adaptation of Billy Wilder's 1950 film noir of the same title. The plot revolves around Norma Desmond, a faded star of the silent screen who is still living in the past in her decaying mansion on Los Angeles Street. Joe Gillis, a young screenwriter crosses her path, and she sees in him an opportunity to make her comeback to the big screen, but whilst romance follows, so to, inevitably, does tragedy. At this point of the show Norma has returned to her old production studio to drop in on the set the current film there. In this moment, she feels nostalgic, returning to an atmosphere fond and familiar where she believes she will be accepted again. The tragedy in this song is that although she has found happiness here, this is not the return to the screen that she hopes for. I could have chosen a wealth of performances for my video link: Patti LuPone the London original, Elaine Paige whose voice is always outstanding; but instead I've opted for the original Broadway Norma, Glenn Close, whose performance earned her the Tony for Best Actress in a Leading Role in 1995. http://www.youtube.com/watch?v=3WYMY7-GchU&feature=related

Fallen Angel - I'm not a huge fan of them, so this is the only song from a jukebox musical that I am allowing onto my list, because quite frankly (excuse the pun), Jersey Boys, telling the story of The Four Seasons, is the only jukebox musical that I have enjoyed every aspect of. Opening on Broadway in 2005, and the West End in 2008 at the Prince of Edward Theatre, the production has won four Tony Awards and an Olivier Award, as well as opening in other major theatre cities across the globe. This song comes at a point in the story where things seem to be looking up. Frankie Valli and Bob Gaudino have paid off Tommy DeVito's debts, and Frankie Valli and the Four Seasons continue to be successful, but the story soon turns tragic when Frankie's daughter Francine dies from a drug overdose. In this song, Frankie mourns, makes peace with, and says goodbye to his daughter in a truly beautiful and heartbreaking moment in the production. http://www.youtube.com/watch?v=19ZTqGdx4k4

Maybe I Like it This Way - From Andrew Lippa's off-Broadway production of The Wild Party in 2000, based on American poet Joseph Moncure March's 1928 poem of the same name. The musical follows a party held by Vaudeville performers Queenie, a showgirl and Burrs, a clown. Their fiery and dysfunctional relationship is brought to light during the course of the party, at the hands of Mr Black, who Queenie falls for. Tragedy ensues and a dramatic denouement scene makes this musical a must see for all lovers of fringe theatre. This particular song comes at a moving in the party. Queenie is soul searching, unable to decide if she is truly unhappy with Burrs or if she in fact prefers her relationship to work like this. The characters aren't exactly the most lovable, indeed, they all have their faults, but they are also some of the most human characters. Lippa's intriguing score which mixes jazz with Vaudeville won a Drama Desk Award, and the original cast included modern day Broadway legends such as Julia Murney, Brian D'Arcy James, Idina Menzel and Taye Diggs. The show later enjoyed a run at the 2004 Edinburgh Fringe Festival, and again in 2008 in Brooklyn.
http://www.youtube.com/watch?v=Ew8MgKv8kQc

Tell Me on a Sunday - Tell Me on a Sunday is the title song from Andrew Lloyd Webber's 2003 one-act, one-woman musical of the same name. Previously the musical was the first act of the 1982 show Song and Dance, which incorporates both music and ballet (as the title implies!) The production tells the story of 'the girl' who moves to New York and later LA from England in search of love and success, and the failed romances she engages in along the way. As you would imagine, this song chapters yet another break up in 'the girl's' quest for love, yet for me what makes this song truly beautiful is the pure simplicity with which it is delivered, allowing for the actress to truly explore her emotions and put her personal stamp on the song from her experiences. To be honest, I struggled to find a video version that I liked or wasn't by Sarah Brightman, so here's Denise Van Outen singing it on Parkinson, prior to her run in the show.
http://www.youtube.com/watch?v=LgAKBbWbwOQ

