BEAUTIFUL: THE CAROLE KING MUSICAL, Aldwych Theatre, Wednesday 18th February, 7.30pm

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.

Photo credits: Brinkhoff Moegenburg

MISS SAIGON, Prince Edward Theatre, Friday 13th February, 7.30pm

The heat is on! I see Miss Saigon for the second time since it was revived and it’s just as wonderful as I remember!

The Cast of Miss Saigon

Miss Saigon tells the story of Kim, a young girl orphaned by war. She takes a job with the seedy Engineer as a barmaid. She falls in love with an American GI, Chris, but the two are torn apart by the fall of Saigon. This epic love musical is set against the backdrop of the Vietnam War and is based on Puccini’s Madame Butterfly.

I was expecting great things from Miss Saigon, both times I saw it. The first time was two days after its press night, after hearing spectacular things about it and it lived up to the hype. I decided to return to see the cast before it changed over and because certain elements from my previous viewing were hazy. I was not disappointed.

“Whilst musically it’s not the most difficult score, it is more than epic”

Firstly, the design is spectacular. Totie Driver and Matt Kinley deserve a standing ovation for this spectacle of a set, with Bruno Poet’s lighting complimenting it perfectly. The big draw to Miss Saigon is, of course, the helicopter, which is executed very well. I remember from my first time seeing it that it was a little shaky, but that was early in the run so whatever the problem was then has obviously been fixed. It comes in so smoothly, a full size helicopter. I never saw the original production so this had a huge effect on me when I first saw this spectacular theatrical feat. Laurence Connor has told the story clearly with no messing about, his direction was highly suited to the production.

Eva Noblezada and William Tao

The score has become iconic since it’s premiere and is still as fresh as ever. Claude-Michel Schönberg has captured the sound of Saigon whilst keeping it Western enough for London audiences. Whilst fairly straightforward, it has its moments of complexity that are welcomed and applauded. Alain Boublil and Richard Maltby, Jr’s lyrics match the score to a tee, presenting this tragic love story elaborately. Whilst musically it’s not the most difficult score, it is more than epic and is draining to perform, so a very big well done to the cast.

On Eva Noblezada:

“One of the brightest young stars in musical theatre”

Here I saw a few understudies, which was welcomed, especially since I had seen the main cast before. The people I came to see were here so I was happy. I saw Dale Evans as Chris, a promising young performer with a pitch perfect voice. He portrays Chris with sincerity and passion in all the right places, matching that of Alistair Brammer. Kurt Kansley filled in as John, and whilst not reaching the power and intensity that Hugh Maynard does, he did a very good job holding his own. Ethan Le Phong fills in brilliantly for Kwang-Ho Hong as Thuy, bringing a fresh approach to the role. Rachelle Ann Go is fantastic as ever as Gigi, showing a great sense of vulnerability during her spotlight moment in ‘The Movie In My Mind’.

Jon Jon Briones

The two stars here are obvious, Jon Jon Briones as The Engineer and Eva Noblezada as Kim. Briones give so much energy to the character of The Engineer from the word go. You know the character is sleazy, but you love him anyway, which is because of Briones’ interpretation. He exudes comedy, but never overdoes it. He is a master of working the audience, best displayed in showstopper ‘The Ameican Dream’. Noblezada is perfect as Kim. She has a fragility to her performance that is absolutely necessary of the character, yet she is fierce when it is demanded. Noblezada has a voice that soars above all, especially for a girl of 18. As I said in my review of her performance in Georgia Stitt’s show, I hope she becomes as much of a sensation as Lea Salonga did before her as she more than deserves it as one of the brightest young stars in musical theatre.

So if you haven’t already seen the show, this needs to change and soon. Catch Eva Noblezada and Jon Jon Briones whilst you can (I would imagine the cast will change around May), because if this production heads to Broadway, which it should do, they will more than likely be going with it. It is equal balance substance and spectacle, which is rare in theatre nowadays, so get down to the Prince Edward ASAP!

