Broadway’s latest import is a biographical musical about one of America’s greatest songwriters and it’s a lovely tribute to the natural woman.
The Cast of Beautiful
Beautiful tells the story of Carole King, from her successfully selling her first song as 16-year-old Carole Klein, her many years as a writer behind the scenes, her relationship with Gerry Goffin, through to her performance at Carnegie Hall in 1971. As well as telling the story of King, we meet and hear songs from Barry Mann and Cynthia Weil.
Firstly I should point out that this is a jukebox musical, which is where the soundtrack consists of already existing songs, normally with a theme throughout, in this case the music of King, Goffin, Mann and Weil. However, many jukebox musicals make up a story to fit around the music, and the book is often very thin such as We Will Rock You and Mamma Mia!. Actually based on the story of the writers themselves, this was not the case and is a rare example of a good jukebox musical.
Ian McIntosh and Lorna Want
The set is great, with incredibly smooth transitions. Derek McLane has done a wonderful job by making the set look brilliant, and help forward the piece but never distract from the story and what is happening. One of the best parts of the set is the piano, which is on a track, that moves and rotates it to put it where it needs to be for each room. Seeing as this is about the songwriters, there is hardly a moment where the piano isn’t on stage and this is a great way of moving it instead of having people push it around. Most essential is the sound design, which is executed brilliantly by Brian Ronan. Alejo Vietti’s costumes, like the set are appropriate, great but never distracting. Overall, the choreography isn’t groundbreaking, but I wouldn’t expect it to be, with Josh Prince’s steps marrying the music. Altogether, Marc Bruni has directed a great piece of theatre.
“A rare treat in the form of a good jukebox musical”
The book is actually good! Whilst this isn’t the first biographical musical, it is the first one that I’ve been impressed by (Jersey Boys didn’t work nearly as well as this). Douglas McGrath has created a script that is often funny, with moments of seriousness and some highly touching scenes. Working with the wonderful music, each song is in the perfect place in the show. Highlights include ‘On Broadway’, ‘Some Kind of Wonderful’, ‘Walking in the Rain’, with signature songs ‘You’ve Got a Friend’ and ‘(You Make Me Feel Like) A Natural Woman’ being some of the sweetest moments in the show.
Katie Brayben
The cast are just right too. Alan Morrissey makes a great Gerry Goffin, and even though there are times when you hate him, he is still very likable. Lorna Want and Ian McIntosh make a great pair as Cynthia Weil and Barry Mann. All three of them, along with the ensemble, have beautiful and very impressive voices. But the star here is understudy Joanna Woodward as Carole King. I have to admit I was concerned when I wasn’t getting to see Katie Brayben but Woodward put all my worries to rest in her first performance as King. The likeness to King is uncanny so if Woodard is this good, I can only imagine how wonderful Brayben will be when I return (which I most certainly will!)
This is a show full of high production values that never distract from the characters you see. The sound is wonderful and it’s rare that you’ll hear this many pop songs of this caliber anywhere else. A rare treat in the form of a good jukebox musical, this is a tribute to King that is appropriately titled Beautiful. A fun night for all involved, I expect this show to run for a long time to come.
The Young Vic production of Arthur Miller’s tragedy makes its way to the West End, bringing intensity and high drama with it, along with some storming performances.
Phoebe Fox, Mark Strong and Nicola Walker
A View From the Bridge tells the story of Eddie Carbone, a longshoreman. He lives with his wife, Beatrice, and his niece, Catherine. When Beatrice’s cousins from Italy come to stay and work illegally, they exploit Eddie’s hospitality, and one pushes his boundaries, especially with Eddie being highly protective over Catherine. We are told, by the narrator in the form of lawyer Mr. Alfieri, from the start that the story will end in tragedy.