Now and for Always - Now perhaps you're thinking this is a very odd choice of song, but I think it beautifully tells the story of true friendship and loyalty, to the point where it made me fully understand and appreciate those closest to me (okay, a little cheesy I'll admit, but still true). From A.R.Rahman and Matthew Warchus's 2006 musical The Lord of the Rings, perhaps the most expensive production to grace the West End thus far, costing around £12million, at this point in the story (which I'm sure you're all familiar with), Frodo and Sam have broken from the rest of the Fellowship on their way to Mordor, and are reminiscing about the Shire and singing of how thankful they are to be able to make this desperately gruelling journey with their closest friend. Now whilst this was by no means one of the best shows I've ever seen, trying to squeeze the story of three books into one play, (the script was a little weak, and it was rather long - 3 acts in total), the whole visual spectacle and staging of the show was breathtaking, and the score by Rahman (Bollywood, Slumdog Millionaire, 127 Hours etc.), Christopher Nightingale, and Finish folk band Värttinä is quite unique and definitely one of the show's strong points. First opening in Toronto Canada for just a few months in 2006, winning 7 Dora Awards, and then in London at the Theatre Royal Drury Lane from 2007 to 2008, the production gained mixed reviews, though it was relatively popular amongst audiences and gained 5 Olivier nominations, not winning any. Here's a video of the original Toronto and London Frodo (James Loye) and Sam (Peter Howe) singing the song, although unfortunately it's not the whole song. http://www.youtube.com/watch?v=sSH8b33wZcw

Loose Ends - This song is on the list because I feel as though I have a strong personal connection with the song, that comes from John Dempsey and Cameron Mackintosh's 2000 musical The Witches of Eastwick, based on the novel by John Updike. The story is based around the lives of Alex, Jane and Sukie, who are bored with their mundane and overly scrutinised lives in the village of Eastwick. One night, they all wish for a man to come and spice up their lives...but they get a little bit more than they bargained for in the form of the devilish Darryl Van Horne! This song is Sukie's attempt to comfort the newly orphaned Jennifer, with her own experience of never knowing her father. Being an orphan myself, I found it both beautiful and heartbreaking hearing Dempsey's lyrics, and it is for that reason, and perhaps not the musical qualities of the song that it is on my list. The show was nominated for four Olivier Awards in 2001, but failed to win any, before having short runs in Australia, Russia and the Czech Republic, to mixed reviews. The 2007 production in Virginia fared much more favourably, as did the 2008 UK tour, but it has yet to return to a major stage.
http://www.youtube.com/watch?v=bxv1Pb7pa4U&feature=results_video&playnext=1&list=PLC74D03C2550E7805

Being Alive - Gasp...I know, it's another Sondheim...but I just really love this guy and just as a warning, there are a few more of his to come in future posts! Sondheim's 1970 musical Company opened in Broadway to rave reviews, so it's no surprise at all that it went on to be nominated for FOURTEEN Tony Award, winning six, and has enjoyed successful US tours, Broadway revivals and stints in the West End and Australia since. The plot actually comprises of short vignettes played out in no chronological order, all linked by the celebration of the protagonist Bobby's 35th birthday. The production was one of the first to deal with adult themes and relationships. Bobby is a single man who is unable to commit to steady, long term relationships, and is frustrated by his best friends who are all married couples. This song comes at the end of the show, when Bobby finally realises that he does actually want someone to share his life with. 1995 London revival was also nominated for several Olivier Awards, and won three. Perhaps a return to the West End is a little overdue!!! Here's Raul Esparza, the 2006 Broadway revival Bobby singing the song. How incredible is this...the actors are playing the instruments! http://www.youtube.com/watch?v=fjrA93_O6Dw

Papa, Can You Hear Me? - Ok so this is technically from a musical film, but I think this song HAS to be on this list. It's emotional, it's beautiful, it's slightly hypnotic, and it was sung by the legend that is Barbra Streisand. From the 1983/4 film Yentl directed by Streisand, based on Leah Napolin and Isaac Bashevis Singer's play of the same name. The story is about a Polish Jewish girl who dresses up as a man (a la Twelfth Night) in order to be educated in Talmudic Law after her father dies. The film's score was composed by Michael Legrand won the Academy Award, and Streisand became the first woman to win a Golden Globe for Best Director. The theme of the song speaks for itself. Yentl is singing to her late father, seeking help and guidance in her attempt to study at a Jewish religious school. I think with this song I should just let you hear for yourself why this song has made the list.
http://www.youtube.com/watch?v=QwCPAo5e_F8

