Our final post of the evening, possibly of 2010. More lovely toooooons, we find it so hard to choose and our favourites change with our mood. So here are some more for your delectation.
'Tell me on a Sunday' from Song & Dance
From the Marvellous 'Song and Dance' by our favourite composer, ALW. One of those songs that takes you off to the land of love and loss, and has had us sobbing big blobby tears. But it's beautiful and a stroke of purest genius, with great lyrics and everything. Much loved. Though think we need something more up beat next...
Dare you not to get teary eyed....
"If you were gay" Avenue Q
"If you were gay- that'd be OK!".....the best rhyme in musical theatre history, followed closely by ..."If you were queer......I`d still be here!" Oh this song is deep. And love it we do. And it's message of acceptance for all. Right on.
Puppets rule.....
"Defying Gravity" Wicked
We suppose this song had to come in there somewhere. Wicked is popular for a reason. It has some cracking songs. The story might be shaky, it might draw in a crowd of angsty teenage girls and appeals to the community Avenue Q (and we!) support, but there is no denying this song needs to be experienced to be believed. It is grand, powerful, and mind blowing when done properly. The performance featured here is not that performance, but we couldn't find another. Regardless, and you have to trust us, 'Defying Gravity' is a belter. Please sing along to it for maximum effect.
It's good to be green.
"Til I hear you sing" Love Never Dies
Ok, Ok... we are a tiny bit partial to Love Never Dies, and the golden voice of Mr Karimloo, but as it is our newest, favouritest song it had to be included in our shiny new list. "Til I hear you sing" has us in 2 minds when we see the show now.....WE LOVE the fact that it opens the show, as it is so utterly fantastic, but it also saddens us when its over so soon. Thank goodness for the reprises, of which there are MANY. Our hearts break a little more each day as we get closer to March 5th and the impending emmigration of the dimpled genius. Sad times. Til we hear him sing once more.
Couldn`t help ourselves.
"All That Jazz" Chicago
Who hasn't wanted to be Roxy? Or Velma? We aren't proud. we've wanted to be both of them. We also wish we could sing and dance like Catherine Zeta Jones. Why do some people get the talent as well as the pretties? It's not fair!!!! But we comfort ourselves with the fact that we think we're NICE PEOPLE. Not that we're saying she isn't. She probably is, but we hate her. Love the song though.
Rouge those knees!!!
"Waltz for Eva and Che" Evita
The moment we started listening to this we both, magically, burst into song and gave a word-perfect rendition of this amazing tune. So we don't really rate Madonna. No reason to go on about it, the song is magificent. 'Evita' is magnificent, and we find it quite difficult to limit ourselves to just one tune from this wonderful musical.This list could soon turn into an homage to the genius that is Lord ALW. We love him.
A musical row...
"Empty Chairs at Empty Tables" Les Miserables
THIS is how a song is sung. The wonder that is Michael Ball is the original and the best. No one comes close to his rendition of this song. No one. This song needs a set. An empty set. Or at least an empty chair. This was the only part of the tour staging we hated - not a chair or table in sight. Not good. And we are not suckers for realistic theatre, but seriously, come on........
Oh my friends......watch and cry.
The marvellous Mr Ball (again)
"Send in the Clowns" A Little Night music
On the whole we aren't huge fans on Stephen Sondheim. Not because we don't think he's a clever composer, not at all. We just think that HE might think he's a clever composer, and thats what we don't care for much. No one likes a clever clogs. This song, from 'A little night music' is heart breaking. Judi Dench might not be the greatest singer in the world, but this performance packs an emotional punch that floors you. There is nothing like a Dame.
Not exactly funny ha-ha, despite the title...
"I Know Where I've Been" Hairspray
Gosh, that took some thinking. This song is an anthem, and sounds at it`s best live (preferably sung by Sandra Marvin) but this was the best we could do.... and we still wish we were big, blonde and beautiful with a voice like hers.
Do you know where you`ve been?
"A Piece of Sky" Yentl
This song is so appropriate for New Years Eve. It leaves you feeling you can achieve anything. You can do anything. You can be whatever you want to be and the sky is the limit. Sometimes it's good to be reminded of these things and Auntie Barbra in 'Yentl' does it with aplomb. That last note is to die for. Not everyones' cup of tea, this musical, we know. But it leaves our hearts soaring and ready to face head on whatever we need to tackle. Like the washing up, for instance. Seriously though, what a beauty.
We're flying...
So there you go. A new extended remixed list. We're sure it won't be the last. Until next year musical chums....
Friday, 31 December 2010
Thursday, 30 December 2010
New Years' Review
It's that time of year. Contemplation of the year that has gone by and speculation over what will happen in the new one. Always a time of great promise, something us fairies love. We were thinking back over some of our theatrical highlights this year, and thought it best to list them if only to ensure we spread our theatrical wings a bit further in the future. Not that we can complain, BUT we have noticed a tendency to stick to what we love, and revisit shows we love and adore, sometimes missing out on the chance to fall in love with something new. But hell, if you spend £50 on a ticket, you might as well know you're enjoyment is guaranteed!!!! So here it comes (not in chronological order)....
Our Theatrical Escapades for 2010!!!!!
Les Miserables, Queens Theatre, London (Approximately 3 times but we're not counting)
Les Miserables On Tour (Southampton and Barbican) x2
Les Miserables 25th Anniversary Concert at the O2
Apollo Victoria 80th Birthday Gala
Chess, On Tour (Southampton)
Wicked, Apollo Victoria, London x4
The Fantasticks, Duchess Theatre, London
Flashdance, Shaftesbury Theatre, London
Hairspray On Tour (Southampton)
Tapdogs, Novello Theatre, London
Mamma Mia, Prince of Wales Theatre, London (never again)
Love Never Dies, Adelphi Theatre, London x4
Phantom of the Opera, Her Majestys theatre, London x2
The Rivals, Theatre Royal, Haymarket (first half...)
Sweet Charity, Theatre Royal, Haymarket
Avenue Q, Gielgud, London x2 (and sadly missed)
West End Live, Leicester Square, London
Priscilla Queen of the Desert, Palace Theatre, London
Passion, Donmar Warehouse, London
Rudolph - An affair Mayerling, Vienna (On DVD, granted, but after 2.5 hours of torture we lived it in real technicolour)
Oliver, Theatre Royal, Drury Lane
We Will Rock You, The Dominion Theatre, London
Hair, Gielgud, London
Stomp, Ambassadors Theatre, London
Death of a Salesman, Gate Theatre, Dublin
The Crucible, Open Air Theatre, Regents Park, London
What this list tells us, now we see it in all it's glory, is that as much as we love a good tune, we need to see more straight theatre. Saying that, out of the three non-musical productions we saw we walked out of one. Not a good batting average (but they were free tickets and we did have lots of catching up to do) but we are willing to give them a go. Serious theatregoers that we are.
Plus we are habouring a not so secret plan to hit Broadway as only we can, and possibly even a european destination at some point, which would naturally include a theatrical interlude of some description, because we are like that. And we will be sharing the details with you when that happens, naturally.
Planned visits for 2011 thus far are:
Les Miserables
Jersey Boys
Avenue Q Tour (Brighton)
Chess Tour (Southend)
We will Rock You (only to see Lord Earl as Kashoggi)
Billy Elliot
Chicago
Lion King
Sweeney Todd (Chichester - hopefully...)
Love Story
Love Never Dies (bien sur)
Something, somewhere starring the lovely Drew Sarich - even if we have to go to the goddamn continent....
And loads on old BROAD.....WAAAAAAAAYYYYYYY!!!!!!
Happy New Year!!!!!!!!!!!!!
Our Theatrical Escapades for 2010!!!!!
Les Miserables, Queens Theatre, London (Approximately 3 times but we're not counting)
Les Miserables On Tour (Southampton and Barbican) x2
Les Miserables 25th Anniversary Concert at the O2
Apollo Victoria 80th Birthday Gala
Chess, On Tour (Southampton)
Wicked, Apollo Victoria, London x4
The Fantasticks, Duchess Theatre, London
Flashdance, Shaftesbury Theatre, London
Hairspray On Tour (Southampton)
Tapdogs, Novello Theatre, London
Mamma Mia, Prince of Wales Theatre, London (never again)
Love Never Dies, Adelphi Theatre, London x4
Phantom of the Opera, Her Majestys theatre, London x2
The Rivals, Theatre Royal, Haymarket (first half...)
Sweet Charity, Theatre Royal, Haymarket
Avenue Q, Gielgud, London x2 (and sadly missed)
West End Live, Leicester Square, London
Priscilla Queen of the Desert, Palace Theatre, London
Passion, Donmar Warehouse, London
Rudolph - An affair Mayerling, Vienna (On DVD, granted, but after 2.5 hours of torture we lived it in real technicolour)
Oliver, Theatre Royal, Drury Lane
We Will Rock You, The Dominion Theatre, London
Hair, Gielgud, London
Stomp, Ambassadors Theatre, London
Death of a Salesman, Gate Theatre, Dublin
The Crucible, Open Air Theatre, Regents Park, London
What this list tells us, now we see it in all it's glory, is that as much as we love a good tune, we need to see more straight theatre. Saying that, out of the three non-musical productions we saw we walked out of one. Not a good batting average (but they were free tickets and we did have lots of catching up to do) but we are willing to give them a go. Serious theatregoers that we are.
Plus we are habouring a not so secret plan to hit Broadway as only we can, and possibly even a european destination at some point, which would naturally include a theatrical interlude of some description, because we are like that. And we will be sharing the details with you when that happens, naturally.
Planned visits for 2011 thus far are:
Les Miserables
Jersey Boys
Avenue Q Tour (Brighton)
Chess Tour (Southend)
We will Rock You (only to see Lord Earl as Kashoggi)
Billy Elliot
Chicago
Lion King
Sweeney Todd (Chichester - hopefully...)
Love Story
Love Never Dies (bien sur)
Something, somewhere starring the lovely Drew Sarich - even if we have to go to the goddamn continent....
And loads on old BROAD.....WAAAAAAAAYYYYYYY!!!!!!
Happy New Year!!!!!!!!!!!!!
Wednesday, 29 December 2010
SuBo. A rant.
You might have noticed that earlier on today we published a review of the Les Miserables 25th anniversary concert at the O2. You might have noticed we quite liked it. The BBC very kindly showed a documentary of Matt Lucas' journey as he prepared for the role of Monsieur Thernardier at the concert. Jolly good he was in the role as well, and seems like such a lovely guy. The documentary itself could have had a bit more behind the scenes stuff, but other than that it was fab. We still quite didn't get caught by the camera, then again it would be wrong of us to hog the limelight. Once seen never forgotten, dontcha know, and we weren't the stars this time.
So, good programme, one to save and rewatch. However, we do have an issue with one aspect which keeps coming up time and again within the context of these wonderful celebrations. Susan bloody Boyle. Why should we have an issue with her, you ask? It's not HER as a person we have an issue with. It's how she is, for whatever reason, now inextricably linked to this amazing musical, just because she sang a song from it as an audition piece. Badly, if you ask our opinion.