“Strong’s performance is colossal”
Presented as one two-hour act, this is one of the most intense productions I have ever seen. The design and lighting by Jan Versweyveld is beautifully minimalistic, with only one door at the back for entrances and exit, and a barrier surrounding the actors that they also sit on at times. There is also seating on stage to emulate the ‘in-the-round’ staging when it was at the Young Vic. Whilst the lights do occasionally change to match the mood, it is very subtle and works wonders. Throughout the piece there is music playing, often very quiet but it is always playing, with an occasional drum beat at moments of high drama. This keeps the piece flowing and the intensity up throughout. One thing that I noticed was the actor were all bare foot, except for a moment where Catherine briefly puts on high heels and at the start with Alfieri addressing the audience. However, Alfieri takes off his shoes before he enters the space, which I thought was a nice touch. Tying it all together is Ivo Van Hove’s wonderful direction. One of the highlights of the piece is where the immigration officer comes (spoilers, but the play has been around for almost 60 years) and instead of the characters running about, we have Alfieri speaking the stage directions aloud. This was the perfect moment for this, if done at any other point in the play it wouldn’t have had nearly as much impact.
The Cast of A View From the Bridge
The performances here are insanely good. Everyone here deserves their place on the stage, with highlights from Emun Elliott as Marco and Phoebe Fox as Catherine. But the standout here is Mark Strong as Eddie. Strong’s performance is colossal. He brings the raw power to Eddie that is required to feel for this character and by the end you have seen his transition into a monster. I was sat right at the back of the theatre and even from there I was entirely drawn to Strong. He has a hold on the audience that is currently unrivaled in London’s dramatic theatre.
This is only an 8-week strictly limited engagement so grab a ticket whilst you can for this highly acclaimed production. A world class performance from Mark Strong added with the world class direction from Ivo Van Hove make for this world class play.
Photo credits: The Guardian, Love Theatre, Jan Versweyveld
Jamie Lloyd’s Trafalgar Transformed: Season 2 continues with Peter Barnes’ black comedy starring a highly athletic James McAvoy.
James McAvoy and Kathryn Drysdale
The Ruling Class tells the story of Jack Gurney, who inherits the title of 14th Earl of Gurney after his father’s passing. Jack has a huge Messiah Complex, is a possible paranoid schizophrenic and due to him also inheriting his father’s large estate, he gets caught in the middle of a power struggle with his family.
The production is fantastic and works wonderfully in the space. The Trafalgar Studios are big enough to accommodate high production values and effects but also small enough to keep the show intimate. Soutra Gilmour’s set is brilliant, with flowers that appear from the floor being a particular highlight. The lighting design is superb, with Jon Clark capturing the aesthetic beautifully. The production had a few showy song and dance numbers, adding to the surreal nature of the piece. Whilst not the most complicated and intricate choreography (which it didn’t need to be), Darren Carnall’s steps and movement help with the progression of the story. It is all tied together with Jamie Lloyd’s excellent direction, which is no surprise (to quote my Urinetown review) as “it seems that everything Jamie Lloyd touches turns to gold”, with The Ruling Class keeping this in check.
On James McAvoy:
“One of the most versatile young actors working right now”
The play itself is wonderful. Whilst the majority of the play is comedic, particularly in act one, there are a fair amount of highly dramatic scenes, which managed to fit in well. The mix of comedy and drama is crafted with care by Barnes and it pays off. Be the piece funny or serious, it is always sharp. This is the wittiest play I have seen in a long time, with some of the wittiest writing and language I’ve seen in an even longer time. Even though the play was originally performed in 1968, it seems as fresh today, which is a credit to the late Barnes.
James McAvoy
The cast are all brilliant, working like a well oiled unit. The rapport between performers in the piece is absolutely necessary as it heavily relies on comic timing, with the execution being pitch perfect all the way through. Standout performances come from Anthony O’ Donnell as manservant Daniel Tucker, who bring a great energy to the highly comical role, Kathryn Drysdale as Grace Shelly, an actress put up to help Jack through his madness and (what I’m assuming is, couldn’t tell because of make-up and costume) Forbes Masson as another schizophrenia with a Messiah Complex at the end of the first act. However, the star here is James McAvoy as Jack, proving to be one of the most young versatile actors working right now. He is incredibly athletic, prancing about the stage and throwing himself every which way. He has full control over his voice and is a highly commanding stage presence. There’s a reason he draws in a good crowd and this is a full showcase of his abilities.
To conclude, if you see anything that resembles a ticket, grab it whilst you can. This razor sharp comedy with some stellar performances, particularly from McAvoy is not to be missed!
Photo credits: The Standard, Love Theatre, The Telegraph
New York composer Joe Iconis makes his UK debut to a small but appreciative audience.