So in Love - From Cole Porter's 1948 Broadway musical Kiss Me Kate, the show within a show based on Shakespeare's comedy The Taming of the Shrew. The musical was awarded five Tony Awards, including the Tony Award for Best Musical in 1949, and has since enjoyed success on the West End, and revivals in both London and New York, as well as an Italian version in Bologna in 2007. The 1953 film version was also very popular. I was lucky enough to see the 2001 West End revival production at the Victoria Palace Theatre when I was about 11 years old and I can remember finding many of the songs comical and uplifting. The plot revolves around the cast of a musical production of The Taming of the Shrew,  directed by and starring Fred as Petruchio and his ex-wife Lilli as Katherine. This song comes relatively early in the show. Lilli receives flowers and a card from Fred, originally intended for another woman but mistakenly delivered to her instead. As a result she declares that she is still in love with Fred, although she later finds out about the mistake. Originally sung in 1948 by Patricia Morison, the song has been recorded by many artists, including Peggy Lee, Ella Fitzgerald and Dinah Shore. This video is from the 1999 Broadway revival, and features Marin Mazzie and Brian Stokes Mitchell.
http://www.youtube.com/watch?v=7qQcpIfTxqo

Younger Than Springtime - Another Rodgers and Hammerstein blinder here from the 1949 musical South Pacific. I have to say, this is probably third in my list of their musicals, but it still has some fantastic songs, and it's considered to be one of Broadway's greatest musicals, winning ten Tony Awards, and a further seven for the 2008 revival. The 1958 film was also successful, being nominated for three Academy Awards and two Golden Globes. Set on a South Pacific island during World War two, the plot follows navy nurse Nellie, who falls in love with a French plantation owner named Emile. Emile is sent to spy on the Japanese, and Nellie who originally rejected him realises that she cannot be without the man she loves. This song is actually sung by an American Marine Lieutenant who has fallen in love with a Tonkinese girl named Liat. I chose this song rather than Some Enchanted Evening for example, because it defines the naivety and idealistic nature of young romance. The show opened at the Majestic Theatre Broadway before moving to the Broadway Theatre in 1953, and has also enjoyed runs at the Theatre Royal Drury Lane and the Barbican Theatre in London, as well as both US and UK national tours. Here's familiar Broadway and Glee actor Matthew Morrison singing the song in 2008.
http://www.youtube.com/watch?v=Y4RdFFWTHyo

REVIEW: 'Everything's Coming Up Roses!' - Gypsy, The Curve Theatre, Leicester, 30/03/2012

Here she is boys! A long overdue revival of Gypsy, tackled brilliantly by Paul Kerryson at the  Curve Theatre in Leicester. I've been wanting to see this musical for a very long time, and this was a highly awaited and anticipated opportunity that I could not ignore.

So first let's talk about the Curve Theatre. It's a theatre I had previously never been to, and I must say that I was really missing out on a fantastic performance space. The theatre is modern and architecturally an inspired setting for theatre. Perhaps not somewhere one would conventionally expect a production of Gypsy to be staged, the theatre served the show well, and it is definitely a theatre that I highly recommend to anyone in the East Midlands area if you are looking for a cultural night out.

The story is based on the 1957 published memoirs of the famous 1930s/40s burlesque dancer Gypsy Rose Lee (Louise), focusing on the stage act put together by her over bearing mother Rose, and staring Louise's younger sister June. After June elopes and the act starts to fail, Rose tries to continue the act with Louise as the star, however her singing and acting are not good enough, so Louise turns to striptease, discovering she has a talent for it, and becomes a highly celebrated burlesque dancer. The musical, whose book is written bu Arthur Laurents, music by Jule Styne and lyrics by a young Stephen Sondheim, charts the life of Louise as she is pushed from theatre to theatre on the Vaudeville circuit by her 'ultimate show business mother' Rose, who lives her own failed dreams of being a Vaudeville actress through her young daughters. The original Broadway production directed by Jerome Robbins opened in 1959 at the Broadway Theatre was nominated for eight Tony Awards, but failed to win any, making it highly ironic that the musical is now regarded by many critics as being one of America's greatest, with one even going as far as to say it is the American musical theatre's answer to King Lear.