It's a weird irony that, just because of the way she looks and her personal history, she is considered better than she is. We have honestly heard better in any average community choir. She is untrained and can hold a note. But she is always half a beat or more ahead of the music, her phrasing and breathing is appalling and she does not emote songs in a believable way. Simon Cowell simply saw pound signs the moment she set foot on stage; a sob story to cash in on and a slightly unstable person to capitalise on. She's a cheap option. she can sell millions of records, especially in the USA where a sob story sells more. Lonely virgin from the remote Scottish isles? Pure gold. But as she can never sustain a full tour schedule - no self respecting doctor would allow it - she's never going to cost much to 'operate'. And the gen pop are far too ready to accept - or be brainwashed into believing - that this woman is something special. She isn't. She should be very proud of herself and she has achieved more than the average person could dream of. But lets face it; if she was in a 'more acceptable' package, with a stable job and a good set of teeth, her voice would not be considered that of 'an angel'.
It may well be a positive thing that she has brought new audiences to Les Mis - whether that is true or not is debatable - but the fact she is now linked to this musical for posterity is wrong! She is not, and never will be in the same league as the likes of Ruthie Henshall, Rebecca Caine, Michael Ball, Colm Wilkinson et al, she's just a little footnote that has been made big...and used, unfortunately, to sell the musical as well as earn Syco megabucks.
We wish her well. But don't like to see anyone taken advantage of. Also, we don't like being patronised into thinking she is marvellous and an undiscovered gem. She isn't - and we have heard the best, the ones who have worked hard for and deserve all the accolades that accompany being part of this great production.
Rant over.
So, good programme, one to save and rewatch. However, we do have an issue with one aspect which keeps coming up time and again within the context of these wonderful celebrations. Susan bloody Boyle. Why should we have an issue with her, you ask? It's not HER as a person we have an issue with. It's how she is, for whatever reason, now inextricably linked to this amazing musical, just because she sang a song from it as an audition piece. Badly, if you ask our opinion.
It's a weird irony that, just because of the way she looks and her personal history, she is considered better than she is. We have honestly heard better in any average community choir. She is untrained and can hold a note. But she is always half a beat or more ahead of the music, her phrasing and breathing is appalling and she does not emote songs in a believable way. Simon Cowell simply saw pound signs the moment she set foot on stage; a sob story to cash in on and a slightly unstable person to capitalise on. She's a cheap option. she can sell millions of records, especially in the USA where a sob story sells more. Lonely virgin from the remote Scottish isles? Pure gold. But as she can never sustain a full tour schedule - no self respecting doctor would allow it - she's never going to cost much to 'operate'. And the gen pop are far too ready to accept - or be brainwashed into believing - that this woman is something special. She isn't. She should be very proud of herself and she has achieved more than the average person could dream of. But lets face it; if she was in a 'more acceptable' package, with a stable job and a good set of teeth, her voice would not be considered that of 'an angel'.
It may well be a positive thing that she has brought new audiences to Les Mis - whether that is true or not is debatable - but the fact she is now linked to this musical for posterity is wrong! She is not, and never will be in the same league as the likes of Ruthie Henshall, Rebecca Caine, Michael Ball, Colm Wilkinson et al, she's just a little footnote that has been made big...and used, unfortunately, to sell the musical as well as earn Syco megabucks.
We wish her well. But don't like to see anyone taken advantage of. Also, we don't like being patronised into thinking she is marvellous and an undiscovered gem. She isn't - and we have heard the best, the ones who have worked hard for and deserve all the accolades that accompany being part of this great production.
Rant over.
Dear Lord.....
....Lloyd Webber,
Thankyou for providing us with much entertainment and musical theatre love over the years. Never will you come across such devoted and knowledgable ALW production afficionados as us. We lurve your shows (mostly.) We know them all off by heart. We have performed in them. Tamsin`s memorable turn as Benjamin at secondary (all girls) school will never be surpassed, neither will Karina`s spectacular rendition of Memory at the school prom. You have rarely disappointed us, and the mere mention of a possible JESUS CHRIST SUPERSTAR ARENA TOUR have got us properly excited. JESUS CHRIST!!
We will not take up your valuable time, but will simply say 4 words to you.
4 little words.
Just consider it.
That's all we ask of you...... 4 words.
DREW
SARICH
IS
JUDAS.
Do you need proof??
Feel free to click away.............
You know it makes sense.
Best wishes and lots of love on your latest musical adventure.
The Theatrefairies.
P.S He also does a mean Gethsemane.
P.P.S. We have LOTS of other ideas. We could give you valuable joe-public opinions. For free. Of course.Please contact us via this site at your earliest convenience. We look forward to working with you.
P.P.P.S Please don`t close Love Never Dies. We love it. (see review)
Thankyou for providing us with much entertainment and musical theatre love over the years. Never will you come across such devoted and knowledgable ALW production afficionados as us. We lurve your shows (mostly.) We know them all off by heart. We have performed in them. Tamsin`s memorable turn as Benjamin at secondary (all girls) school will never be surpassed, neither will Karina`s spectacular rendition of Memory at the school prom. You have rarely disappointed us, and the mere mention of a possible JESUS CHRIST SUPERSTAR ARENA TOUR have got us properly excited. JESUS CHRIST!!
We will not take up your valuable time, but will simply say 4 words to you.
4 little words.
Just consider it.
That's all we ask of you...... 4 words.
DREW
SARICH
IS
JUDAS.
Do you need proof??
Feel free to click away.............
You know it makes sense.
Best wishes and lots of love on your latest musical adventure.
The Theatrefairies.
P.S He also does a mean Gethsemane.
P.P.S. We have LOTS of other ideas. We could give you valuable joe-public opinions. For free. Of course.Please contact us via this site at your earliest convenience. We look forward to working with you.
P.P.P.S Please don`t close Love Never Dies. We love it. (see review)
Bon anniversaire ma cherie (in a red vest of certain death)
Oh yes. Up in the nosebleed section of the 02, oxygen required, binoculars optional, somewhat lightheaded, but WE WERE THERE!!!!!!!!!!
We wanted to wait for the release of the DVD to get together and put a little something down for posterity. Within the space of but a week, we had seen Total Mizery - the original Queens production, the tour at the Barbican (with Cammack LITERALLY LOOKING OVER OUR SHOULDERS and .....CRYING!!!! Oh yes, nothing gets past us Mr Mack you big softie!!) and the all singing, all dancing, all marching 02 partay spectacular. So we had some mixed up Miz memories. All good of course, it is the Miz after all.
Getting hold of the DVD should have been a foregone conclusion of course. This being easily the most historic event either of us has ever attended, we were fully confident that our family & friends, having been bored to tears by our tales of joy from our Miz adventures, would come through with the goods and supply at least 3 copies in our stockings. One for weekdays, one for Sunday best, and one for highdays & holidays. BUT NO. Do they not know us AT ALL???????? Thankfully, at least Karinas brother-in-laws emergency Christmas Eve "What shall I get her?" phonecall yielded the golden ticket. Had that not been the case, this would be one very short blog entry. In fact, we would be sulking until New Year at least.
But, thanks to brother Gordon we have just re-experienced the unadulterated joy, emotion and all round fabulousness of the concert of the century. Oh oh ooooooh. Aaaargh. Lots of that. Sadly we didn`t see ourselves in the crowd, despite our photogenic tears at the end, but watching again on TV afforded us other pleasures: playing spot the cast member among the choir and ensemble, drinking in the unbelievable emotion of Lea Salonga`s performance, being stirred into revolution by Mr Karimloo, spotting Alfie Boes tears (real) at the end, the sleaze of Jeff Nicholson`s factory foreman, the cheekiness of Gavroche. All close up and pausable/rewindable. Handsomejavert. Dentallychallengedthenardier. So many highlights. AND MICHAEL BALL.
Incidentally, Michael. It is past boxing day (see previous blog entry from October) and we assume our invite for boxing day fun and frolics got lost somewhere in the snowy ether. But not to worry. Any Sunday will do. We make a mean roast. And there's always New Years Eve...
Of course, we should probably be going into a bit more detail by now, but we are still reeling from the utter fantisticness of the entire production and find ourselves constantly starting sentences with "...oh, and do you remember when Ramin..." so we need to try and focus. Pour another glass of vodka and focus. Probably easiest to do this by what were the highlights for us, and believe us, there were many! A special mention to the smartest man at the O2, the happiest of conductors we have ever had the opportunity to bump into, David Charles Abell. Cheers!!!
The Atmosphere
Electrifying. From the minute we walked through the door and saw people being interviewed for posterity, to queuing up for our souvenir programmes (and keyrings) to having a drink in the pub before taking our seats in the auditorium, having failed to swipe a few choir passes from unsuspecting ensemble members (we would have been good too, trust us on this) and initially, being shocked at HOW HIGH UP we were. Would we see anything at all?? The answer is OH YES. We saw everything. Beautifully. In full technicolour and with surround sound because WE WERE THERE. From the tuning up of the orchestra to the ticker tape ending we breathed in every moment and committed it to memory because we're like that and WE WERE THERE. Seriously, right there. And now on a DVD as well, our hollers and applause have been recorded. How proud are we!!! Actually, we are. We were so proud to be part of something that spectacular that will stay with us forever. Honest truth.
The Moooooooooosic
We love Les Mis, and we know every note by heart, but nothing - NOTHING - prepares you for hearing it truly soar with the aid of a full orchestra. The first time we experienced this was at Earl`s garden party with the Bournemouth Symphony Orchestra and added fireworks, Joy, sheer joy. But this was bigger, better, louder, and brought us to sobbing. Our favourite part is undoubtedly the post massacre sur le barricade scene - the single oboe and poignant harp - building up to the strings (where Deadjolras is usually revealed in the white light of doom, hanging upside down from le barricade) is possibly one of the most beautiful melodies ever. EVER. And it will be played at Karinas wedding, inappropriate possibly, fact nonetheless. The orchestration on the night was beyond-belief beautiful, and nothing quite prepares you for the full impact of this wonderful score, played by a full orchestra, with the backing of 300 singers from the West End. (It needed an extra couple of altos, but hey....) It truly filled the cavernous O2 - and that takes some doing. Those who spend their time and energy bemoaning changes in orchestration, or complaining that the celebrations are "too shiny" or "too commercial" simply need to shut the hell up. This was one night, one amazing performance, and one huge celebration which did nothing but help us all remember how very special Les Mis is. It takes nothing away from the smaller / original production - which is of course still wonderful, so we can feel nothing but pity for anyone who did not allow themselves to drink it in and appreciate it as a one off. Just because you love jaffa cakes (and they will always be delicious) it doesn`t mean you can`t appreciate the occasional gateaux with extra cherries & cream on top.
Les Valjeans
The main man of the night appeared to be Alfie Boe, and it was a tour de force from him - if not really to our discerning taste. On the DVD he has been put most definitely centre stage, where the real star is the score - but there is no denying he can sing. His voice is effortless, and soared above the orchestra at times - which was a feat in itself. We have only 2 quibbles with Mr Boe: (1.) his Italian operatic annunciation leading him to cut his vowels short and leap to the vibrato a touch too soon for our liking, and (2.) technically perfect, but in being so perfect the rawness of Valjean is lost - 2 4 6 0 .........oooooooooone - should be a yell of bitterness, anger, emotion, anguish - not a lesson in how to hit a note with perfect breathing. But we liked him. He was good. And if Mr Mack wouldn`t let us have Drew Sarich, we have to take what we are given.