Joe Iconis at 54 Below
This concert was a very small scale show in the hall of The Bridewell Theatre. Iconis explained that he was in London on his honeymoon and decided he would like to put on a ‘low-key’ show. He told us that he knew one of the tutors at the Canterbury Institute for Performing Arts (CIPA) who acted as a producer to help put the show on. I happen to go to university with a handful of ex-CIPA students which allowed me access to tickets before they became widely available. For the very cheap price of £9 I got to witness the UK premiere of many of Iconis’ songs.
Prior to the concert, I only knew four songs by Iconis, the two featured in TV show Smash, along with ‘Blue Hair’ and ‘Joey is a Punk Rocker’ from The Black Suits. I was pleased to hear all four of these songs, as well as being introduced to many other songs. His music is fairly ‘poppy’ with some rock influence (although only a piano was present), with a theatrical undertone to all his work. A recurring theme in his songs is comedy, with there only being about three songs that didn’t get a laugh. Sometimes the comedy is clever, sometimes the comedy is silly (‘Velociraptor’ being a prime example), but at all times the comedy is funny, which is the most important thing.
The majority of the songs were sung by Iconis himself, and whilst not the most gifted singer, he performs the hell out of each song. The first song he performed, called ‘The Whiskey Song’, is unsurprisingly intended to be performed to appear drunk. Iconis did this so well that I thought nerves might have caused his to drink and he actually was drunk! However, when the song finished, I realised he wasn’t, and he talked to us for a while, and went straight into character for the next song, showing his versatility. Not much needs to be said about his piano playing as it is on point all night, being played with swagger and grace.
Joe Iconis
Now onto the guest performers. The most frequent guest was the wife of Iconis, Lauren Marcus. A gifted singer and actress, she connected with each song and had great comic timing. The other ‘established’ guest was Jenny (didn’t catch the surname, I have a set list but it only has first names on). She had a very high, sweet tone to her voice, and came on right at the end to perform a song with Marcus and Iconis. The rest of the singers were made up of current students at CIPA. Renee sang ‘Joey is a Punk Rocker’ with a bit of a croaky start, and after a bit of water, continued with the rest of the song. We then had Aaron sing ‘The Answer’, which showed off the impressive range of this young lad. Natasha then showed off her comedic timing, almost matching that of Marcus, with the song ‘Blue Hair’. We then had Amy and Emily sing ‘Play the Princess’. I’m not sure which one was which, but the taller one with red hair is going to be a star. She looked the part for starters and had an incredible voice to match it. Give her five years and she’ll be on a West End stage for certain. We then had a duet with Marcus and Aaron, the latter appearing later as Marcus’ cat. He performs deadpan well and the two of them have great chemistry. Marcus also performs a duet with Terri-Ann, and they have equally great chemistry. The night wraps up with the entire cast singing ‘The Goodbye Song’, a huge anthem-like song. There is some good talent among this bunch, and plenty of potential should they choose to go forward in this career.
Excusing a few slip ups and forgiving the venue, which didn’t have the best acoustics in the world, it was a rather enjoyable night. Very relaxed and informal, as a cabaret should be. I hope we see Mr. Iconis doing some bigger scale shows over here as his music deserves to be heard by a wider audience than the 100 (give or take) that were there.
Photo credits: YouTube, Playbill, Monica Simoes, The Write Teachers
The musical adaptation of Pedro Almodóvar’s comedy finally makes its way to the London stage, and it is worth the wait!
Seline Hizli, Tamsin Greig and Anna Skellern
Women on the Verge of a Nervous Breakdown tells the story of Pepa, an actress in Madrid. It takes place over three days in which Pepa’s lover leaves her and she cannot get in touch with him. This leads her down a long spiral along with a few other women, each having their own crisis including living with a terrorist and an ex-husband moving on. As you can imagine, anarchy and hilarity ensue.
“The piece is messy yet controlled and that works for the totally insane story”
I should point out that I went into the theatre with some quite low expectations. I knew (and enjoyed) parts of the score before and was excited to see Tamsin Greig, Anna Skellern and Willemijn Verkaik. So why was I expecting the worst? When originally on Broadway in 2010, the production didn’t go down so well. I knew revisions had been made for this version but I was still concerned. However, after a slow first 10 minutes, thanks to Bartlett Sher’s brilliant direction, all my concerns were put to rest.