The set, designed by Sara Perks was adequate, with a catwalk style extension over the orchestra pit lined with light bulbs adding depth and dimension to the stage. Of course, in a show where much of the action takes place in theatres a red curtain is compulsory, but what really intrigued me was the use of monochrome ad boards as the main vehicles for the set. It didn't exactly scream of the true setting of the story; a dying Vaudeville. Whilst these ad boards did serve well in breaking up scenes, perhaps a more typical set could have captured the audience and brought them into the lives of the characters a little more.

Musical Director Michael Haslam handles Styne's score brilliantly. The exciting, heavily brass based overture immediately draws you into the production and excites a sense of nostalgia harking back to the 'Golden Age' of Hollywood and Broadway. The balance and precision in such complex songs as 'Some People', 'Everything's Coming Up Roses', and of course 'Rose's Turn' are tackled effortlessly and it was thrilling even to hear the transitional music between scenes mirroring the sounds of a steam engine, truly reflecting the characters being dragged from one stage to another across the country.

Now the character of Rose is one of the most complex and challenging in musical theatre, and I truly believe that the right to play such a role needs to be earned by a seasoned and truly remarkable actress who can then justify such a casting with a performance of epic proportions. Okay, so I may be going I little over the top, but I'm not exaggerating when I say that Caroline O'Connor suits the domineering Rose incredibly well, and deserves all praise due to her. She truly is sublime as the pushy stage mother, carting her children across America in search of fame and success. Not only this, but O'Connor is vocally superb in all of her challenging musical numbers, with show stopping performance of 'Rose's Turn'. I found the breath taken from me as she completely embodied Rose and excellently portrayed her breakdown onstage. An absolute powerhouse of a performance, from a truly glorious actress.

There was also a fantastic onstage relationship between O'Connor and David Fleeshman, who plays Herbie, Rose's love interest and the children's agent. Whilst Fleeshman's American accent was noticeably weak, his acting most certainly made up for it. Heartwarming, endearing and lovable, your heart breaks along with his when Herbie comes to the realisation that Rose will never truly be able to love him more than show business.

Victoria Hamilton-Barritt is cast in the role of Louise, and plays the transition from the shy, innocent, vulnerable Louise we see in Act One's 'Little Lamb' to the headstrong, self-assured, successful and independent Gypsy Rose Lee in Act Two's 'Let Me Entertain You' beautifully. Hamilton-Barritt is exceptionally talented and at times steals the show when O'Connor is not onstage.

Credit must also be given to the highly talented supporting cast, who interchange roles seamlessly. Daisy Maywood is incredibly talented in the role of Dainty June, and whilst her stage time is rather limited, she performs her songs and choreography very well. Particular mention though, should be given to the trio of Geraldine Fitzgerald, Jane Fowler and Lucinda Shaw, whose hilarious performances in the comedy number 'You Gotta Get A Gimmick' is easily one of the highlights of the show. However, I can't finish without giving a special mention to the extremely talented children in the show, playing Baby June, young Louise and the rest of the children in Rose's troupe. They deal well with opening the show, handling some tricky choreography from David Needham with great flair and gusto.

Overall, I'm giving this revival of Gypsy four stars out of five. The set design may be a little lacking, but the casting is perfect and this is an opportunity to see a truly talented group of performers in one of musical theatre's finest shows, at a wonderful theatre. Perhaps the second act is stronger than the first, but this is where the transition of Louise to Gypsy occurs and the catharsis is played out. The production is running at the Curve Theatre in Leicester until the 15th April, so there's not much time left, but if you can, I really urge you to book tickets and see this show.