The other boys - Colm Wilkinson, Simon Bowman, and John Owen-Jones joined Mr Boe for the finale in a kind of Valjean remixed presentation of Bring Him Home. We loved it - and were sooooo glad WE WERE THERE but the arrangement highlighted Alfie Boe again, where we would have loved a bit more Welsh Valjean. But there you go, twas still good. Brought a tear or two, even up in the Gods - and much as Colm is not our Valjean, he is a legend and to have seen him sing this live should satisfy our musical theatre souls.
Fantine
As you might have already gathered, we are somewhat fangirlish about Lea Salonga and her frankly bloody amazing vocal chords. Not only does she sing beautifully, she has so much control it's almost unbelievable. she could give masterclasses to budding musical actresses. We often struggle to find female singers that are to our liking; female stage voices are frequently screechy/nasal (Think Denise van Outen) or a bit thin and reedy. Lea has such a perfectly rounded voice, you understand every word she says. Added to that is a superb acting ability. She 'feels' every single song, every word. For goodness' sake, she CRIES while she sings, if the role requires it, and it doesn't look artificial, but heartbreaking! Seriously, we have nothing but admiration for this woman and her performance. Her Fantine in this concert was, if possible, even better than her Eponine in the TAC. Atta girl. We like her a lot!!!!!
Enjolras
We thought we might miss David Thaxton a lot. Granted; he was shown quite a bit on the big screen and our hearts silently wept as we both knew his voice and stage presence would have had the 30 000 marching straight out of the O2 towards the Rue de Villette. It wasn't to be, as he was busy being passionate with a stalker, poor boy. But we got the feeling Cammack has plenty of warm fuzzy memories of his flaxen haired hell raiser! So, on to the other choice who turned out to be a thing of revolutionary, rifle waving joy. Ramin Karimloo, a raven haired Phantomic presence stood tall (?) amongst the harmoniously rebellious amis. A quick pointer for the casting directors of the future Les Mis movie; OI!!!! The camera ADORES Ramin Karimloo. Seriously, throughout the dvd, every time the camera pans across the stage, his chiseled features ramp up the sex appeal of the entire cast (which wasn't exactly lacking!) by about 50%. And it can't all be the vest and the wristbands, can it. No, Ramin just has it. Yes, we love a pretty theatre boy. But even more than that, we love to sit back in the knowledge that whatever sound leaves a performers throat will be solid, exciting and spine-tinglingly spectacular. And when Ramin lets rip he ties our stomachs in knots and sets the butterflies loose. David Thaxton does this as well, but he has a different tone to his voice. Ramin is a belter, David slightly more operatic baritone (hence he'd make a superb Javert of the future). having said all of this, anyone putting on the red and gold 'shoot me' vest of certain death is pretty much always a winner in our eyes, but we have been proper spoiled by seeing two of the very best of the vest. Jon Robyns, bless him, deserves a mention as the Enjolras we would be most likely to send home and stop being silly at the barricade. We like Jon but he was miscast...Killian Donnelly we have yet to witness in this part, but judging by his Courfeyrac on the night, we think he will do a splendid job. And his twitters make us smile a lot.
The original 1985 cast
Almost missed due to Karina's almost uncontrollable screaming at the sight of Michael Ball. No she isn't dangerous. Or on medication. Just passionate. Moving on. How completely amazing it was to see them. We were too young in those days to have been able to take in the show and witness these spectacular performances. How many of them seem to have discovered the elixir of youth (yes, Frances Ruffelle and Rebecca Caine, we are thinking about you!) and sound note perfectly wonderful. Michael Ball will always be our middle aged Marius. By his own admission he is built for comfort, however his place WAS THERE and he FIGHTS WITH US. Never was a line more diva-ishly delivered or more truly spoken!!! He was the ANTI JONAS. What? What could we possibly mean? Well. Nick Jonas. Bless him. Looks the part. can hold a tune at a whisper. But he is at least five years of theatrical stage experience away from being able to do this part full justice. He gave it his best but he was woefully miscast and he knew it; it was written all over his face. We felt his fellow performers were incredibly generous and supportive of him but there was no disguising the comparison between trained and experienced performers and this poor boy who was very much out of his depth. We wish Nick all the luck in the world but wish to God Cammack had kept him out of this production as through no fault of his own he became the talking point for all the wrong reasons.
It would be easy but far too time consuming to go through every aspect of every performance. we could go on forever. We very nearly nearly didn't go as we were playing hard to get and practical for the first time in a long time, but decided at the last minute to remortgage our houses, sell our children and possessions and live on the never never and pot noodles for a few years. Yes it was overpriced. Yes it was hyped. Yes it was star studded. Yes it was crowded. Yes there was a tube strike on. Yes it was a Sunday night and a school night and we both had work in the morning. Yes we were tired. But was it worth it?
YES.
Because, quite simply, we can say WE WERE THERE. So there.
And for those who weren`t and have yet to get the DVD......
Click here for musical theatre history.......
Sunday, 19 December 2010
The joy of live theatre...
This year has been, undoubtedly for us, The Year of the Mis. And the year of 'Love Never Dies'. But mostly Les Mis. Well, every year is the year of Les Mis for us, but even the press, producers, the bigwigs on TV, record companies and theatres nationwide (nay, globally) have recognised the greatness of all things Les Miserables this year. And to celebrate, we offer you the following link to prove to you the wonder that is unrestrained passion, devotion and obvious love for the gift of song and music in a theatrical setting. We have heard the very best singing these beloved songs. As is by now well documented, we appreciate a passionate Enjolras and a dedicated Javert, a Valjean with pathos and a spirited Fantine. The following examples are jewels in the glittering crown that is Les Miserables. Feast your ears on examples of the best of the best on their very best nights. These are the performances that go down in history.
Oh...live theatre.....
Now go make yourselves a cup of tea and get a little sedative, and when you're comfy, we'll discuss our findings.
Now. Onto the subject of the ANGELIC Lea Salonga. Seriously though, has a woman ever graced the stage that looked as serene as Lea, who sounded as though her voice belonged to a wee little angel that had decided to grace us with it's presence for a while, before flying away again as the purity and clarity of it's voice might otherwise prove too much for mankind to tolerate? So much beauty. She epitomises grace, talent, elegance, subtlety and poise us fairies could only dream of. It is therefore with the greatest of pleasure we heard the clip of Lea as Fantine because there are few things the fairies like more than a good swear!!!!! And swear she did, with guts and gusto (and we like to imagine with a bit of spit as well). That's our girl!!!!! we already had utmost respect for this lady. But after hearing her 'F*#%$~g B%&*#~d' we would now like to take her to the pub with us as we think she'd have fantastically good stories to tell and would be funny with it. Anyone who swears that well is a good egg in our books.
So there you have it. Some highs from Les Mis. Live performances to never be forgotten. Which, is, essentially, one of the reasons we keep going back for more. We sometimes get asked, what is the point of going to see the same show more than once? 'Just get the CD'.T he answer for us is the beauty and unpredictability of live performances. For us, seeing shows is nothing like buying a CD or watching a film on TV. You like it, you love it, but every time you see it or hear it you know exactly what to expect. Not so with live theatre. Something new happens every time we see a production. A different interpretation, a different nuance in a performers voice, a screech, a faux pas, a wardrobe malfunction, something. Something utterly human in a magical place, which makes a performance unforgettable. That's why we keep going back for more. Whats not to love????
Oh...live theatre.....
Now go make yourselves a cup of tea and get a little sedative, and when you're comfy, we'll discuss our findings.
It is difficult to pin point the exact finest moments on this reel but it would be unfair to start with any other but this gentleman. He may not have a name that slips off the tongue with most ease, but Vikidal Gyula is a stalwart of Hungarian musical theatre.Once heard, never forgotten. He has sung Jesus Christ Super Star, Attila the Hun and Anna Karenina, is a respected rock musician and also an accomplished weight lifter and sports fisherman. In 1987 he tackled, with some epic brilliance, the role of Jean Valjean on the Hungarian national stage. Now tell us that you have EVER heard that '24601' sung with an equal amount of pain, passion and machismo, because if you have, we know you are lying. Remember, we have heard the Divine Drew Sarich hit high notes and low notes with such precision and clarity and minimal effort it made us cry. This man hits something we don't even dare talk about and weren't sure existed. He is AWESOME.
Altogether now..... 2....4....6....0.....WAaaaaaaaaaaargggggghhhhhhhhhh!!!!!!!The next cutie to discuss is the amazing Max Von Essen, a Broadway Enjolras nonetheless. Also heard on this clip were Leonardo Luiz, Enjolras for Mexico AND Brazil (multi tasking!), Victor Wallace in London and the sadly anonymous 2003 Vienna Enjolras... it means nothing to meeee...ooooooh Viennaaaaaa..........sorry, we digress. The splendidly named Max certainly looks the part (feel free to google for proof), as do Victor and Luis respectively, but one must question how anyone can train their voices to reach the murky depths that these gents did? Forgive us for our predictability but we've heard NUMEROUS Enjolri soar into that leadership role with guns a-blazing, convincing weedy little boys to follow in their wake. They are masterful, charismatic and extraordinarily accurate when hitting the high notes. Every. Single. Time. Yet something tells us that after these performances the Amis might look at each other quizzically, raise an eyebrow, mutter under their breath 'Yeeeeees....whatever....' and leave their rifles by the door as they decide to go to the pub instead of fight a revolution. Enjolras, we love you. Whatever country you are from. Just never as much as we love David Thaxton. As Enjolras. Or in anything he ever does, as that boys vocal chords are gold and chocolate plated. Almost as gold plated as the boy himself. Excuse the gush.
Now. Onto the subject of the ANGELIC Lea Salonga. Seriously though, has a woman ever graced the stage that looked as serene as Lea, who sounded as though her voice belonged to a wee little angel that had decided to grace us with it's presence for a while, before flying away again as the purity and clarity of it's voice might otherwise prove too much for mankind to tolerate? So much beauty. She epitomises grace, talent, elegance, subtlety and poise us fairies could only dream of. It is therefore with the greatest of pleasure we heard the clip of Lea as Fantine because there are few things the fairies like more than a good swear!!!!! And swear she did, with guts and gusto (and we like to imagine with a bit of spit as well). That's our girl!!!!! we already had utmost respect for this lady. But after hearing her 'F*#%$~g B%&*#~d' we would now like to take her to the pub with us as we think she'd have fantastically good stories to tell and would be funny with it. Anyone who swears that well is a good egg in our books.
So there you have it. Some highs from Les Mis. Live performances to never be forgotten. Which, is, essentially, one of the reasons we keep going back for more. We sometimes get asked, what is the point of going to see the same show more than once? 'Just get the CD'.T he answer for us is the beauty and unpredictability of live performances. For us, seeing shows is nothing like buying a CD or watching a film on TV. You like it, you love it, but every time you see it or hear it you know exactly what to expect. Not so with live theatre. Something new happens every time we see a production. A different interpretation, a different nuance in a performers voice, a screech, a faux pas, a wardrobe malfunction, something. Something utterly human in a magical place, which makes a performance unforgettable. That's why we keep going back for more. Whats not to love????
Eh????