Photo credits: Love Theatre, Michael Le Poer Trench, Matthew Murphy

Discuss and analyse salient trends in contemporary musical theatre

Discuss and analyse salient trends in contemporary musical theatre. Consider relevant social, political, historical and economical landmarks which may have affected concept, output and design. Target specifically, but not exclusively, material from and key practitioners involved in the two most recent decades, 2000 – 2013

Since 2000, theatre has developed in the way it is presented but also how it is absorbed. This is due to changing scenarios away from the theatre world, as well as the situations within the theatrical community.

On September 11^th 2001, a tragic terrorist attack hit the World Trade Centre in New York City. Never before had a tragedy of this calibre been seen. This struck fear into the lives of New Yorkers, visitors to the city and the whole world. Due to the fear that had overcome the population, any large scale event or building seemed in jeopardy, sports events, large churches and parents pulling their children out of large schools for fear of another attack. In an interview with Ian Evans (2014), a theatre producer that was living and working in New York at the time of the attack, who described it as “earth shattering”, I found out “9/11 temporarily destroyed Broadway. It was the most catastrophic thing to ever happen to musical theatre and it completely changed people’s attitudes towards it”. A huge amount of shows closed and it was years before audience levels for anything of a large scale of more than a couple of hundred people increased again. Eventually, every show, excluding The Phantom of the Opera did close. The reason that the hit musical Les Misérables eventually closed was because of its depressing story and nobody wanted to feel sad anymore. A lot of theatres shut down for months after the events of 9/11 and because Broadway thought it would never be able to pick itself up again, many theatres were torn down and new buildings erected in their place. “Eventually, out of that, came the feel-good shows such as Avenue Q”. When it opened two years after 9/11, the public were much more open for something new, particularly the comedy that Avenue Q brought with it. The influence of Broadway can be seen in London’s West End, with feel-good shows such as Avenue Q and The Producers having successful transfers, and other feel-good, familiar shows such as Mary Poppins (2004) regaining audiences and their faith in musical theatre (Evans, 2014). Even in all the tragedy that surrounded 9/11, there were some surprise successes, such as Urinetown. The musical was originally due to open on 13^th September 2001 but was forced to be pushed back to the 20^th September, and with the show being fairly unknown and featuring dark subject matter, producers were unsure if the show would survive. However, from the week beginning 30^th September, Urinetown was receiving above 90% attendance and in the same week made $220,875. The show was a surprise hit and had a very successful run, closing in January 2004 and winning three Tony Awards for Best Book, Best Score and Best Direction from ten nominations (IBDB, 2014 online).

A huge trend in recent years is musicals based on motion pictures. Whilst many have been created, there have been varying amounts of success. The Producers, with book, music and lyrics by Mel Brooks, made its Broadway debut in April 2001 (IBDB.com, 2014 online). It was based upon the 1967 film of the same name, which Brooks wrote and directed (IMDB.com, 2014 online). This musical version stayed true to the intentions of the film, because both had the same creative team. It was a huge success both commercially and critically, earning over $52 million in the 2001-2002 season, with all weeks being above 97% capacity, excluding the week after the 9/11 terrorist attacks (IBDB.com, 2014 online). It was hailed by critics, with Ben Brantley saying he would be “hard-pressed to choose one favorite bit from the sublimely ridiculous spectacle that opened last night” (nytimes.com, 2001 online). The show also holds the record for the most Tony Awards won by a show, play or musical, winning 12 out of 15 nominations due to multiple acting nominations in one category, therefore winning the most possible awards (playbill.com, 2001 online). The show had a very successful run, closing 6 years later in April 2007 after 2502 performances (IBDB.com, 2014 online). The Producers being a prime example of a successful musical based on a successful film. There are musicals that use films as their stimulus that have not been well received by both critics and audiences, such as David Yazbek and Jeffrey Lane’s 2010 musical Women On the Verge of a Nervous Breakdown, based on Pedro Almodovar’s 1988 film of the same name. Commercially it wasn’t a great success, rarely surpassing 80% attendance at the Belasco Theatre and only lasting for 69 performances (IBDB.com, 2014 online). The general critical consensus was that the production featured a talented cast of stars such as Patti LuPone, Laura Benanti and Brian Stokes Mitchell, but the material was less talented and that the film shouldn’t have been made into a musical. Eric Haagensen of Backtage.com states:

The material’s resistance to musicalization is most evident in the pages of dialogue dominating the second half of Act 2 and the short, anticlimactic song that ends the show with a whimper. Ultimately, the lack of a defining purpose keeps “Women” perpetually on the verge of success (backstage.com, 2010 online)

Reviews aside, the show still received three Tony nominations, with Yazbek being nominated for Best Original Score and both LuPone and Benanti receiving nominations for Best Performance by an Actress in a Supporting Role in a Musical. (IBDB.com, 2014 online).

One of the most obvious changes is the styles of music that are being performed. In 2000, Aida by Elton John and lyrics by Tim Rice made its Broadway debut. The score features a wide range of genres, but overall the score could be classed as pop, similar to what John is most widely known for. The song ‘Another Pyramid’ is a reggae infused song whilst ‘My Strongest Suit’ shows influence from the unique Motown style. Throughout the score, influences from African music can be heard, similar to that of Hans Zimmer’s music in John and Rice’s 1994 film and 1997 Broadway musical The Lion King. Hairspray (2003) showcases Marc Shaiman and Scott Wittman’s 1960’s influenced score, owing to the setting of the musical. A brief observation of the score demonstrates a historically accurate musical representation of the period, featuring popular music genres of the time. These include rhythm and blues in ‘Big, Blonde and Beautiful’, with ‘(You’re) Timeless to Me’ showing off a swing rhythm Motown influences can be heard in ‘Run and Tell That’ along with doo-wop in ‘Welcome to the 60’s’ and surf music in ‘The Nicest Kids in Town’. Similar to what Hairspray did with 1960’s music, Memphis (2010) written by David Bryan and Joe DiPetro did the same thing with the 1950’s. The musical is about the ‘black’ music of the time, which is incorporated into the score, with rhythm and blues and Motown influences being heard, particularly in ‘Memphis Lives in Me’ and ‘Everybody Wants to Be Black on a Saturday Night’ respectively. Many musicals of recent years have presented pop based scores such as Taboo (2002), The Wedding Singer (2006), Shrek the Musical (2008) and Kinky Boots (2013), with Jason Bourne, composer of Loserville (2012), stating in Kate Youde’s article, “If you look at Wicked and the new musicals coming out, the ones that are really working are the ones that are more pop” (independent.co.uk, 2011 online). Urinetown (2001) features a highly diverse score that “ranged from direct homages to Threepenny Opera to traditional ballads to hymns, gospel, Back and the B-52s” (Miller, 2007:219). This is an example of pastiche, a technique that references, imitates and parodies previous works. Pastiche has been used widely in 21^st Century musical theatre, mainly as a tool for familiar comedic effect, tying in with how 9/11 affected musical theatre. The Producers constantly uses pastiche with the score making references to ‘golden age’ Broadway throughout, for example, the song ‘Springtime For Hitler’ has similarities to ‘June Is Bustin’ Out All Over’ from Rodgers and Hammerstein’s Carousel (1945) and ‘We Can Do It’ has similarities to ‘If My Friends Could See Me Now’ from Sweet Charity (1966), which matches up with its 1959 setting (IBDB.com). Avenue Q (2003) by Robert Lopez and Jeff Marx, which both in story, setting and score are heavily influenced by and referencing television show Sesame Street through the use of pastiche in the score. The score features “twinkly songs, unfailingly tuneful and disgustingly irresistible” directed at audiences that were “weaned on the small screen, and specifically on the educational antics of friendly anthropomorphic teachers like Big Bird and Cookie Monster” (nytimes.com, 2003 online). A non-comedic example of pastiche is the Broadway production of Adam Guettel’s The Light in the Piazza (2005). Unlike the pop-infused music being heard on Broadway at the time, the score of The Light in the Piazza is highly Neoclassical along with Romantic influences. A vast majority of the score is sung in Italian and ‘broken English’, due to the setting and characters of the piece, giving it operatic elements. John Simon of New York Theater says of the score:

But the music, though fluctuating between the Sondheimesque and offbeat but still Broadwayish and the art-songlike and even operatic, is steadily absorbing, even if only intermittently melodious. One duet, “Let’s Walk,” is an unqualified hit, but the rest, without fully cohering, is also arresting. It is—to offer a classical parallel—as if a world weaned on Brahms were suddenly confronted with Schoenberg (nymag.com, 2005 online)

An example of more recent pastiche can be heard in satirical musical The Book of Mormon (2011). Similar to The Producers, the score parodies existing Broadway musicals with ‘You and Me (But Mostly Me)’ talking influence from ‘The Wizard and I’ for Wicked (2003) and ‘I Just Can’t Wait to Be King’ from The Lion King (1997) coming through in ‘Hasa Diga Eebowai’.

It is believed that new musicals will only be successful if based upon already existing stories, with Sir Tim Rice saying “I’m wondering if there’s any market out there for musicals that aren’t revivals, or jukebox musicals, or based on a recent hit film or something. It’s difficult” (bbc.co.uk, 2014 online).  In the last six years, the economic state of the UK in particular has not been great. The country is in a recession and many cuts have been made from many types of government funding, including the arts. This has not stopped mass productions such as Charlie and the Chocolate Factory from being made so it is possible that it isn’t having as much of a negative effect. However, relating back to Rice’s quote, the show is fairly well known and based on a popular film and children’s story therefore having the potential for success, which it has been, setting the record for weekly gross sales, taking in £1,080,260 in the week beginning 30^th December 2013 (thestage.co.uk, 2014 online). Contrary to Charlie and the Chocolate Factory, Rice’s most recent musical From Here to Eternity is due to close at the end of March, ending its run just shy of seven months. This may be on board with what Rice is saying about the musical not being based on a “recent hit film” but an older, less well known film.

In recent years, particularly in the West End, jukebox musicals have risen in popularity and are pulling in large audiences. A jukebox musical uses previously existing music of a certain theme, in most cases popular music from one artist. Because of the music already existing, some critics believe this removes a lack of focus on the story, with Chris Jones, talking about the Johnny Cash musical Ring of Fire (2006) that the “musical sidesteps the story in favor of the songs” (chicagotribune.com, 2014 online). Some jukebox musicals tell the story of the artists involved, such as Jersey Boys (2005) with Brantley stating the musical’s “straightforward biographical approach is a relief” compared to non-biographial jukebox musicals (nytimes.com, 2005 online). Whilst jukebox musicals have existed on stage since the 1970’s, the rise in popularity began around the time Mamma Mia! (1999) based upon the music of ABBA, hit the London stage. Since then, the West End has seen shows such as We Will Rock You (2002) based on the music of Queen, Thriller – Live (2006) based on the music of Michael Jackson and Viva Forever! (2012) based on the music of The Spice Girls. Broadway has seen The Boy From Oz (2003) based on the life and music of Peter Allen and Rock of Ages (2006) using 1980’s glam rock among others. Jukebox musicals tend to have a varying amount of success both critically and financially. Rock of Ages on Broadway, was both a commercially success that is still running, and critically acclaimed, with David Cote calling it “insanely fun” and a show that features “tribute rock and broad comedy reinforcing one another in perfect proportion” (timeout.com, 2009 online). Viva Forever! in the West End was quite the opposite. The show was panned by critics with Tim Walker saying “This show is not just bad, it is definitively, monumentally and historically bad” (telegraph.co.uk, 2012 online), and it closed after 7 months with a reported loss of £5 million (dailymail.co.uk, 2013 online).