Photography by Catherine Ashmore and Pamela Raith

50 Most Beautiful Songs of Musical Theatre (Part One)

Here is a list of the 50 songs I think are musical theatre's most beautiful. They are not in any particular order, and they are only taken from shows that I have personally seen, or that I have been shown by other people. So here we go with the first 10:

If I Loved You - From Rodgers and Hammerstein's 1945 musical Carousel, this is a song you can only fall deeper in love with after each listen. Marking a moment in the story where Julie and Billy declare their love for one another, hesitant and hopeful, this song is a perfect embodiment of a girl's first step into the world of love. With beautiful music and lyrics, this has to be Rogers and Hammerstein's greatest song, and is without a doubt one of their best known. http://www.youtube.com/watch?v=iuHAh-2xGxw

Send in the Clowns - Stephen Sondheim's 1973 classic A Little Night Music is up their as one of musical theatre's greatest, and this song has got to be his most heartbreaking and emotional. In my opinion, it is the greatest lament in musical theatre, as the character of Desirée reflects on the ironies, foolishness and disappointments of her life, including the rejection by her former lover Fredrik. Employing a complex triple meter, Sondheim wrote this number especially for Glynis Johns, the actress who originated the role of Desirée on Broadway. The song has become one of Sondheim's most celebrated, and has been recorded by such greats as Judy Collins, Frank Sinatra and Barbara Streisand. Send in the Clowns is undoubtedly as highly regarded by professionals as it is by theatre audiences around the world and possibly the most beautiful rendition of this classic is by Judi Dench at Sondheim's 80th birthday BBC Proms special. http://www.youtube.com/watch?v=yvZex3Qf7QQ

A Boy Like That/I Have a Love - Now when I was younger, and my sister can confirm this with great displeasure, I would watch the 1961 film version of Leonard Bernstein's 1957 musical West Side Story almost religiously everyday, sometimes winding back the video and replaying it twice or three times a day. Despite Jerome Robbins's iconic and revolutionary choreography and Stephen Sondheim's wonderful lyrics, it was Bernstein's beautiful and timeless score that first struck me and the whole story drew me in effortlessly. Little did I know at the time that this show is based on one of the most beautiful and tragic love stories ever told, Shakespeare's Romeo and Juliet. Not only would I watch it, but I'd spend the rest of the day singing every song. To be honest I could have put half of the numbers in my list quite easily, and there is another to come in a future post, but this has to be one of my favourites. This duet between Anita and Maria is passionate and fiery but equally, mournful and heartbreaking. Not only are you swept into a whirlwind of emotion, you're left completely exhausted as you live every breath, every gesture, every note sung. Not always the most remembered or credited song from the musical, I believe this song has been at times underestimated and overlooked for some of the show's bigger numbers, but unjustly so. Now, even though both Natalie Wood and Rita Moreno were dubbed over in their songs, these two are two of the most beautiful actresses I've ever seen, and it's no wonder Moreno won the Academy Award for Best Actress in a Supporting Role.  http://www.youtube.com/watch?v=i9kpIUa1hcU

Another Suitcase in Another Hall - A wonderful piece of music from Andrew Lloyd Webber's 1978 production Evita. Cataloguing the story of Eva Perón, this song is in fact sung by Colonel Juan Domingo Perón's Mistress after Eva dismisses her and enters a relationship with the Colonel, seeking a further rise in status. The lyrics of the song describe the Mistress's familiarity with the unhappiness of having to move on after a failed romance, and contemplates how she will move on from such a heartbreak. At this point in the musical, it is most definitely the Mistress and not Eva, who the audience have empathy for. The very simplicity of this song makes it so beautiful. http://www.youtube.com/watch?v=rytNkRzsZWY


Whistle Down the Wind - Andrew Lloyd Webber's 1996 musical adaption of the 1961 film Whistle Down the Wind, the title song doubtlessly holds the most beauty. Swallow, an innocent young girl and her friends discover an escaped killer who they believe to be Jesus Christ and hide him in a barn from the angry townspeople. In this song, Swallow is singing for friendship, loyalty, love and protection. With some of his most powerful lyrics "So try and stand the tide, Then you'll raise a banner, Send a flare up in the sky", this is again a song that is sometimes overlooked for some of Lloyd Webber's more iconic numbers. http://www.youtube.com/watch?v=fMchZbf-v88


People - Now in my opinion any list would be seriously flawed if it did not at some point include Barbara Streisand. This song is taken from Jule Styne and Bob Merrill's 1964 musical Funny Girl, which remarkably failed to win any of its eight Tony Award nominations, losing out to Hello Dolly! Telling the story of Fanny Brice, in this song Fanny is singing of her love for future husband Nick Arnstein. Although recorded by other greats such as Dionne Warwick, Nat King Cole, Ella Fitzgerald and Aretha Franklin, this is unquestionably Streisand's signature song, and the lyrics are so relatable, "people who need people are the luckiest people in the world", that it is impossible not to rank this song as one of musical theatre's most beautiful. http://www.youtube.com/watch?v=9-8gn6vGu_w