Our flesh is weak and getting weaker by the minute. See, us fairies were at the O2 for the Concert of the Century but have yet to buy the DVD. We assume our families know us well enough that a copy (or two) should drop in to our respective stockings on Christmas Night and then, the arrangement is, that we will get together and spend a day or two camped on the sofa with the biggest box of Quality Street we can find, a few chocolate oranges, a few bottles of fizzy pop and a box of tissues and relive the spectacle that was the Les Miserables 25th anniversary concert. And we can barely wait. The temptation to just buy the DVD and watch it is so strong...Everywhere we go, there it is. All the shops, even food shops. Just chuck it in with your brussel sprouts...how easy could it be??? Advertised on telly, spoken of on the radio, twittered about regularly...yet we STILL HAVEN'T BOUGHT IT OR SEEN IT. Time goes by so slowly when you're waiting. It really isn't fair. But arrangements have been made to rectify this situation between Christmas and New Year and this is what we are aiming for.
In the mean time, the Royal Variety Performance had a little something we both watched with much anticipation...there it was! Les Mis on TV!!!!! Seldom has a section of this show been so eagerly anticipated in fairyland. And it did mean that our urge to rush out and buy the DVD was momentarily eased, as we knew we would be seeing something of the magic in our homes and on our tellys! Nice long slot as well. Not just a measly 2 minute gallop through one song (the mind wanders back to christmas last year, ITV, the overrated and the marvellous, wonderful rather handsomely talented David Thaxton (and the rest of the Queens cast) gallantly speed singing and speed marching to 'One Day More'...the memories remain...), but a proper little segment. And we do like a proper segment.
You can tell there's going to be a moan.
What went wrong? Nothing. it was fine. It was 'nice'. But...just that. Les Mis is so spectacular, overwhelmingly so, but that did not translate to the stage of the palladium. Or onto our tv at least. Where were the huge songs? Far be it from us to be predictable, but if you are going to show case Les Mis, where was 'One Day More'? Where was 'Master of the House'? What about 'Do You Hear the People Sing'? For one dreadful moment we did think they were about to do 'I Dreamed a Dream' as the cast parted to make way for...The Four Valjeans. Thank heavens. We thought Subo was about to do an entrance. It really was a bad moment and still brings us out in a cold sweat......So. It was all very adequate, just didn`t blow us away. Samantha Barks was lovely, but we've heard her sing better and she was just ever so slightly 'shouty'. Alfie Boe sings technically like a dream, faultless. But as Tamsin put it: 'He's singing the 'Soliloquy' the same way he would sing 'Just one Cornetto'...'. And he did, even with a hint of an Italian accent?? "He told me that I have a sol...." WHY??? Even more so in the Four Valjeans rendition of 'Bring Him Home'. What's with the little key change thing as well? Just asking. Considering you had four magnificent singers on stage, and we had seen them perform this same song amazingly at the O2, the performance was ever so slightly lacklustre. Maybe it was just one of those 'on the night' things.
And as a little footnote, Enjolras. A curly haired, lanky looking Matthew Gent who just didn't look right for the part!!! At all!!! Where was our Enjy??? Enjy isn't curly! Sorry to be 'curlist'...
Les Mis at the Royal Variety Show. What do you think?
Despite that we still adore our Les Mis and everything associated with it, you know this. To see it celebrated on telly is a wonderful thing in our opinion. 25 years young and still packing them in. We love it, and we promise our review of the concert will be epic. In the meantime we dream.
That's right. We dream a dream (somebody stop us...) of...
Drew Sarich coming back to Britain as the ultimate and definitive Jean Valjean;
Of David Thaxton reprising his role as Enjolras for another year or so until he becomes a Javert to be reckoned with;
of US ON STAGE in the ensemble doing whatever is required.
Oh yes.
We dream.
In the mean time, the Royal Variety Performance had a little something we both watched with much anticipation...there it was! Les Mis on TV!!!!! Seldom has a section of this show been so eagerly anticipated in fairyland. And it did mean that our urge to rush out and buy the DVD was momentarily eased, as we knew we would be seeing something of the magic in our homes and on our tellys! Nice long slot as well. Not just a measly 2 minute gallop through one song (the mind wanders back to christmas last year, ITV, the overrated and the marvellous, wonderful rather handsomely talented David Thaxton (and the rest of the Queens cast) gallantly speed singing and speed marching to 'One Day More'...the memories remain...), but a proper little segment. And we do like a proper segment.
You can tell there's going to be a moan.
What went wrong? Nothing. it was fine. It was 'nice'. But...just that. Les Mis is so spectacular, overwhelmingly so, but that did not translate to the stage of the palladium. Or onto our tv at least. Where were the huge songs? Far be it from us to be predictable, but if you are going to show case Les Mis, where was 'One Day More'? Where was 'Master of the House'? What about 'Do You Hear the People Sing'? For one dreadful moment we did think they were about to do 'I Dreamed a Dream' as the cast parted to make way for...The Four Valjeans. Thank heavens. We thought Subo was about to do an entrance. It really was a bad moment and still brings us out in a cold sweat......So. It was all very adequate, just didn`t blow us away. Samantha Barks was lovely, but we've heard her sing better and she was just ever so slightly 'shouty'. Alfie Boe sings technically like a dream, faultless. But as Tamsin put it: 'He's singing the 'Soliloquy' the same way he would sing 'Just one Cornetto'...'. And he did, even with a hint of an Italian accent?? "He told me that I have a sol...." WHY??? Even more so in the Four Valjeans rendition of 'Bring Him Home'. What's with the little key change thing as well? Just asking. Considering you had four magnificent singers on stage, and we had seen them perform this same song amazingly at the O2, the performance was ever so slightly lacklustre. Maybe it was just one of those 'on the night' things.
And as a little footnote, Enjolras. A curly haired, lanky looking Matthew Gent who just didn't look right for the part!!! At all!!! Where was our Enjy??? Enjy isn't curly! Sorry to be 'curlist'...
Les Mis at the Royal Variety Show. What do you think?
Despite that we still adore our Les Mis and everything associated with it, you know this. To see it celebrated on telly is a wonderful thing in our opinion. 25 years young and still packing them in. We love it, and we promise our review of the concert will be epic. In the meantime we dream.
That's right. We dream a dream (somebody stop us...) of...
Drew Sarich coming back to Britain as the ultimate and definitive Jean Valjean;
Of David Thaxton reprising his role as Enjolras for another year or so until he becomes a Javert to be reckoned with;
of US ON STAGE in the ensemble doing whatever is required.
Oh yes.
We dream.
Monday, 13 December 2010
They just don't make men like him anymore
He starred in the gorgeous 'Showboat' as the rather whackily named Gaylord Ravenal (we said they just didn't make men like him any more...). Ironically, one of the best songs in this film ('Old Man River') isn't sung by Gaylord, though otherwise this film showcased his baritone voice beautifully. And demonstrated exactly how imposingly manly he was, as he carried his name with pride!!!
It didn't matter whether he was Adam Pontipee (Seven Brides for Seven Brothers) or Wild Bill Hickok (Calamity Jane) he always managed to fill the screen with his presence in a big-bear kind of way, as a short arse he certainly wasn't. And he came across as the nicest person ever (other than Doris Day, maybe) which made him all the more lovable. Then there was his voice, which would have melted the coldest of hearts.
Mr Keel is a legend of the stage and screen and will never be forgotten for as long as we're around.
The Yawn Factor?
So Matt Cardle won the X-Factor, Rebecca came second (worth it just to see smug Cheryl looking annoyed) and the five boys with bum fluff on their chins came third. And justice was served, as that Cher didn't even get on the podium!! Far be it from us to say anything nasty about an under aged child, but she is an arrogant, overly confident minx in very unbecoming make up who needs to go away and grow up and come back with a lot less attitude.
The point of this post? We invested 12 weeks of regularly watching the sodding programme only to discover we didn't really care who won as none of them were any good. As much as we championed Rebecca at first and thought Matt was quite lovely, as the show went on they were just a bit...bleeurgh (good scientific phrase).We said before that we have seen genuine, superlative talent on the West End stages, and any single one of these performers we've seen could have sung the X-Factor contestants off the stage. Not only that, but in terms of magnetism and charisma they are and always will be far more watchable than these manufactured wannabies. Let's face it; Cheryl Cole has no discernible talent other than being pretty. 'But she won Pop Idol!' we hear you shout. So what. Clever marketing, pretty girl, new teeth, lots of money, deal with a cosmetics company, Simon Cowell's bezzie mate = immediate fame beyond being the pretty one in a manufactured pop band. No talent necessary. Yet she 'judges' future talent. And anyone who says with a straight face to Rebecca ( who is clearly a girl) 'I respect you as an artist as well as a woman...' has lost it as far as we're concerned. What else could she respect her as? A pet? A flowerpot? A combine harvester??? Don't even get us started on the others (Dannii has, however, still got amazing hair).
And maybe that has answered the question; that nowadays fame and fortune can be handed out to pretty much anyone as long as they are ruthlessly ambitious and will do anything to get in the spot light. The original "Heat-magazine generation". We still maintain that those with talent, drive and ambition tend to make it with or without telly programmes. The majority of theatrical performers (we hazard a guess here), as much as they enjoy some adulation, do what they do because they are good at it and want to create art. The majority do not do it for instant celebrity, rather as a way of self expression and because it's a fantastic (if hard) way to make a living. This brings us back to our X-factor contestants; is it really only ever about the music? Hmmm. Some transitions to the West End have already happened; Gareth Gates (who made a smashing little Marius in mobile Mis) and Darius Dinesh, Cassie Compton and Diane Vickers to name but a few among many. Yes, sometimes these programmes have showcased proper talent. We heart Will Young and think Leona Lewis is doing deservedly well, for instance...So maybe this ramble is specifically about X-Factor 2010. And how yawnsome it was towards the end, and how it was more about celebrating the judges marvellousness and smugness than finding actual talent. We frequently heard contestants singing badly off key, yet they were being told they had 'smashed it'. Either the judges are feeding delusions and the general public are buying it (Emperor's new clothes...) or the judges truly don't have a musical note in their bodies and are themselves delusional. Whatever. We're beyond caring.
But rest assured we will be watching avidly, as much as it pains us, next year. Yes, we are that predictable.
The point of this post? We invested 12 weeks of regularly watching the sodding programme only to discover we didn't really care who won as none of them were any good. As much as we championed Rebecca at first and thought Matt was quite lovely, as the show went on they were just a bit...bleeurgh (good scientific phrase).We said before that we have seen genuine, superlative talent on the West End stages, and any single one of these performers we've seen could have sung the X-Factor contestants off the stage. Not only that, but in terms of magnetism and charisma they are and always will be far more watchable than these manufactured wannabies. Let's face it; Cheryl Cole has no discernible talent other than being pretty. 'But she won Pop Idol!' we hear you shout. So what. Clever marketing, pretty girl, new teeth, lots of money, deal with a cosmetics company, Simon Cowell's bezzie mate = immediate fame beyond being the pretty one in a manufactured pop band. No talent necessary. Yet she 'judges' future talent. And anyone who says with a straight face to Rebecca ( who is clearly a girl) 'I respect you as an artist as well as a woman...' has lost it as far as we're concerned. What else could she respect her as? A pet? A flowerpot? A combine harvester??? Don't even get us started on the others (Dannii has, however, still got amazing hair).