Instead of showcasing entirely new musicals, revivals of already existing shows are constantly being produced, some staying true to the intentions of the original production with others completely changing how its performed, called ‘revisals’. One of the most prolific revisal directors is John Doyle, who helmed the 2004 production of Sweeney Todd and the 2006 production of Company, both featuring actor musicians as the cast who doubled as the orchestra to great acclaim, receiving the Tony Award for Best Direction of a Musical for Sweeney Todd, as well as Company gaining the award for Best Revival of a Musical. In 2009 he also directed a new darker version of Rodgers and Hammerstein’s Oklahoma!, with new orchestrations by Jonathan Tunick, to positive reviews, with Lyn Gardner stating “Doyle’s spare approach renders this as a bittersweet, almost Chekhovian experience exploring the nature of identity, the loss of innocence and a society on the brink of change” (theguardian.com, 2009 online). Another example of a revisal is the 2013 Broadway production of Pippin. Whilst staying true to Bob Fosse’s original choreography, reworked by Chet Walker, the cast was made up of acrobats performing stunts throughout the show. Another change was the character of the Leading Player, normally a male part originated by Ben Vereen in 1972. The character for the first time professionally was played by a female, Patina Miller reinventing the role to great acclaim, receiving a Tony award for her performance (IBDB.com, 2014 online). Whilst there are always musicals being revived, it seems as though the chosen musicals all come from the same period or composers, whilst some musicals remain untouched. For example, Frank Loesser’s Guys and Dolls made its Broadway debut in 1950 and has been revived a further five times on Broadway, with Loesser’s The Most Happy Fella receiving three revivals yet one time longest running Broadway musical A Chorus Line (1975) has only received one revival on Broadway and another long running musical The Magic Show (1974) has yet to be revived. (IBDB.com, 2014 online). The fact that similar shows are being revived could give the idea that audiences don’t want to see anything new as Rice mentioned (see page 6) as well as Stephen Sondheim mentioned in a 2000 interview, claiming “You have two kinds of shows on Broadway – revivals and the same kind of musicals over and over again, all spectacles” (nytimes.com, 2000 online).

Within the last decade in particular, standalone songs have become increasingly popular. These are songs that are in a musical theatre style or from a musical theatre composer, but not from a show. These songs are often seen performed at cabarets. Some prolific examples of standalone composers are Scott Alan, Jonathan Reid Gealt and Drew Gasparini. Similar to ‘traditional’ musical theatre songs, standalones normally feature a narrative that tells a story, but the only context the performer would need to know can be found in a song, compared to a whole musical.

The themes that have been used in original shows of recent years are a trend, with many shows falling into many categories. Some of the most widely used themes are homosexuality, race, sex, religion and female empowerment through the use of strong leading female characters. Avenue Q is a prime example of many of these, excluding female empowerment and religion. The musical touches on many subjects and portrays them as comedy to help the audience understand them with more ease. For example, the song ‘If You Were Gay’ talks about how open a character is about homosexuality, rather than the positives and negatives of being homosexual. The song ‘Everyone’s a Little Bit Racist’ touches on the subject of race but portrays it as something everyone does without realising, therefore opening the eyes of the audiences. Some examples of positive feminism are apparent in Wicked (2003) which subtly features references to racism because of Elphaba’s peer’s disgust and mockery of her green skin, which evidently turns her into a strong willed female. Another is Matilda the Musical (2012) which is quite the opposite of Wicked in the fact it is a little girl compared to a grown woman. Méabh McDonnell called the character of Matilda an “empowered, psychic, independent genius” in an article titled “Matilda: A Role Model for Life” and the show is ever appealing to younger audiences who can relate to the role model McDonnell is referring to (wordpress.com, 2012 online). The 2013 revival of Pippin is an example of a strong female lead, taking what was originally a male role and keeping the masculinity to the role, even being played by a female. David Rooney of The Hollywood Reporter states that “Despite the gender flip, Miller (Sister Act) adheres to the model of original Leading Player Ben Vereen” (hollywoodreporter.com, 2013 online).