The Cast of Women on the Verge of a Nervous Breakdown
The first thing I should talk about is the sound. Performed by an onstage band, David Yazbek’s wonderful Spanish-influenced score fills the theatre perfectly. Paul Groothius and Tom Marshall have done a phenomenal job on the sound design, with a perfect mix for the band. It probably sounded even better to me as I’d witnessed the awful sound in Bat Boy at the Southwark Playhouse earlier that day. Peter Mumford and Anthony Ward have done equally great jobs on the lighting and sound design respectively.
“Lane’s book is witty, fast paced and hilarious to match the score”
As I said before, Yazbek’s score is strong in Spanish influence. It works perfectly to advance the story and doesn’t stop the action like some scores can. Highlights include ‘Model Behavior’, ‘Madrid’ and ‘On the Verge’. Jeffrey Lane’s book is witty, fast paced and hilarious to match the score. I believe one of the main issues with the Broadway production was that it was rather messy. The piece is messy yet controlled and that works for the totally insane story, down largely to Sher’s direction and the execution by the cast.
Tamsin Greig and Ricardo Afonso
The cast is brilliant. Just brilliant. Tamsin Greig is a star and has the pipes to match it. I’ve never seen her in anything and not loved her and this is no different. Her comic timing is perfection. Ricardo Afonso as the Taxi Driver (that also acts as a sort of narrator) has a voice that soars to match the band and it sounds wonderful. Anna Skellern plays Candela to simplistic perfection, with her rendition of ‘Model Behavior’ being one of the highlights. Everyone else in the cast was brilliant but Greig and Skellern stood out above the rest.
So there we go! What had so much potential to be a trainwreck turned into something beautifully manic, and I wouldn’t want the production to be any tidier than it was. If you are looking for a fun night at the theatre, then this is a great choice, particularly thanks to Greig. A great comic musical, but with a limited run so catch it whilst you can!
Bat Boy returns to London, although it seems it should have stayed in the cave.
Lauren Ward and Rob Compton
Bat Boy tells the story of Edgar, the titular Bat Boy. He is discovered in a cave in a town called Hope Falls in West Virginia, the sort of town where everyone knows everyone. He is hated by the townsfolk but is taken in by the Parker family, who teach him how to be a model citizen, but they can’t always control him. I won’t say too much more of the truly insane yet brilliant plot in case you do go to see it at some point in your life.
I should point out first of all that last year at my university, Bat Boy was the final project for the then-third years, so I saw many of my dearest friends perform it. It was incredible, particularly for a non-drama school production, and it was the same standard as some London professional productions I’ve seen. Because of this, and also from seeing In the Heights at the Southwark Playhouse and hearing amazing things about Dogfight, I was expecting a wonderful show. However, in life we have to learn to live with disappointment.
Before I talk about the disappointments, I will talk about the score. Written by Laurence O’Keefe, probably best known in the UK for Legally Blonde: The Musical, it is one of my personal favourites. It’s a simplistically complex rock score, with highlights being Comfort and Joy, A Joyful Noise and Three Bedroom House. I would highly recommend a listen to the Original Cast Recording, and not the 2004 London one which made some debatable changes.
Whilst I did see only the second preview of this production, this is much more than can be fixed (this will probably be one of my shortest reviews). The set is one of the cheapest looking sets I’ve ever seen, with a few sections falling apart mid show. The sound design was not great in the slightest. The band sounded good, but were way too overpowering for the cast. The lighting, whilst not bad, was very basic. Most of the set changes were done with a video, which was more like a glorified PowerPoint presentation. The pacing of the show made it seem over long and like it was dragging. The show should move much faster than it did.
One of the biggest faults I found was the seating arrangement. When I saw In the Heights, with surrounding seating, I was sat in the back row (of about 5) in the middle and could see everything. This was staged end on and I was sat in the middle of the third row. I missed a lot of the action as its so low down. It was equally tiered the whole way back so I imagine the view would be similar for those further back, which is down to bad planning.
Rob Compton
Rob Compton
The one saving grace of this production was the cast. Lauren Ward as Meredith Parker shines. Simon Bailey, who has been fantastic in everything I’ve seen him in, juggling multiple roles with ease and giving full commitment to each one. Matthew White as Dr. Parker is a sound actor but not the best singer. Georgina Hagen is committed to the role of Shelly, but the way she plays the character just doesn’t seem right to me. This does not detract from her acting and singing abilities, which are great, I just think she was miscast in this role. Rob Compton as Bat Boy is the star of the show. His mannerisms, energy and voice suit the character of Edgar perfectly and he gives it his all.