And maybe that has answered the question; that nowadays fame and fortune can be handed out to pretty much anyone as long as they are ruthlessly ambitious and will do anything to get in the spot light. The original "Heat-magazine generation". We still maintain that those with talent, drive and ambition tend to make it with or without telly programmes. The majority of theatrical performers (we hazard a guess here), as much as they enjoy some adulation, do what they do because they are good at it and want to create art. The majority do not do it for instant celebrity, rather as a way of self expression and because it's a fantastic (if hard) way to make a living. This brings us back to our X-factor contestants; is it really only ever about the music? Hmmm. Some transitions to the West End have already happened; Gareth Gates (who made a smashing little Marius in mobile Mis) and Darius Dinesh, Cassie Compton and Diane Vickers to name but a few among many. Yes, sometimes these programmes have showcased proper talent. We heart Will Young and think Leona Lewis is doing deservedly well, for instance...So maybe this ramble is specifically about X-Factor 2010. And how yawnsome it was towards the end, and how it was more about celebrating the judges marvellousness and smugness than finding actual talent. We frequently heard contestants singing badly off key, yet they were being told they had 'smashed it'. Either the judges are feeding delusions and the general public are buying it (Emperor's new clothes...) or the judges truly don't have a musical note in their bodies and are themselves delusional. Whatever. We're beyond caring.
But rest assured we will be watching avidly, as much as it pains us, next year. Yes, we are that predictable.
Friday, 10 December 2010
Let`s go retro.....
Now - our love of theatre was born of many things, not least of which was watching the golden oldies. We couldn`t be happier (I feel a song coming on...) that Hollywood has seen fit to revive the movie musical - we adored Chicago, Moulin Rouge, even most of Evita - but there are some treasures that in our opinion will never be surpassed - whether for the choreography or the sheer unadulterated talent of the stars at their brightest.
So in no particular order - we offer you up a few fave scenes that had us dancing around the living room at a very tender age.....
On the Town
A gem of a movie, starring the beautiful Gene Kelly and swoonsome Frank Sinatra - it's a timeless tale of sailors on leave searching fora one night stand love. Perhaps not the most PC movie, but the moves are to die for. Particularly the wondrous Ann Miller and her 500 taps a minute. Ignore the stupid costumes, the misogynistic lyrics and marvel. The dancing is worth the wait...
Singing in the Rain
Oh Gene. Simply the best. Words not needed. You just don't look at Donald sadly.
A tap lesson
Oklahoma
OK, so its not the movie version, but the 1998 National Theatre production - Tamsin went to see this & has very fond memories. And how cute is Hugh Jackman??????????????????????
Yum.
Meet Me at St Louis
This one is one of the very first musicals Karina ever saw. It's colourful, bright, beautifully filmed and appeals to everyone because of it's infectiousness. And yes, it has Judy Garland. The late, great Judy. You either love her or hate her, but can't ignore her. And this particular scene and song had Karina crying big blobby tears as a little 3 year old. And it's seasonal...
So in no particular order - we offer you up a few fave scenes that had us dancing around the living room at a very tender age.....
On the Town
A gem of a movie, starring the beautiful Gene Kelly and swoonsome Frank Sinatra - it's a timeless tale of sailors on leave searching for
West Side Story
Oh what to choose from this sublime movie?? In the end the choreography wins, and although it may be an obvious choice, we give you America. Show-stopping. And Rita Moreno....defines fabulous.
Oh God... we see a pattern forming!! Could it be that every musical made pre-1970 is not one for the bra-burners? Do we care? Not with choreography like this. They don`t make 'em like this any more....can we have the one in the orange please??
And we couldn`t include SBFSB without this classic from the fantabulous Howard Keel inciting his intellectually challenged brothers into abducting their ladyfriends.
Calamity Jane
While we are on a Howard roll, how about this gem of denial?
Oh, how we would have loved to dress in deerskin, looking as good as Doris, and be flung around bodily by a 6 ft 5 cowboy....<sigh>
The King & I
An unusual choice of video, but simply couldn`t choose. This movie has EVERYTHING and the ending leaves us in pieces. It almost seems sacrilegious to post a montage, but somehow it captures the beauty of the relationship between Anna and the King. So, sit back, enjoy the dulcet tones of Kate Winslet (yes, really) and soak up the sexual tension......
Singing in the Rain
Oh Gene. Simply the best. Words not needed. You just don't look at Donald sadly.
A tap lesson
Oklahoma
OK, so its not the movie version, but the 1998 National Theatre production - Tamsin went to see this & has very fond memories. And how cute is Hugh Jackman??????????????????????
Yum.
Meet Me at St Louis
This one is one of the very first musicals Karina ever saw. It's colourful, bright, beautifully filmed and appeals to everyone because of it's infectiousness. And yes, it has Judy Garland. The late, great Judy. You either love her or hate her, but can't ignore her. And this particular scene and song had Karina crying big blobby tears as a little 3 year old. And it's seasonal...
But, keeping with the ethos of this particular post, something slightly more up-beat might be necessary. And this one is a classic...The Trolley Song. A special mention also goes to The Boy Next Door. Do you get the impression this film is much loved by us...?
A Star is Born
Best The Garland thing is sorted out in one fell swoop so here goes nothing. She was gorgeous and tragic. But this film, the story, the music, is very difficult to ever replicate in it's amazingness. A particular Karina favourite. And yes, maybe Karina is a gay man in a straight womans body. This element, in our humble opinion exemplifies exquisite taste!!!!! behold 'The man who got away'...
Gigi
Both of us agree this post could run for a very long time. No sooner have we thought of a musical when another pops in our head, which means a second and possibly third list will be in the offing soon! So on that note this installment will end with the lovely Leslie Caron and the gorgeously french Maurice Chevalier in Gigi. Ooh la la. Just the name of the film makes you smile. Though looking at the vid now, it does look ever so slightly pervy. But what the hell. It's nostalgia! And we're not pushing the pc button tonight so...Thank heaven for little girls. Like us!! Joking...
Mais oui!
Mais oui!
Thursday, 9 December 2010
Another Drew for you.....
Ok, so the show was edited to death, cut to ribbons and not a hit, but in our opinion, a star was born. Drew McOnie, a spectacular dancer - unselfish partner and old fashioned musical theatre boy. Bliss. Watch and be amazed - he can do it all.
Week 2 Contemporary
Week 3 D.I.S.C.O
Week 4 Lyrical hip hop
The final
Montage
Yes, he appeared as a guest in the final - but got unceremoniously booted out in week 4.
British public, you are insane.
Week 2 Contemporary
Week 3 D.I.S.C.O
Week 4 Lyrical hip hop
The final
Montage
Yes, he appeared as a guest in the final - but got unceremoniously booted out in week 4.
British public, you are insane.
The Beauty Underneath
Name: Love Never Dies
Date: 7th December 2010.
Venue: The Adelphi
Length of performance: Not long enough!
A while back we wrote a review about this musical, pretty much stating it might be a grower but didn't exactly blow us away. You might remember we were quite taken by Ramin Karimloo, but even the best singer in the world couldn't single handedly turn a good score and a naff story into an overnight success. Without being exactly scathing, we were rather...scathing.
We take it all back.
Every single word. As last night we attended the new, improved 'Love Never Dies' and suddenly find ourselves thinking we might have discovered a new favourite. This show is now a gem and long may it stay in the West End! Maybe for the next decade or two or three...
An explanation is in order.
Our biggest gripe from the old incarnation of LND was the story. It didn't support the legend of the 'Phantom of the Opera' and had turned characters that were previously lovable and significant into shallow, self obsessed, insipid losers. Raoul and Meg in particular. And lets face it, only a mother could love a child like Gustave (she must have been wearing ear plugs). And even then, given half the chance, we have no doubt Christine would have traded the old Gustave in the blink of an eye for a new frock or a record deal, no amount of simpering and pretending to be the pure little woman could disguise the freaky willpower of a woman who belts out half an hours worth of arias on her death bed. The freaks did little more than remind us that Phantasma was a freaky place and Madam Giry was all 'me, me, me'. Overall the characters were hollow husks, slightly supercilious and just a medium for delivering some rather beautiful songs. All very good, but not enough to sustain a musical.
The direction was a bit off in our opinion as well. Remember the old death scene? The beauty underneath? Man-eating tart-with-no-heart Meg who suddenly despised her former bezzie mate? And not forgetting that the magnificent Phantom was now just a slightly bitter but vastly mellowed and not even remotely mysterious Mr Y. You could have bumped into him in a supermarket and not batted an eye lid. Love Lord ALW though we do, having been practically brought up on his music thanks to both our fathers who are huge fanboys, on our first viewing of his latest we exchanged many, MANY quizzical "what the hell???" type glances... punctuated by suppressed giggles at some very questionably trite lyrics and the frankly bizarre and ludicrous plot.
By all accounts critics were not saying favourable things about the show ergo something had to change - and change it did. They closed the show, the theatre went "dark" - while various important people no doubt huddled around copious cups of non-decaf skinny cappuccinos & re-thought the whole thing. Boy, were they right to do so. The shows emotional heart has begun to beat, and instead of being slightly quizzical bystanders, we are swept straight back into the love story between Christine and the Phantom.
The show now starts with captions of the demise of the Opera House and a sad, wistful, passionate phantom singing 'Til I hear you sing'. In our view, the best song in the show. And the fairies stopped breathing. Talk about setting the scene...! 'Coney Island Waltz' followed and this had been completely revamped and was mysterious, a bit creepy and menacing and it drew you in. Our two favourite elements from the previous version remained; the shadow horses and the peacock lady. This scene just...works. It's mesmerising and seems to show case the music, the costumes, the lighting and the staging so much better. And is an integral part of the story.
The Christine doll no longer is a scene stealer (and previously made the phantom seem a bit pervy) and suddenly, with Madam Giry and Meg singing the confrontation song to each other rather than having a go at the phantom makes much more sense. We are reminded of the fact that Meg really is quite a naive, gentle girl who sincerely loves and misses her friend but just wants a break. Madam Giry deserves to feel a bit frustrated over her apparent invisibility...now we understand it, whereas in the previous version she was merely a battle axe and came across as not just a bit hormonal. She really does have every right to feel sidelined. The fact that their contact with the Phantom is now minimal reinstates his air of mystery - whereas previously it started to feel like Madame G was simply his rather bad tempered housekeeper. The Phantom surrounds himself with the freaks, who protect him, encourage his obsession and do his bidding. There is a point to them after all!! Yay!!
Christine, Raoul and Gustave are now a proper family unit. They have their problems, but you can see the love is there. And Gustave is less annoying. Still a dweeb, but you can't have everything. Perhaps if he was slightly less cherubic/choirboy and slightly more pull-the-legs-off-spiders-sociopath, his willingness to cross to the dark side and embrace the Phantoms world so readily might be less odd. OK, so he is his son, but break us in gently?? But that's just a thought.... Roping in Hammerstein makes it all the more believable that this wee family would cross the ocean blindly in the hope of something solid and concrete like the promise of big moula. Lets face it, who wouldn't...?