The film musical used to be one of the most popular forms of entertainment in the early days of ‘talking pictures’ but it faded out over the years. However, in 2001 Baz Luhrmann released Moulin Rouge! to great success. Roger Ebert of the Chicago Sun-Times described it as “all color and music, sound and motion, kinetic energy, broad strokes, operatic excess” (rogerebert.com, 2001 online) and the film went on to be nominated for Best Picture at the Academy Awards, the first musical film to be nominated for Best Picture since 1991’s Beauty and the Beast. The following year, a film adaption of 1975 musical Chicago was released to similar acclaim with Tim Robey calling it “the best screen musical for 30 years” (telegraph.co.uk, 2002 online). The film went on to win the Academy Award for Best Picture. Since then, more and more musicals have been adapted to film including The Producers (2005), Dreamgirls (2006) and Sweeney Todd (2007) along with Into the Woods and The Last 5 Years which are currently in production.

In the past, most ‘stars’ of the stage would have trained at a drama school, auditioned for a role and launched their career from there. Since television talent contests such as The X Factor and Britain’s Got Talent have had an increasing popularity, Andrew Lloyd Webber has used this to his advantage to gain publicity and find a ‘star’. In recent years, Lloyd Webber has been less active as a composer, with only three original scores since The Beautiful Game (2000), and more active as a producer. With his company the Really Useful Group, Lloyd Webber has put on productions of his own work as well as others work, such as Rodgers and Hammerstein’s The Sound of Music. To find an actress to play Maria, Lloyd Webber launched BBC talent show How Do You Solve a Problem Like Maria? in 2006. Lloyd Webber featured on the show as a judge and successfully found Connie Fisher to play Maria in his production through the general public giving her the most votes. Since the format was a success, it spawned alternate versions. In 2007, Any Dream Will Do showed the search for the lead in Joseph and the Amazing Technicolor Dreamcoat, with I’d Do Anything in 2008 attempting to find a Nancy and three young boys to play the title character revival of Oliver!, followed by Over the Rainbow, the search for a Dorothy for the 2011 revival of The Wizard of Oz. 2012 saw a move to ITV for Superstar as Lloyd Webber started looking for the lead character for UK arena tour of Jesus Christ Superstar. It appears that there might not be a follow up series to Superstar as Lloyd Webber has now said “I don’t really want to do one for another stage show” (dailymail.co.uk, 2012 online).

The year of 2012 was a big year for Great Britain, for Queen Elizabeth II’s Diamond Jubilee and the hosting of the Summer Olympic Games. However, musical theatre hasn’t seen much based on these two huge events. In terms of straight plays, early 2013 say the premiere of The Audience in which Dame Helen Mirren led as Queen Elizabeth II. Prior to the Olympic Games, television series Twenty-Twelve was broadcast. In musical theatre there is the argument that by the time a huge production based around any event such as the Olympics made its way to the stage that, it will have lost its main ‘buzz’ and would have a limited lifespan. In the example of responses to 9/11, William Finn’s Elegies didn’t make its debut until 2003.

The ‘golden age’ of musical theatre has passed, with Sondheim stating “You can’t bring it back. It’s gone. It’s a tourist attraction” (nytimes.com, 2000 online). But this does not mean that musical theatre is a dead medium. Musicals such as Urinetown and Avenue Q are constantly breaking new ground and as long as there is an open stage, there will be innovators to produce something for that stage.

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IBDB.com. (2001-2014). Weekly Grosses for Urinetown – 2001-02 Season. Available: http://www.ibdb.com/grosses/index.php?id=12936&season=2001-02. Last accessed 17th Mar 2014.

IBDB.com. (2001-2014). Weekly Grosses for Women On the Verge of a Nervous Breakdown – 2010-11 Season. Available: http://www.ibdb.com/grosses/index.php?id=488085. Last accessed 16th Mar 2014.

IBDB.com. (2001-2014). Women On the Verge on a Nervous Breakdown. Available: http://www.ibdb.com/production.php?id=488085. Last accessed 16th Mar 2014.

IMDB.com. (1990-2014). The Producers. Available: http://www.imdb.com/title/tt0063462/. Last accessed 16th Mar 2014.

Jones, C. (2014). Johnny Cash musical sidesteps the story in favor of the songs. Available: http://articles.chicagotribune.com/2014-03-10/entertainment/chi-ring-fire-review-20140310_1_johnny-cash-ring-cash-fans. Last accessed 16th Mar 2014.

