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
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.
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!
As a self-proclaimed theatre geek, I knew I would enjoy Forbidden Broadway. I did not expect to be crying with laughter at the sometimes scathing parody phenomenon.
Anna-Jane Casey, Damien Humbley, Ben Lewis and Christina Bianco
For those unfamiliar with the Forbidden Broadway franchise, it began Off-Broadway in 1982 as the brainchild of Gerard Alessandini. The cabaret revue parodied Broadway musicals of the time and has since been rewritten many times to keep up with changing theatre trends. It has also spawned a wide range of cast recordings, most recently Forbidden Broadway Comes Out Swinging! earlier this year. As well as musicals, it parodies theatre personalities; actors, composers and producers. This production tended to be focused on current and upcoming West End shows, with a few exceptions towards certain ‘classic’ shows and people.
“All of them are versatile performers with excellent comedic timing”
Transferred from the tiny Menier Chocolate Factory to the cosy Vaudeville Theatre, the staging was fairly simple. Surrounded by sparkling ribbons with a stage featuring nothing more than an upstage left grand piano, played fantastically by Joel Fram, and mobile microphone stands, it works perfectly for the piece. It doesn’t distract from the performers and the content, which is totally necessary for a parody cabaret.
Anna-Jane Casey, Ben Lewis and Damien Humbley
Among the copious amounts of parodies, we see Matilda (Trunchball as a producer singing “Exploiting Children”), Miss Saigon (an extended sequence culminating in Cameron Mackintosh describing how to make the “Americans Cream”) and The Book of Mormon (Matt Stone and Trey Parker describing how they destroyed Broadway). We also see jabs at certain people such as Stephen Sondheim (the conducting of an audience sing along of “Into the Words” to prove that his music is melodic) and Robert Lindsay (“Dirty Rotten Star” addressing stunt casting). The act 1 finale parodies Les Miserables amazingly well, mostly in relation to the length of the show and the revolve, having the actors try to jump onto it but are then constantly rotating around the stage. The parody of Once contained my favourite line of the night (“My ovaries are aching with Eastern European joy”) as well as a cast corpsing when the only offstage actor abruptly appeared on stage to scream “POTATO” in an Irish accent. I was alerted that the actors are allowed to play around with the material to keep is fresh and I believe this was a perfect example of that.
On Christina Bianco:
“It is impossible to take your eyes off of her”
The casting of this show is nothing short of perfection. All of them are versatile performers with excellent comedic timing. Anna-Jane Casey does a fantastic Liza Minnelli, Elphaba and Frankie Valli. Ben Lewis struts his stuff as a convincing Hugh Jackman and Robert Lindsay. Damien Humbley, who I loved in Merrily We Roll Along, does everyone from the Phantom to Miss Trunchball to Mandy Patinkin and seems to glide through them all with ease.
Christina Bianco
However, the star of the show is undoubtedly Christina Bianco, YouTube sensation and Off-Broadway Forbidden Broadway alum. Watching her stomp onstage as Matilda Wormwood was just the start of her impeccable performance. Her first big solo moment comes in the form of a spot on Kristin Chenoweth impersonation as she deliberates whether to go back to Broadway of do “One Night With…Diva” shows. She also does an incredible Idina Menzel impression, with the lyrics addressing her singing style, saying to just “Let It Blow” and follows that up with an uncanny appearance as Bernadette Peters. Either with Bianco on stage alone or with her cast mates, it is impossible to take your eyes off of her. I hope the London stage gets to see much more of her.
Whilst everyone might not understand every single reference, there is something for everyone in this show, even if you’re not familiar with any of the shows I just mentioned. It is a great shame that this show cannot be as constant as it is in America as I’d love to see how it grows and updates with the changes in the West End. There is less than a month left of this brilliant revue, so catch it whilst you can!
IBU LANGOO 