Which brings us to the man himself. The big P. Oh deep joy - he is truly back! In all his finger twitching, angst-ridden, heart of music, bitter, lovesick glory. Back at his mysterious sexy best. And watch him work the scene that previously left us speechless in it's tackyness...'The Beauty Underneath'. The Phantom owns this. His freaks turn this scene into magic and the changes to the staging, the props and the special effects have made a song, which previously just didn't fit in, come alive as a sinister lure into a dark underworld.
The addition of the extra refrains from the original Phantom of the Opera punctuate the story like memories, like deja vu, and draw us into Christine's eternal dilemma. The man or the music, or the man and the music? Desire or duty? Twisted every way she is, and we feel it once more. Indeed, her final choice - to sing or not to sing - is the ultimate manipulation - not a simple choice. She sings because she has to - to save her son, not realising her mentor has cut a deal that will seal the fate of her marriage. A double deal, a masterful stroke, the Phantom back to his wicked best, but with his heart in the right place. Because he loves her. Oh he does.
Ramin left us in no doubt of that.The entire cast is magnificent and quite possibly one if the strongest casts in the West End at the moment. Summer Strallen, under this new direction, is particularly eye catching and has 'star quality' written all over her. Sierra Boggess is the perfect choice for Christine, as her voice is unique, high and clear and she hits those notes with ease. But far be it that anyone think us predictable, but we do need to bring up the issue of Ramin Karimloo. Ramin has recreated the role of the Phantom and given it so much depth and vaguely hidden menace you want him and fear him at the same time. Add to that that no matter how uglified he is, he remains one of the best looking men to ever grace the west end stage. Top it off with a voice that you wish could sing you into the land of nod every night, and you have the perfect package. Oh Ramin and our pitter pattering little fairy hearts...
Our previous encounter with this musical left us feeling that only the surface had been scratched. It was lacking. And as the biggest fans of ALW in the world (did you not know Evita was written with us in mind, only we were too young to be considered for the role?) we were disappointed that a composer as accomplished and talented as ALW had not managed to recapture the magic of the original Phantom. Who would have thought that the beauty and magic was there all along, only it was so hidden by things that didn't make much sense that it wasn't being appreciated for what it was and is; a stroke of pure, beautiful genius and every bit as haunting and evocative as the best of anything he has composed prior to this. ALW, we salute you. The beauty of this piece is now plain for all to see.
Date: 7th December 2010.
Venue: The Adelphi
Length of performance: Not long enough!
A while back we wrote a review about this musical, pretty much stating it might be a grower but didn't exactly blow us away. You might remember we were quite taken by Ramin Karimloo, but even the best singer in the world couldn't single handedly turn a good score and a naff story into an overnight success. Without being exactly scathing, we were rather...scathing.
We take it all back.
Every single word. As last night we attended the new, improved 'Love Never Dies' and suddenly find ourselves thinking we might have discovered a new favourite. This show is now a gem and long may it stay in the West End! Maybe for the next decade or two or three...
An explanation is in order.
Our biggest gripe from the old incarnation of LND was the story. It didn't support the legend of the 'Phantom of the Opera' and had turned characters that were previously lovable and significant into shallow, self obsessed, insipid losers. Raoul and Meg in particular. And lets face it, only a mother could love a child like Gustave (she must have been wearing ear plugs). And even then, given half the chance, we have no doubt Christine would have traded the old Gustave in the blink of an eye for a new frock or a record deal, no amount of simpering and pretending to be the pure little woman could disguise the freaky willpower of a woman who belts out half an hours worth of arias on her death bed. The freaks did little more than remind us that Phantasma was a freaky place and Madam Giry was all 'me, me, me'. Overall the characters were hollow husks, slightly supercilious and just a medium for delivering some rather beautiful songs. All very good, but not enough to sustain a musical.
The direction was a bit off in our opinion as well. Remember the old death scene? The beauty underneath? Man-eating tart-with-no-heart Meg who suddenly despised her former bezzie mate? And not forgetting that the magnificent Phantom was now just a slightly bitter but vastly mellowed and not even remotely mysterious Mr Y. You could have bumped into him in a supermarket and not batted an eye lid. Love Lord ALW though we do, having been practically brought up on his music thanks to both our fathers who are huge fanboys, on our first viewing of his latest we exchanged many, MANY quizzical "what the hell???" type glances... punctuated by suppressed giggles at some very questionably trite lyrics and the frankly bizarre and ludicrous plot.
By all accounts critics were not saying favourable things about the show ergo something had to change - and change it did. They closed the show, the theatre went "dark" - while various important people no doubt huddled around copious cups of non-decaf skinny cappuccinos & re-thought the whole thing. Boy, were they right to do so. The shows emotional heart has begun to beat, and instead of being slightly quizzical bystanders, we are swept straight back into the love story between Christine and the Phantom.
The show now starts with captions of the demise of the Opera House and a sad, wistful, passionate phantom singing 'Til I hear you sing'. In our view, the best song in the show. And the fairies stopped breathing. Talk about setting the scene...! 'Coney Island Waltz' followed and this had been completely revamped and was mysterious, a bit creepy and menacing and it drew you in. Our two favourite elements from the previous version remained; the shadow horses and the peacock lady. This scene just...works. It's mesmerising and seems to show case the music, the costumes, the lighting and the staging so much better. And is an integral part of the story.
The Christine doll no longer is a scene stealer (and previously made the phantom seem a bit pervy) and suddenly, with Madam Giry and Meg singing the confrontation song to each other rather than having a go at the phantom makes much more sense. We are reminded of the fact that Meg really is quite a naive, gentle girl who sincerely loves and misses her friend but just wants a break. Madam Giry deserves to feel a bit frustrated over her apparent invisibility...now we understand it, whereas in the previous version she was merely a battle axe and came across as not just a bit hormonal. She really does have every right to feel sidelined. The fact that their contact with the Phantom is now minimal reinstates his air of mystery - whereas previously it started to feel like Madame G was simply his rather bad tempered housekeeper. The Phantom surrounds himself with the freaks, who protect him, encourage his obsession and do his bidding. There is a point to them after all!! Yay!!
Christine, Raoul and Gustave are now a proper family unit. They have their problems, but you can see the love is there. And Gustave is less annoying. Still a dweeb, but you can't have everything. Perhaps if he was slightly less cherubic/choirboy and slightly more pull-the-legs-off-spiders-sociopath, his willingness to cross to the dark side and embrace the Phantoms world so readily might be less odd. OK, so he is his son, but break us in gently?? But that's just a thought.... Roping in Hammerstein makes it all the more believable that this wee family would cross the ocean blindly in the hope of something solid and concrete like the promise of big moula. Lets face it, who wouldn't...?
Which brings us to the man himself. The big P. Oh deep joy - he is truly back! In all his finger twitching, angst-ridden, heart of music, bitter, lovesick glory. Back at his mysterious sexy best. And watch him work the scene that previously left us speechless in it's tackyness...'The Beauty Underneath'. The Phantom owns this. His freaks turn this scene into magic and the changes to the staging, the props and the special effects have made a song, which previously just didn't fit in, come alive as a sinister lure into a dark underworld.
The addition of the extra refrains from the original Phantom of the Opera punctuate the story like memories, like deja vu, and draw us into Christine's eternal dilemma. The man or the music, or the man and the music? Desire or duty? Twisted every way she is, and we feel it once more. Indeed, her final choice - to sing or not to sing - is the ultimate manipulation - not a simple choice. She sings because she has to - to save her son, not realising her mentor has cut a deal that will seal the fate of her marriage. A double deal, a masterful stroke, the Phantom back to his wicked best, but with his heart in the right place. Because he loves her. Oh he does.
Ramin left us in no doubt of that.The entire cast is magnificent and quite possibly one if the strongest casts in the West End at the moment. Summer Strallen, under this new direction, is particularly eye catching and has 'star quality' written all over her. Sierra Boggess is the perfect choice for Christine, as her voice is unique, high and clear and she hits those notes with ease. But far be it that anyone think us predictable, but we do need to bring up the issue of Ramin Karimloo. Ramin has recreated the role of the Phantom and given it so much depth and vaguely hidden menace you want him and fear him at the same time. Add to that that no matter how uglified he is, he remains one of the best looking men to ever grace the west end stage. Top it off with a voice that you wish could sing you into the land of nod every night, and you have the perfect package. Oh Ramin and our pitter pattering little fairy hearts...
Our previous encounter with this musical left us feeling that only the surface had been scratched. It was lacking. And as the biggest fans of ALW in the world (did you not know Evita was written with us in mind, only we were too young to be considered for the role?) we were disappointed that a composer as accomplished and talented as ALW had not managed to recapture the magic of the original Phantom. Who would have thought that the beauty and magic was there all along, only it was so hidden by things that didn't make much sense that it wasn't being appreciated for what it was and is; a stroke of pure, beautiful genius and every bit as haunting and evocative as the best of anything he has composed prior to this. ALW, we salute you. The beauty of this piece is now plain for all to see.
Wednesday, 8 December 2010
Mobile Chess
16th November 2010 - Mayflower Theatre, Southampton.
And so, on a wintery evening, it fell to Tamsin to travel as a lone fairy to Southampton once more to take in the touring production of Chess. Not completely alone, but without a fairylike chum. Karina has to wait until it hits the theatrical heights of the Southend Cliffs Pavillion, but our memories not being what they once were - a review will be written now with amendments to follow - this before it fades.
So, Chess. Karina is the expert here, being able to sing the entire score without accompaniment... but as she hasn`t yet had the joy - I will do my best to be accurate. I love to see shows I know back to front, but there is something utterly exciting about a first viewing. I saw Chess many donkeys years ago as a youngster with Dame Elaine in the West End, and recall being bored rigid. I think. From what I can remember - which isn`t much really. Of course I am familiar with a lot of the score - the lyrics to I Know Him So Well are burned into my brain as a child of the 80's, when I believe it was number one for at least 3 years. So between listening to back to back Duran albums it seeped into my subconscious and will remain one of my faves. And Dame Elaines furry hat will never be forgotten despite it being somewhat Eastern European in contrast with her role. I know Anthem of course, and had it on repeat only this year thanks to the lovely Josh Groban. Someone Elses Story, Nobodys Side, One Night in Bankok, Pity the Child - all musical theatre treats. And familiar to a listener* of Dame EP`s Sunday radio egofest (*albeit reluctant - She is ANNOYING and LUVVY in the extreme, but who else plays the theatre tooooooons??? )
Therefore, I was fully prepared to love the score - and I did. I have already ordered the CD to howl along to in the car. I have to say though - the RAH version was lovely, musically stirring (apart from Idina being a bit irritating) and Joshtastic, but visually a bit ......dull? That absolutely, categorically with a cherry on top CANNOT be said of this production! From the LED infused perspex set to the live video streaming, to the Ann Summers inspired costumes of the unfeasably talented emsemble, this is kitsch of the highest order. As a non- afficionado, I am never entirely sure who the arbiter is (a chess judge?) but am reasonably certain he isn`t normally attired like an extra from Blakes 7. FABULOUS. It was hard to beleive the emsemble were actually playing all the instruments as well as singing, dancing, and generally being amazing.
The leads were all good - Daniel Kroek as the Russian was a little wooden, and I'm not sure how authentic the nipple ring was - bit I liked his singing, despite him not milking Anthem NEARLY enough. Now Josh knows how to milk Anthem. And he has prettier hair.