This is one of the first productions in a long time that I’ve advised people to avoid, which is a shame. Bat Boy is a fantastic piece if done correctly but if I were you, stay at home and listen to the soundtrack. However, if you do go and see it, hopefully they’ll sort out the issues I’ve mentioned and you’ll get to see some brilliant performances, including Compton’s Bat Boy, who I’m convinced is going to move on to bigger and better things. But I’m sure you’ll see these brilliant performers in something much better soon enough, so save your money.
Photo credits: West End Frame, London City Nights, Partially Obstructed View
Shout! The Scottsboro Boys transfers to the West End, and it is sensational!
The Cast of The Scottsboro Boys
The show, which runs as one act, is based upon the true events of nine black boys in 1931 on a train in Alabama who are wrongly accused of rape. Being taken off the train and thrown in jail, a trial is arranged for them. They manage to avoid being lynched but are put through many other trials and situations. Throughout these events, their friendship grows. The musical is presented as a minstrel show, with the actors playing multiple characters other than the titular group.
“I have never seen a full cast this broadly talented”
The score, which is the final collaboration of the legendary Kander & Ebb, is largely ragtime based. It is also mostly jolly, which often opposes the subject matter. Susan Stroman assists with this through her brilliant direction and choreography. One number, ‘Electric Chair’, is a tap number about what you’d expect. I found myself smiling at the fantastic music matched with the stellar choreography, only to then realise how dark the piece actually was, with the actors deadpan face, with arms and legs flopped as if they were puppets on a string. This tone is carried throughout, never being sure if I should be smiling or not.
James T Lane, Forrest McClendon and Dex Lee
The whole cast is exceptional. Just exceptional. I have never seen a full cast this broadly talented. Each and every single one of them executes the choreography effortlessly and they all work together so well, physically and vocally. Led by the fantastic Brandon Victor Dixon as Hayward Patterson, with standout performances from Colman Domingo as Mr Bones, James T Lane as Ozie Powell/Ruby Bates and Dex Lee as Charles Weems/Victoria Price. Lane performs Ruby with the most energy I have ever witnessed, but whilst playing Ozie (SPOILERS) after a life changing event, I’ve never seen a more intense performance of that kind. Lee is a very close second to Lane’s energetic performance, whilst Domingo, as required, is the most versatile performer here and switches between characters seamlessly.
I urge you all to go and see this show. You won’t be sure whether to be tapping along or feeling uncomfortable at times, but this is one of the most thought provoking, spectacular pieces of theatre currently in the West End. It is a great example of cast and creative coming together as one. Catch this almost-perfect show with this beyond-perfect cast whilst you can!
UPDATE (06.02.15): I saw this show again a couple of days ago and it still remains as the best musical I have ever seen. The show closes on 21st February 2015, I cannot stress enough that you NEED to see this show.
Stand Up! The musical based on the film based on the true story is a delightful night out with a poignant second act. Starring Gemma Arterton, there is a bit of something for everyone (although maybe call the babysitter, the language is not for the young or the easily offended).
The Cast of Made In Dagenham
Made In Dagenham follows Rita O’Grady, a sewer for the Ford factory based in Dagenham. When classed as unskilled, O’Grady leads the strike in demand of sexual equality, which results in the creation of the Equal Pay Act 1970. Apologies for the spoiler, but it’s a fairly well known story/historical landmark.
“It’s fluff, but the good kind of fluff”
Rupert Goold does not disappoint in his vision. I expected great things from Goold after seeing American Psycho at the Almeida Theatre, one of the most technically impressive shows I have ever seen. The most standout aspect from the creative side is Bunny Christie’s exquisite set. Based on model kits of cars, the set turns into doors, windows, stages. The Adelphi is just the perfect size for this kind of production, not too big, not too small, it’s Baby Bear’s bed, just right! (I will update with photos of the set when they become available).
Gemma Arterton
The score is nothing to be sniffed at. David Arnold and Richard Thomas has created some highly enjoyable music, as well as some wonderfully moving moments. It fits very well with Richard Bean’s highly comedic book, whilst keeping it serious where it needs to be. Whilst this show could have been heavy given the subject matter, it is told with charm and keeping it light enough to make sure we don’t walk out of the theatre depressed. It’s fluff, but the good kind of fluff.