Children of Eden - So now we move on to Stephen Schwartz's 1991 musical Children of Eden, based on the stories of the biblical book of Genesis. In this title song, Eve who has been shunned from the Garden of Eden, and whose son Cain and has murdered Abel, is close to death, and so makes a final prayer that her descendants will one day be able to return to the trust that was once lost by her and Adam's actions. Despite it's poor reviews, limited run on the West End and no Broadway transfer, this musical is still incredibly popular amongst community theatres across the United States, and this song is without question the highlight of the production. http://www.youtube.com/watch?v=1dMgXexQ8uM

Still Hurting - From Jason Robert Brown's 2001 one act musical The Last 5 Years. This show follows the story of a broken relationship, seen from beginning to end through the eyes of Jamie, and simultaneously from finish to start from Cathy's perspective. This is the first song of the production, and essentially records Cathy's heartbreak at the end of her marriage. Musically quite simple, when teamed with the lamenting lyrics, you are immediately drawn into the desperation and emotion of the story at its beginning by witnessing its end. http://www.youtube.com/watch?v=ujHlChTlC3Q

Sun and Moon - This duet is from Claude-Michel Schönberg and Alain Boublil's 1989 musical Miss Saigon. Incidentally these two previously paired up to write the musical the song next on my list hails from. Inspired by Giacomo Puccini's opera Madame Butterfly, this show is based around Saigon during the Vietnam War, and tells the story of an American marine who falls in love with a Vietnamese bar girl who becomes pregnant with his child. At this point of the show, this song is a declaration of love between the two characters, who after spending the night together, have vowed to leave Vietnam for America. The roles of Chris and Kim were originated by Simon Bowman and Lea Salonga at the Theatre Royal Drury Lane in London, in a production that lasted from 1989 to 1999, and which earned Salonga an Olivier Award. The Broadway production at the Broadway Theatre spanned from 1991 to 2001, again earning Salonga an award. This time a highly coveted Tony. http://www.youtube.com/watch?v=fqqvXwSVgXg

Stars - As previously mentioned, this song comes from Claude-Michel Schönberg and Alain Boublil's most celebrated and successful collaboration, the long-running and perhaps the world's most popular 1985 musical Les Miserables. Originally a 1980 production in France based on Victor Hugo's novel of the same name, the story is of an escaped convict Jean Valjean, who is hunted by the God-fearing Inspector Javert. The show recently celebrated it's 25th Anniversary in a concert at the O2 Arena in London, a world tour commencing at the Barbican theatre where it originally opened, and can currently be seen at the Queen's Theatre. In this song, Javert is comparing his hunt for justice and Valjean with the order of the stars, and it is in this song that the audience really starts to empathise with Javert, who is largely considered to be Valjean's antagonist in the show. After seeing the show a few times at the Queen's theatre, and having the pleasure to watch such names as Hadley Fraser take on the role, my favourite portrayal of Javert has to be Norm Lewis, who was chosen personally by producer Cameron Mackintosh and can be seen here at the 25th Anniversary concert at the O2 Arena in 2010. http://www.youtube.com/watch?v=nSSvH9I1GHI

So here ends the first ten of my top 50 most beautiful musical theatre songs. As I said before, none of these are in any particular order, and I'll be posting the next ten songs after my next review, so keep checking back. It would be interesting to hear some of  your ideas on the most beautiful musical theatre songs, so please leave your comments here. You never know, they may well be coming up on my list too...

REVIEW: 'There's No Place Like London' - Sweeney Todd, Adelphi Theatre, London, 16/03/2012

I went to Sweeney Todd at the Adelphi theatre on Friday 16th March. I was so excited because it was on my 'to see list' when it was at the Chichester Festival Theatre and besides the great reviews, I know that many great shows start there.