Shona White was great as Florence, the meat in a Grandmaster sandwich if you will, with a voice very remeniscent of La Dickson - all good in my book. Her duet with Svetlana was close-your-eyes fantastic. But the standout performance was James Fox as Freddie. Not a likable character, but he had me definitely on his side. The acoustic version of Pity the Child - just him and a guitar... one word - Spellbinding. Karina and I were so excited to hear he was perfoming in this production, having seen, well - heard him, at the Apollo Victoria 80th Birthday Gala in October. Unfortunately, we didn`t see him as we were stuck behind the Wicked staircase in the cheep seats. Couldn`t pick him out of a line-up. But boy, we heard him. He sang a Billy Joel medley from the musical "Movin' Out" - and WOW. Sing me a song, piano man.... la la la....
So I knew he could sing. But he really was heartwrenching as well as hateful as Freddie, and I`m not ashamed to say I let out an audible snort/sob combo during Pity the Child. Pity indeed.
So all in all?? Loved it. Loved it. Loved it.
Far more entertaining than real chess, but that may be partly because I have no idea how to play.
I'm sure its riveting - but give me a musical any day.
Fairy signing out.
And so, on a wintery evening, it fell to Tamsin to travel as a lone fairy to Southampton once more to take in the touring production of Chess. Not completely alone, but without a fairylike chum. Karina has to wait until it hits the theatrical heights of the Southend Cliffs Pavillion, but our memories not being what they once were - a review will be written now with amendments to follow - this before it fades.
So, Chess. Karina is the expert here, being able to sing the entire score without accompaniment... but as she hasn`t yet had the joy - I will do my best to be accurate. I love to see shows I know back to front, but there is something utterly exciting about a first viewing. I saw Chess many donkeys years ago as a youngster with Dame Elaine in the West End, and recall being bored rigid. I think. From what I can remember - which isn`t much really. Of course I am familiar with a lot of the score - the lyrics to I Know Him So Well are burned into my brain as a child of the 80's, when I believe it was number one for at least 3 years. So between listening to back to back Duran albums it seeped into my subconscious and will remain one of my faves. And Dame Elaines furry hat will never be forgotten despite it being somewhat Eastern European in contrast with her role. I know Anthem of course, and had it on repeat only this year thanks to the lovely Josh Groban. Someone Elses Story, Nobodys Side, One Night in Bankok, Pity the Child - all musical theatre treats. And familiar to a listener* of Dame EP`s Sunday radio egofest (*albeit reluctant - She is ANNOYING and LUVVY in the extreme, but who else plays the theatre tooooooons??? )
Therefore, I was fully prepared to love the score - and I did. I have already ordered the CD to howl along to in the car. I have to say though - the RAH version was lovely, musically stirring (apart from Idina being a bit irritating) and Joshtastic, but visually a bit ......dull? That absolutely, categorically with a cherry on top CANNOT be said of this production! From the LED infused perspex set to the live video streaming, to the Ann Summers inspired costumes of the unfeasably talented emsemble, this is kitsch of the highest order. As a non- afficionado, I am never entirely sure who the arbiter is (a chess judge?) but am reasonably certain he isn`t normally attired like an extra from Blakes 7. FABULOUS. It was hard to beleive the emsemble were actually playing all the instruments as well as singing, dancing, and generally being amazing.
The leads were all good - Daniel Kroek as the Russian was a little wooden, and I'm not sure how authentic the nipple ring was - bit I liked his singing, despite him not milking Anthem NEARLY enough. Now Josh knows how to milk Anthem. And he has prettier hair.
Shona White was great as Florence, the meat in a Grandmaster sandwich if you will, with a voice very remeniscent of La Dickson - all good in my book. Her duet with Svetlana was close-your-eyes fantastic. But the standout performance was James Fox as Freddie. Not a likable character, but he had me definitely on his side. The acoustic version of Pity the Child - just him and a guitar... one word - Spellbinding. Karina and I were so excited to hear he was perfoming in this production, having seen, well - heard him, at the Apollo Victoria 80th Birthday Gala in October. Unfortunately, we didn`t see him as we were stuck behind the Wicked staircase in the cheep seats. Couldn`t pick him out of a line-up. But boy, we heard him. He sang a Billy Joel medley from the musical "Movin' Out" - and WOW. Sing me a song, piano man.... la la la....
So I knew he could sing. But he really was heartwrenching as well as hateful as Freddie, and I`m not ashamed to say I let out an audible snort/sob combo during Pity the Child. Pity indeed.
So all in all?? Loved it. Loved it. Loved it.
Far more entertaining than real chess, but that may be partly because I have no idea how to play.
I'm sure its riveting - but give me a musical any day.
Fairy signing out.
Sunday, 5 December 2010
For the love of the Buble
Before anyone gets the wrong idea, the Theatrefairies do not spend their every waking hour lusting after musically gifted, beautiful men. No. we just appreciate the male form and give credit where it is due for particular talent and artistry that catches our discernible eyes (and ears). Although Michael Buble is not in musical theatre, per se, he still deserves a post of his own, due to his incredible, unbeatable, absolute, total, exquisite, utter gorgeousness and indescribable somethingness that if we were able to bottle, would earn us millions upon millions. Whatever he has, he has it in spades. We heart Michael too much for words and make whimpering noises whenever his name is mentioned...but will make a valiant attempt at putting a few words together about him anyway. Because we're good like that.
Buble, Buble, Buble. Where can we begin...
Buble, Buble, Buble. Where can we begin...
Michael Buble manages to make us go quiet, which is no mean feat. Seriously. We might be nattering away ten to the dozen and suddenly his cherubic, cheeky, drop dead gorgeous face appears on screen, we hear his voice and...shut up. For the duration of his appearance on tv. This may be something those who know the fairies may like to keep in mind in those moments of needing some silence. We won't argue.
And he is funny. He is sarcastic, self-deprecating (although we can't help but feel he may be a teensy bit arrogant, he makes every effort to appear modest. And he does it so well.) He gave up a promising career as a fisherman to follow his easy-listening dream. He has lovely shiny shoes. He is chatty with his audience, and has a pretty British sense of humour - a great thing in our book. His voice makes us melt, and he has the audience in the palm of his hand - just watch them. Even the boys (admittedly in the minority....) can't get enough of this cute crooner. He plays table-tennis like a demon. He used to be a party-boy but has cleaned himself up for the love of his life. Seriously, what's not to like??????
If he was any more knicker-wettingly amazing, the world might just explode.
So, watch his incredible performance, and if you don't fall swooning to the floor you are obviously from another planet.
Or a ridiculously uncompromisingly straight man. And let's face it, even then......you probably would?
Friday, 3 December 2010
The pleasure of an unexpected snow day!!!!
Aaaah snow. How lovely. Makes even the mankiest of towns look clean and white and brings out the child in everyone. For the fairies heavy snow fall inevitably means a day off the day job, i.e. working from home. And in our case this was evident by the fact we have been busy arranging an outing for next Tuesday to see the new, revamped 'Love Never Dies' (weather permitting, AND IT WILL) and we will, naturally report back with a review...and instead of catching up with day-job related research and planning, we have decided that next year...next autumn (ish)...the fairies will hit Broadway!!!!! Oh yes, start spreading the news, we're going to be a part of it...New York will never be the same again!!! So much to see, so much to plan, so many shows to see, so exciting...! !!
So, all in all, a very productive day. Our books remain untouched, planning undone, but what the hell! To celebrate Tamsin's new snow slippers and Karina's ability to stay upright for once in the snow and ice, a bit of Doris Day...
And frankly that's all there is to say about today. Cold, snowy and frosty but gorgeous. What's not to love about a bit of snow, especially when it means a day off work, a chance to catch up on rubbish telly and the opportunity to make some plans for future adventures?? At risk of sounding smug, on days like today it's so nice being us!!!!!
So, all in all, a very productive day. Our books remain untouched, planning undone, but what the hell! To celebrate Tamsin's new snow slippers and Karina's ability to stay upright for once in the snow and ice, a bit of Doris Day...
Thursday, 2 December 2010
You can't stop the beat!!
To think that Tamsin had to persuade Karina to see Hairspray! True. Yet having seen it once Karina quickly realised Tamsin had introduced her to one of the feel-goodest shows ever to grace the
And as is now customary, in no particular order;
The music. Bouncy and catchy, gets you up and dancing, singing and wishing it would never end. Songs you sing for days after. Songs that echo your own life, with lyrics such as ‘Hungry for something that I can’t eat’ and ‘All shapes and sizes follow me! Who wants a twig when you can climb a whole tree’…this musical loooooves women who aren’t stick insects and we can embrace any ethos that lets us be who we want to be wholeheartedly!! On top of which it’s virtually impossible to sing along to the songs in this show without smiling.
Ben James-Ellis’ American accent. For us it was very satisfying seeing an ‘Any Dream Will Do’ alumnus do so well on stage. He was a great little mover (with proper man-thighs) and was able to hold a tune; he might not have had the strongest voice in the world but he was great in his part as Link Larkin. There was only one little thing that had us in hysterics. His accent. In his scene breaking Tracy
The staging. What’s not to love about a big lot of kitsch covered in a huge dollop of nostalgia topped with primary colours and sparkly bits? A feast for the eyes. And we liked little ideas such as Tracy
MichaelBallMichaelBallMichaelBall. Or Edna. It is a well established fact that we adore the man Ball and would watch him in anything (as demonstrated by the fact we watched him in the Michael Ball Show as part of the studio audience). His voice lends itself to so many parts and he has fantastic comic timing. And he makes a fine figure of a buxom woman. He's cheeky, likable, talented and sweet, appreciates his audience and is always gracious. Despite his army of alarming fans whom we have nightmares of, we would still see him in any West End productions and are even toying with the idea of seeing him in concert whenever he tours (not least because, in days gone by, Dean Collinson has been his backing singer and Karina would like to remind him of what he's missing if he drags his feet any longer)! We love Michael. And as Edna he could wash our knickers any day.
The beauty that is Mobile Hairspray!! With heavy hearts we bid farewell to 'Hairspray' at the Shaftesbury but decided to give the mobile show a viewing. So pleased we did, as it was SPECTACULAR. Possibly, if at all possible, even better than the West End version. Just when we thought it couldn't possibly get cheerier, sparklier and funnier, it did. And as if that wasn't enough, our Michael was there. And what's not to love in a show with everything including Michael Ball travelling around the country? As tempting as it might have been to give up the day job and follow the show we decided it might be best to not show up too frequently, in order to let Michael concentrate on other audience members and not just us. We're not selfish, you know.
The Programme
Sparkly and pretty. Well worth the money!
The choreography
Tis fabulous, especially the last routine - and the wide stage at Southampton show it off to its best. Oh yes.
All in all, there is NOTHING not to love, and so we do.
Come back sooooooooooooon!
The Programme
Sparkly and pretty. Well worth the money!
The choreography
Tis fabulous, especially the last routine - and the wide stage at Southampton show it off to its best. Oh yes.
All in all, there is NOTHING not to love, and so we do.
Come back sooooooooooooon!
One for serious thespians, maybe...?
Name: The Rivals (Sheridan)
Date: 23rd November 2010. Press Night.