“Gemma Arterton is a sensation”
The cast is fantastic. Adrian Der Gregorian makes a fantastic Eddie O’Grady, with a voice that soars. His big ballad in act 2, ‘The Letter’ is a true showcase of his ability, both singing and acting. Mark Hadfield is hilarious as Harold Wilson, even if at times he is unsure of his accent. The rest of the supporting cast are brilliant, with standout performances from Sophie Stanton as the foul-mouthed Beryl and Sophie-Louise Dann as Barbara Castle. The crowning glory here though is Arterton. In her first musical role, Gemma Arterton is a sensation. As O’Grady, she embodies the character, pulling on your heartstrings where needed, as well as making you laugh. Her casting is a stroke of genius and a positive example of ‘stunt’ casting. Her voice is a beautifully sweet tone that I could happily listen to for hours on end.
Whilst not the grittiest show in the world, Made In Dagenham makes for a wonderful night out to the theatre, filled with laughter and just enough thought provoking material without crossing the line towards a sermon. Gemma Arterton is a star and I hope she sticks with her singing as she is damn good at it!
Tonight saw Georgia Stitt bring her compositions overseas. Featuring some of the brightest stars of the moment, it made for a lovely night of cabaret.
Georgia Stitt
Stitt is an American composer/lyricist known for her albums This Ordinary Thursday and My Lifelong Love along with Alphabet City Cycle. Stitt is also married to fellow composer Jason Robert Brown and this shows in her music from the get go. The similarities between both composers styles, rhythms and melodic devices are immediately apparent.
Supported by a five piece band, Stitt takes to the stage to sing ‘The Me of the Moment’. Not the best singer in the world, but I didn’t expect her to be, tonight is about her music, not her singing. Throughout the night, you can tell Stitt is quite nervous, sometimes speaking so fast that she loses her words. In all honesty I don’t blame her. This is her first concert this side of the Atlantic since 2012 and the debut of a lot of new material. However, her piano playing and conducting throughout the night is superb and the stumbles of the tongue just make this already relaxed atmosphere seem even more so.
Myself and Cynthia Erivo
After her opener, we start to meet the vocal talent of tonight. Act 1 is made up of solo performances from the six cast members. Whilst certainly not bad, and full of excellent performances, this act seems a little bit stop and go. This is probably down to limited rehearsal time, which Stitt mentions, and general nerves, similar to those the composer seemed to be feeling. The second act flowed much better, but more about that later! First up is Jamie Muscato, straight out of Dogfight, singing ‘One Day More’. In this act we also see him tackle ‘Light of the World’. Muscato seems to be the most consistent performer of the night, tackling both of these songs with ease and charm to boot, a great choice to open the show.
On Georgia Stitt:
“Her piano playing and conducting throughout the night is superb”
We then meet Cynthia Erivo and her book of lyrics. I’m partial to stripped down ‘music stand’ performances, such as Violet at Encores featuring Sutton Foster. The only worrying thing here though is that she is the only one using a book, and in ‘The Waiting of You’ doesn’t appear to be giving her all and hiding behind the book. Her confidence improves as the show continues, but the book makes a return in act 2. Regardless, Erivo gives a stellar vocal performance and has one of the best voices currently in the West End.
Then comes along the rising star and junior of the show, Eva Noblezada. With a voice so sweet and controlled, Noblezada gives us a stunning rendition of ‘Almost Everything I Need’ and later an equally brilliant ‘Onward/Beyond’. I hope her role as Kim turns her into a superstar as it did with Lea Salonga, she has all the potential and talent in the world for such a young girl and more than deserves it based on tonight.
Eva Noblezada
Next up, Simon Bailey sings ‘At This Turn In the Road Again’ with a rock star flare about him that suits the song and suits him, but I worry that it might just be Bailey being Bailey. I am proven wrong post-interval, more on that later!
On Eva Noblezada:
“She has all the potential and talent in the world”
Following Bailey is Caroline Sheen, singing ‘Palimpsest’, a fairly bland song. Throughout this piece, I tended to focus in on the band more, seeing how they were doing compared to Sheen, so I don’t have much to write about her act one performance. ‘I Lay My Armour Down’ chuggs along nicely but again nothing special.