Lefkowitz, D. (2001). Record 12 Tony Awards for Producers; Proof, Cuckoo’s Nest & 42nd St. Tops Too. Available: http://www.playbill.com/news/article/60592-Record-12-Tony-Awards-for-Producers-Proof-Cuckoos-Nest-42nd-St-Tops-Too. Last accessed 16th Mar 2014.

Miller, S (2007). Strike Up the Band: A New History of Musical Theatre. New Hampshire: Heinemann. 219.

McDonnell, M. (2012). Matilda: A Role Model For Life. Available: http://meabhchildhoodreads.wordpress.com/2012/01/16/matilda-a-role-model-for-life/. Last accessed 16th Mar 2014.

Pogrebin, R. (2002). How Broadway Bounced Back After 9/11; But Downtown Theater Lacked the Right Ties . Available: http://www.nytimes.com/2002/05/22/theater/how-broadway-bounced-back-after-9-11-but-downtown-theater-lacked-the-right-ties.html. Last accessed 17th Mar 2014

Rich, F. (2000). Conversations with Sondheim. Available: http://partners.nytimes.com/library/magazine/home/20000312mag-sondheim.html. Last accessed 18th Mar 2014.

Robey, T. (2002). The jailhouse rocks. Available: http://www.telegraph.co.uk/culture/4729504/This-jailhouse-rocks.html. Last accessed 16th Mar 2014.

Rooney, D. (2013). Pippin: Theatre Review. Available: http://www.hollywoodreporter.com/review/pippin-theater-review-446676. Last accessed 16th Mar 2014.

Simon, J. (2005). Everything Is Illuminated. Available: http://nymag.com/nymetro/arts/theater/reviews/11817/. Last accessed 16th Mar 2014.

Walker, T. (2012). Viva Forever!, Piccadilly Theatre, review. Available: http://www.telegraph.co.uk/culture/theatre/theatre-reviews/9756534/Viva-Forever-Piccadilly-Theatre-review.html. Last accessed 16th Mar 2014.

Wootton, D. (2012). No second coming for Superstar after two weeks of bad ratings for Andrew Lloyd Webber’s new show Read more: http://www.dailymail.co.uk/tvshowbiz/article-2179559/Superstar-No-second-series-bad-ratings. Available: http://www.dailymail.co.uk/tvshowbiz/article-2179559/Superstar-No-second-series-bad-ratings-Andrew-Lloyd-Webbers-show.html. Last accessed 17th Mar 2014.

Youde, K. (2011). Pop goes the musical. Available: http://www.independent.co.uk/arts-entertainment/theatre-dance/news/pop-goes-the-musical-2226779.html. Last accessed 16th Mar 2014.

Further Reading

Brooks, M. (2001) The Producers (Original Broadway Cast Recording) [Audio recording on CD], New York City: Sony Music

Bryan, D. DiPetro, J. (2010) Memphis: A New Musical (Original Broadway Cast Recording) [Audio recording on CD], New York City: Rhino Records

Guettel, A. (2005) The Light In the Piazza (Original Broadway Cast Recording) [Audio recording on CD], New York City: Nonesuch Records

John, E. Rice, T. (2006) Aida (Original Broadway Cast Recording) [Audio recording on CD], London: EMI

Lopez, R. Marx, J. (2003) Avenue Q (Original Broadway Cast Recording) [Audio recording on CD], New York City: RCA Victor Broadway

Lopez, R. Parker, T. Stone, M. (2011) The Book of Mormon (Original Broadway Cast Recording) [Audio recording on CD], New York City: Ghostlight Records

Shaiman, M. Wittman, S. (2002) Hairspray (Original Broadway Cast Recording) [Audio recording on CD], New York City: Sony Classical

CITY OF ANGELS, Donmar Warehouse, Thursday 5th February 2015, 7.30pm

One of the acknowledged great musicals of the 20th Century returns to London at the Donmar Warehouse and it soars!