Venue: Haymarket, Theatre Royal
Length of performance: Just over an hour. For us.
Allow us to elaborate. Theatre is what we live and breathe and there has not been a single performance that we haven't got something tangible out of. That's the amazing thing about theatre; the ability to stir emotions, create images and give us 'new ways to dream' (to borrow the words of the unforgettable Norma Desmond in Sunset Boulevard...revival long overdue. ALW, are you reading????). And this is the mindset in which we set out to enjoy the latest revival of this restoration comedy.
On a cold, damp evening the Theatre Royal looked particularly beautiful and inviting. Though we were seated in the upper dress circle, visibility was good and there was an air of expectancy...but where was the audience? From where we were seated, the Gallery above us was virtually empty, the upper dress circle had noticable gaps in rows and entire rows without audience members.We like to think it was the weather keeping people at bay, as the cast advertised appeared to be strong and this was a play that had obviously endured the test of time. Whats not to love about a bit of Sheridan? Quite a bit, actually. Tamsin had never been overly enamoured since studying Sheridan at University and Karina had an aversion to that 'Mozartian' frilliness that often accompanied the era...but in for a penny, in for a pound. And it was press night! Whats not to enjoy?
Although we arrived in good time and hung around awaiting the arrival of the good and the great of the thespian community, we didn't see anyone we recognised. Compared to the press night of 'Flashdance' which had D-listers and celebrity wannabe's oozing out of the woodwork, serious theatre obviously has a much more low-key element to these first night proceedings. Or were we standing at the wrong door and they were all sneaked in behind us? Or are we, maybe, uneducated heathens who don't recognise the movers and shakers of the theatre world? If that's the case, then neither do the photographers. Of which there were none in sight last night. Anyway. Moving on.
In homage to Penelope Keith, Karina was planning on wearing a Margot Leadbetter-esque Kaftan, but the weather put a stop to that. Having never seen her on stage and only in sitcom's we were not sure what to expect. However, astonishingly, Penelope Keith, even after 30 odd years, still looks and sounds the same as she did on TV all those years ago. She was endearing in her part as Mrs Malaprop and was the one who managed to get a few chuckles and the odd guffaw out of the audience. Peter Bowles was quite lovely in his part as well. It was all very cheery and sprightly and that was to be expected. Speaking to the audience as a method of keeping the story moving, again, appropriate for the plays of that era, but nontheless rather annoying. Walking through one door and exiting through another whilst generally attempting to cause as much confusion and merriment as possible...all very smart and twee. But there was something missing.
The laughs. It wasn't funny. Some would argue that it would have to be the direction rather than the play, as the play is still going strong after a century or two and it is a 'comedy'. But we struggled to find a single element in the first half which would have captured our interest, despite the lush costumes. The story was a bit tedious! However, there were little moments of genius in the direction, which we liked and which made us smirk. The play itself is more of an acquired taste and maybe we just weren't refined enough to appreciate it. Who knows. The supporting characters/cast were...predictable. And we use the following word cautiously here in fear of being lynched...amateurish. Were it not for the beautiful surroundings of the Theatre Royal and the clever staging, the acting of the supporting cast wouldn't have been out of place in an amdram production. In Bognor. Which may sound a bit unfair to the cast (and to Bognor), as they are obviously a talented bunch, so it was probably the style of the play that prompted such performances, or the Director's (Peter Hall) vision of how these parts were to be delivered. Certainly a curious blend of acting styles which didn't necessarily compliment eachother comfortably on stage.
The interval was interesting. The curtain went down, there was a round of applause - and people exited the theatre. We made our way downstairs...and outside..and never went back in again, alongside ALOT of fellow theatre goers. We noticed a palpable indifference to the performance, which was really quite sad. Out of all possible emotions, surely indifference is the worst? However, for us as well, the interval couldn't have come soon enough, and obviously the same applied to our fellow absconders. On all the faces of the audience members leaving, as far as we could tell, was an expression that can only be described as...scary (see illustration). We recognised it on our own faces as well. "This is a comedy, we are polite, therefore we will smile in a jolly-hockey-sticks-tally-ho kind of way even if we don't like it...". Lordy. How british can you get.
To be honest, the play was boring. A Tuesday evening spent listening to something so - boring- was just plain - boring. Especially as the Fairies had some catching up to do. Maybe a play of this nature has just seen better days? Maybe it is a reminder of a bygone era and should stay in the past? But on that note, what about Shakespeare? Still relevant and gripping (depending on the production, naturally) and most definitely old. We even toyed with the idea of, maybe, being so shallow as to only loving musicals and hence not tolerating anything else, but realised that was also nonsense because we have seen plenty of plays with not an ounce of a musical interlude and loved them. Therefore it HAD to be the play. Or the production. Or the execution of the play in general. Apparently it's on for a limited run only, until February 2011, which might not be a bad thing, as we struggle to see how seats are going to be filled night after night. But it wasn't bad. Just the opposite of riveting. And falsely jolly, supposedly funny ha-ha when it came across as quite mawkish in a way. Then that is Sheridan and the era all over. Saying that, the reviews coming in seem to be speaking highly of the entire production. Maybe those reviews are written by people more educated in the world of theatre than us. Or could it be that something old and quintessentially british must not be criticised...? We were looking longingly over the road from the Theatre Royal to where Phantom is in residence, wishing we were somehow there again. Bet THEY were having a splendid time watching chandeliers fall...
...And a splendid time was had by us too! The evening ended on a high note; a Maccy D and double vodka later we were happy bunnies. And therefore this review will have a positive ending; this show has Penelope Keith and pretty costumes and we got an hours worth of proper adult culture before having a good chinwag. Excellent!
Did we miss something...?
Date: 23rd November 2010. Press Night.
Venue: Haymarket, Theatre Royal
Length of performance: Just over an hour. For us.
Allow us to elaborate. Theatre is what we live and breathe and there has not been a single performance that we haven't got something tangible out of. That's the amazing thing about theatre; the ability to stir emotions, create images and give us 'new ways to dream' (to borrow the words of the unforgettable Norma Desmond in Sunset Boulevard...revival long overdue. ALW, are you reading????). And this is the mindset in which we set out to enjoy the latest revival of this restoration comedy.
On a cold, damp evening the Theatre Royal looked particularly beautiful and inviting. Though we were seated in the upper dress circle, visibility was good and there was an air of expectancy...but where was the audience? From where we were seated, the Gallery above us was virtually empty, the upper dress circle had noticable gaps in rows and entire rows without audience members.We like to think it was the weather keeping people at bay, as the cast advertised appeared to be strong and this was a play that had obviously endured the test of time. Whats not to love about a bit of Sheridan? Quite a bit, actually. Tamsin had never been overly enamoured since studying Sheridan at University and Karina had an aversion to that 'Mozartian' frilliness that often accompanied the era...but in for a penny, in for a pound. And it was press night! Whats not to enjoy?
Although we arrived in good time and hung around awaiting the arrival of the good and the great of the thespian community, we didn't see anyone we recognised. Compared to the press night of 'Flashdance' which had D-listers and celebrity wannabe's oozing out of the woodwork, serious theatre obviously has a much more low-key element to these first night proceedings. Or were we standing at the wrong door and they were all sneaked in behind us? Or are we, maybe, uneducated heathens who don't recognise the movers and shakers of the theatre world? If that's the case, then neither do the photographers. Of which there were none in sight last night. Anyway. Moving on.
In homage to Penelope Keith, Karina was planning on wearing a Margot Leadbetter-esque Kaftan, but the weather put a stop to that. Having never seen her on stage and only in sitcom's we were not sure what to expect. However, astonishingly, Penelope Keith, even after 30 odd years, still looks and sounds the same as she did on TV all those years ago. She was endearing in her part as Mrs Malaprop and was the one who managed to get a few chuckles and the odd guffaw out of the audience. Peter Bowles was quite lovely in his part as well. It was all very cheery and sprightly and that was to be expected. Speaking to the audience as a method of keeping the story moving, again, appropriate for the plays of that era, but nontheless rather annoying. Walking through one door and exiting through another whilst generally attempting to cause as much confusion and merriment as possible...all very smart and twee. But there was something missing.
The laughs. It wasn't funny. Some would argue that it would have to be the direction rather than the play, as the play is still going strong after a century or two and it is a 'comedy'. But we struggled to find a single element in the first half which would have captured our interest, despite the lush costumes. The story was a bit tedious! However, there were little moments of genius in the direction, which we liked and which made us smirk. The play itself is more of an acquired taste and maybe we just weren't refined enough to appreciate it. Who knows. The supporting characters/cast were...predictable. And we use the following word cautiously here in fear of being lynched...amateurish. Were it not for the beautiful surroundings of the Theatre Royal and the clever staging, the acting of the supporting cast wouldn't have been out of place in an amdram production. In Bognor. Which may sound a bit unfair to the cast (and to Bognor), as they are obviously a talented bunch, so it was probably the style of the play that prompted such performances, or the Director's (Peter Hall) vision of how these parts were to be delivered. Certainly a curious blend of acting styles which didn't necessarily compliment eachother comfortably on stage.
The interval was interesting. The curtain went down, there was a round of applause - and people exited the theatre. We made our way downstairs...and outside..and never went back in again, alongside ALOT of fellow theatre goers. We noticed a palpable indifference to the performance, which was really quite sad. Out of all possible emotions, surely indifference is the worst? However, for us as well, the interval couldn't have come soon enough, and obviously the same applied to our fellow absconders. On all the faces of the audience members leaving, as far as we could tell, was an expression that can only be described as...scary (see illustration). We recognised it on our own faces as well. "This is a comedy, we are polite, therefore we will smile in a jolly-hockey-sticks-tally-ho kind of way even if we don't like it...". Lordy. How british can you get.
To be honest, the play was boring. A Tuesday evening spent listening to something so - boring- was just plain - boring. Especially as the Fairies had some catching up to do. Maybe a play of this nature has just seen better days? Maybe it is a reminder of a bygone era and should stay in the past? But on that note, what about Shakespeare? Still relevant and gripping (depending on the production, naturally) and most definitely old. We even toyed with the idea of, maybe, being so shallow as to only loving musicals and hence not tolerating anything else, but realised that was also nonsense because we have seen plenty of plays with not an ounce of a musical interlude and loved them. Therefore it HAD to be the play. Or the production. Or the execution of the play in general. Apparently it's on for a limited run only, until February 2011, which might not be a bad thing, as we struggle to see how seats are going to be filled night after night. But it wasn't bad. Just the opposite of riveting. And falsely jolly, supposedly funny ha-ha when it came across as quite mawkish in a way. Then that is Sheridan and the era all over. Saying that, the reviews coming in seem to be speaking highly of the entire production. Maybe those reviews are written by people more educated in the world of theatre than us. Or could it be that something old and quintessentially british must not be criticised...? We were looking longingly over the road from the Theatre Royal to where Phantom is in residence, wishing we were somehow there again. Bet THEY were having a splendid time watching chandeliers fall...
...And a splendid time was had by us too! The evening ended on a high note; a Maccy D and double vodka later we were happy bunnies. And therefore this review will have a positive ending; this show has Penelope Keith and pretty costumes and we got an hours worth of proper adult culture before having a good chinwag. Excellent!
Did we miss something...?
Subscribe to:
Comments (Atom)