To top it off for me was the prospect of seeing Michael Ball and Imelda Staunton, who I just knew (funny theatre feeling in my stomach) would be an absolutely perfect pairing. I was looking forward to seeing how Ball would change my perception of him as a jovial, larger than life, Edna Turnblad character.

Set in a dark and gloomy London, the story is one of a barber, wrongly transported to Australia, leaving his wife and daughter to the mercy of the dreadful Judge Turpin. On returning to his home, he finds the two people he loved have been taken from him, and along with Mrs Lovett who runs the pie shop underneath his barber shop, plots a disturbing and relentless revenge.

So I'll start by saying that I absolutely enjoyed the night. The opening sequence in the prelude alone can be called a highlight, and made my hair stand on edge within about a minute of the show's beginning, and that is a pretty rare feat for me! Musically, there is no doubt that this is one of Stephen Sondheim's most complex and and challenging pieces. The cast gradually took their places on stage before the show started, and drew you in immediately. Picture this: dirty, gritty, smoggy London. The audience anxiously chatting away, some unaware of the cast's presence. Cutting through the noise comes a piercing squeal of a boiler releasing stem, and the show begins. Already disturbed by the abrupt squeal Sondheim's beautiful yet unsettling use of discord in the score enhances the edginess of the piece perfectly.

Enter stage: Michael Ball. Deliciously and devilishly deranged. I admit I was apprehensive about seeing him play such a emotionally deep and disturbed character, but he completely blew me away as the eponymous Demon Barber of Fleet Street. He got the balance between vengeful victim and devoted father and husband perfectly. He was dark, really dark, but also very endearing which was so refreshing for this character, and his deadpan comic timing throughout brought a welcome release to sinister and depressive plot. His rendition of 'My Friends' is deeply moving, and draws you to the human nature that does still remain in his character.

Imelda Staunton: Well just WOW. Honestly this role was perfect for her. Mrs Lovett needs to cut through the darkness of the plot with her deluded love of Sweeney and hilariously blunt attitude. Imelda has got this down to a 't'. You cannot help but find yourself laughing at scenarios and suggestions you would never think to find funny in real life. Aside from her splendid entrance in 'The Worst Pies in London', her highlight has to be her comic brilliance in 'A Little Priest', the lyrics are some of Sondheim's best and the song is laugh out loud funny, and definitely one of the stand out songs of the show.

The supporting cast complemented the two 'stars' perfectly, and with such a talented company, it's no wonder that this revival has gained so many rave reviews. John Bowe and Peter Polycarpou are brilliantly sleazy in the roles of Judge Turpin and Beadle Bamford respectively. Luke Brady was handsome and wide-eyed as Anthony, and along with Lucy May Barker's innocent and naive Johanna offered a welcome touch of lightness to the heavy story of revenge. However, the best of the rest is without a doubt James McConville as Toby. With a beautiful voice and endearing nature, he without a doubt has the capacity to steal the show given half the chance. Perhaps had the leads been played by different people, he would have indeed done so. Charming, lovable, and definitely one, along with Barker, to look for in the future.

I've seen and own the Tim Burton film adaption, and thought it was fine, but after seeing the stage original I have to say the film now leaves me disappointed. The comedy is largely lost and you don't feel as much empathy towards the characters. There is too much focus on Johanna and Anthony's love story and the two leads are at times rather one dimensional in comparison to Ball and Staunton's matching.

Perhaps the one problem I have with the show is it's setting. Of course you can't go wrong with a darkly lit stage or smoke machines to create a sordid and claustrophobic London, and the use of the drum revolve on stage effectively adds level and allows for the juxtaposition of action between the barber shop above and cellar below. However, in this particular adaptation of the musical the setting is not Victorian London as you would imagine, but a 1930s/40s London. Electric shop lights and Pirelli's travelling van are at times a little distracting, however it doesn't take too much away from the fundamental story.

Overall, I'm giving this Jonathan Kent revival of this production four and a half stars out of five.
Michael Ball and Imelda Staunton are glorious in this adaptation and are strongly supported by the supporting cast. Musical Director Nicholas Skilbeck manages to tackle Sondheim's unsettling and complex score, bringing balance to the discord and touches of the sinister to the lighter, romantic songs. With a limited run until 22nd September it's definitely not one to be missed, and will no doubt sell out fairly quickly.