After repeat performances from Muscato, Erivo (sans book), Noblezada and Sheen, we come to Norman Bowman, closing the act with a plesant rendition of ‘Sonnet XXIX’, with lyrics taken from Shakespeare. Bowman has a lovely vulnerability to his voice, as well as power when needed. The most underused actor here, gives an equally consistent performance to Muscato throughout.
Myself and Georgia Stitt
We now move into act 2. The performers all seem much more relaxed, Stitt included. We open with ‘Connect’, and ensemble number from The Danger Year, backed by the Arts Ed choir, who do a grand job throughout the act, if not sometimes slightly overpowering of the principals. Stitt tells us that The Danger Year is her current work in progress and that the whole act is made up of songs from it. She referred to us as her “guinea pigs” and said to please let her know after the show if the songs are working. I was lucky enough to meet her afterwards and told her “they most certainly work”.
One song I was familiar with is the title song for tonight’s cabaret, ‘My Lifelong Love’, although I know it as a song for a male, sung by Jesse Tyler Fergurson on Stitt’s album of the same name. Noblezada made this song completely her own and turned it into the highlight of the night. This further backs my plea for her super stardom to come very soon. Flying through the melody with ease and blending perfectly with the choir, this song filled me with so much joy. I hope that Noblezada soon releases her rendition of this song so I can listen to it on repeat.
On ‘The Baby Song’:
“I started to well up. I couldn’t help myself.”
Another song that I couldn’t help but smile at was ‘The Baby Song’, sung by Sheen. That is until about halfway through the song, which is about a couple trying to have a baby, when we discover that the woman has had a miscarriage. Whilst I know this song was written before, I couldn’t help but think of ‘I’ll Be Here’ from Ordinary Days by Adam Gwon, one of my favourite songs that manages to make me cry whenever I hear it (at least when Audra McDonald is singing it). At that moment, I had just been tapping along, until I heard a lyric along the lines of “and then it dropped”. I started to well up. I couldn’t help myself. Whilst Sheen had been given two of the weaker songs in the first act, she was on top form with top material in the latter half of the show.
Bailey sings ‘A Platonic Affair’ later on. My worry that he is just a one trick pony is immediately wiped, with a subtly comedic number, acted appropriately, compared to the big brash comedy I expected.
‘Come Over’ is a slow and sexy, tango-influenced number, performed appropriately dark by Muscato. Within this number is an appearance from Noblezada, who has changed into a beautiful figure-hugging red dress, putting on a sultry walk and stroking her neck and hair. One can’t help but keep their eyes fixed on Noblezada who exudes sexual magnetism, even though on stage for barley 30 seconds, with very little to sing.
“My £35 went a long long way”
Following this is a brilliant number by the three women, ‘Before I Lose My Mind’. The three sing very well together and bounce off one another with great chemistry. However, Erivo has bought her book back with her. The most annoying this here is the fact that she only looked at it once, meaning she didn’t need it, we believe in you Cynthia!!!
Speaking of Erivo, before the encore, she shows off those incredible pipes of hers in finale ‘Stop’. But yet again, she is with book. Because of where I was sat (second row back, stage left), it often covered her face, meaning that I couldn’t see what I’m sure were perfect expressions to match the sheer vocal power displayed.
After the cast take their bows, Stitt returns to the stage to sing a rendition of ‘This Ordinary Thursday’ dedicated to her husband. As I said earlier, Stitt is far from the best singer here, but because of how personal this song is to her, it makes for a fitting end.
A ticket signed by Georgia Stitt and the six principals
So after a few early jitters, this made for a relaxed night out, as a cabaret should be. A splendid cast, with a standout performance by Eva Noblezada, singing great songs, my £35 went a long long way. Annoyingly, I shall be performing when husband Jason Robert Brown comes to do his London show, but as for Georgia Stitt, please please please come again, preferably before 2016 this time!