Hadley Fraser

City of Angels tells to story of writer Stine and his creation, private investigator Stone. Stine has been commissioned to write a screenplay for the film adaptation of his Stone’s story, but the studio executives keep interfering and making changes, much to Stine’s annoyance. The musical weaves the plots of the colourful real world of Stine and the black and white film with Stone, with Stine trying to keep the worlds separate but sometimes blurring the line between the two.

“Powerful, joyous, light, dark, the score has everything you could want in a musical”

This is one of the most ingenious productions I have ever seen. I have never managed to see anything at the Donmar before (except the cinema broadcast of Coriolanus) and my expectations for the space were more than surpassed. Even sat right round the edge of the Circle, I still managed to get the full experience of the production. Every member of the creative team should be applauded as everything ran so smoothly. However most of the praise must go to lighting director Howard Harrison and director Josie Rourke. There is never a moment where you question which world you are in, you always know exactly what is happening. When the two worlds begin to collide in ‘You’re Nothing Without Me’, with Stone and Stine fighting for space of the stage, the lighting to show the two worlds is brilliant. This is possibly the best sequence in any show I’ve ever seen.

Tam Mutu and Hadley Fraser

Cy Coleman’s score is wonderfully complex. Heavily jazz influenced, it is one of the most difficult vocal scores I have ever come across. It has some incredibly tight harmonies that could go wrong with just the slightest mix up, and it is performed to perfection, particularly by the Angel City 4 quartet of vocalists. Powerful, joyous, light, dark, the score has everything you could want in a musical. The lyrics by David Zippel are hilarious, witty and sharp to match both the eclectic score and the laugh-a-minute book by Larry Gelbart.

“From the second he opens his mouth, you realise Mutu was born to play Stone”

The cast is perfect from the leads down to the smaller roles. Samantha Barks is beautiful as Mallory/Avril, channeling Marilyn Monroe crossed with Jessica Rabbit in her solo number ‘Lost and Found’. Peter Polycarpou makes a fantastic studio executive that keeps the laughs coming with his quick delivery. Rosalie Craig is excellent as Gabby/Bobbi, with her rendition of ‘Every Breath You Take’ being one of many highlights in the show. Rebecca Trehearn works wonders with whoever is onstage as Donna/Oolie. Hadley Fraser is a Stine for the ages, adding his own flavour to this great role, both self-contained and expressive at once.

Tam Mutu (foreground), Kadif Kirwan and Marc Elliot

As great as the entire cast is, the show belongs to Tam Mutu. From the second he opens his mouth, you realise Mutu was born to play Stone. He embodies the character, including the dry humour and wit that comes with it, and by gosh can he sing. He looks like Stone, he sounds like Stone, he is Stone. He is going to be great on Broadway as the title character in Dr. Zhivago, but I hope he returns to the UK soon so we can witness more of his sheer brilliance.

It’s a crying shame that this production has to end its run, but I would be incredibly shocked and surprised if it didn’t get a West End transfer, especially from how popular it was. Keep your eyes peeled for the resurrection of this classic and definitive production because if it does return, tickets will sell out fast.

Photo credits: The Guardian, The Standard

JOE ICONIS: LIVE IN LONDON, The Bridewell Theatre, Wednesday 4th February 2015, 7.30pm

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

WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN, Playhouse Theatre, Saturday 10th January 2015, 7.30pm

Originally posted on 12th January 2015 via Tumblr

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!

Photo credits: The Independent, The Guardian

BAT BOY: THE MUSICAL, Southwark Playhouse, Saturday 10th January 2015, 3.00pm

Originally posted on 11th January 2015 via Tumblr

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

THE SCOTTSBORO BOYS, Garrick Theatre, Saturday 18th October 2014, 2.30pm

Originally posted on 31st October 2014 via Tumblr

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.

Photo credits: Johan Persson

MADE IN DAGENHAM, Adelphi Theatre, Monday 27th October, 7.30pm

Originally posted on 29th October 2014 via Tumblr

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!

Photo credits: Roy Tan, Love Theatre

MY LIFELONG LOVE: AN EVENING WITH GEORGIA STITT AND FRIENDS, Garrick Theatre, Sunday 26th October 2014, 7.30pm

Originally posted on 27th October 2014 via Tumblr

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