Tonight’s full set list:
Act 1
The Me of the Moment – Georgia Stitt
One Day More – Jamie Muscato
The Wanting of You – Cynthia Erivo
Almost Everything I Need – Eva Noblezada
At This Turn In the Road Again – Simon Bailey
Palimpsest – Caroline Sheen
Light of the World – Jamie Muscato
It Almost Felt Like Love – Cynthia Erivo
Onward/Beyond – Eva Noblezada
I Lay My Armour Down – Caroline Sheen
Sonnet XXIX – Norman Bowman
Act 2
Connect – Company and the Arts Ed choir
One Thousand Places to See Before You Die – Caroline Sheen and Simon Bailey
My Lifelong Love – Eva Noblezada and the Arts Ed choir
She – Jamie Muscato and Norman Bowman
The Baby Song – Caroline Sheen
Come Over – Jamie Muscato, Eva Noblezada and the Arts Ed choir
Before I Lose My Mind – Cynthia Erivo, Caroline Sheen and Eva Noblezada
A Platonic Affair – Simon Bailey
Prepared – Norman Bowman and the Arts Ed choir
Stop – Cynthia Erivo and the Arts Ed choir
This Ordinary Thursday – Georgia Stitt (Encore)
Photo credits: Musical Theatre Review, Whats On Stage, Broadway World
Hockadoo! Memphis finally makes it over to the UK and it comes out with a bang so Stand Up and Say a Prayer for a ticket!
Beverly Knight and Killian Donnelly
Memphis tells the story of Huey Calhoun, a white man in the 1950s who decided to put ‘coloured music’ on the radio in (you guessed it) Memphis, Tennessee. The piece tracks his rise to fame, the relationships he develops along the way and the controversy surrounding racial integration of the time.
On Sergio Trujillo’s choreography:
“Infectious combinations and impressive tricks, executed brilliantly by the ensemble”
I’ve been a fan of Memphis after seeing the Broadway production on DVD a couple of years ago and 4 years seems like a long time for such a crowd pleasing show to make it overseas. The score, similar to Hairspray, has influences from music of the 50s, particularly rock ‘n roll and Rhythm ‘n’ Blues, also known as ‘black music’. David Bryan of Bon Jovi has written a score that is periodically accurate that is the yin to Joe DiPietro’s book’s yang.
The Cast of Memphis
I find it hard to separate this review into sections as the whole piece works so well together. A tip of the hat has to go to Christopher Ashley who has done a fine job directing this very polished production. However, the definite winner of the creative team has to be Sergio Trujillo for the fantastic choreography displayed. It captures the mood of the underground movement of the time and always makes you want to dance along, with such infectious combinations and impressive tricks, executed brilliantly by the ensemble. Special mention goes to Alex Thomas, who was a stand out dancer in one of the few shows you would be allowed to stand out in the ensemble compared to the regimented choreography of other shows.
On ‘Memphis Lives In Me’:
“That soaring note at the climax is possibly the most moving moment in the whole show”
The performances of the supporting cast are just wonderful. Tyrone Huntley as Gator has the sweetest voice out of the whole cast, demonstrated in the beautiful ‘Say a Prayer’, featuring one of the best choral ‘swirls’ you’ll find this side of the Atlantic. Jason Pennycooke plays Bobby brimming with energy that you can’t help but smile at. Rolan Bell brings such a power to the role of Delray, with ‘She’s My Sister’ as a highlight. I have to say I wasn’t convinced by Claire Machin as Gladys and was not a fan of her rendition of ‘Change Don’t Come Easy’ but not every production is perfect.
Killian Donnelly
Speaking of perfect, that brings me onto our two leads. Beverly Knight is a sensation as Felicia with a voice that had me welling up every time she opened her mouth to sing. ‘Colored Women’ is her defining moment in the show, performing with such raw emotion and vulnerability. The MVP here though is Mr. Killian Donnelly as Huey Calhoun. The part has a very fine line between being a quirky, lovable character and becoming a cartoon and Donnelly manages to stay on the right side of that line, floating close enough to it to make him that much more lovable. He radiates charm as Calhoun that I’ve not seen since Zrinka Cvitesic in Once. I have heard ‘Memphis Lives In Me’ many many times since it was originally let loose on the world, yet Donnelly still manages to dig deeper and bring a tear to my eye and chill to my spine. That soaring note at the climax is possibly the most moving moment in the whole show. I’m sure I speak for the whole audience when I say the standing ovation at the end of the show was mostly for his mesmerising rendition of this modern classic.
Memphis is by no means perfect, but with the stellar choreography and infectious energy, added to first class leading performances, it is definitely worth a watch. Hockadon’t miss it!
IBU LANGOO 