Hellooooooo! We will make no pathetic excuses for being so lazy. Although we have published nothing in the time Katie Price has penned 2 new blockbusters, we have not been totally idle. Several draft posts have been languishing in our editing vaults, awaiting fairydust. The post below was first penned on 20th March 2011, and we have decided to post it unaltered..... we are pretty chuffed with our predictions thus far!
20th March 2011
Fairy-imaginations are a-whirring.
We witnessed the spectacle that was Les Mis at 25 years and loved every single second of it. The fact that anniversaries of musical theatre productions receive this level of attention and respect is in itself awesome, and naturally we like to be in the thick of it. Sadly Cameron Macintosh never asked us before putting on his show at the O2 (and ended up with Nick Jonas as a result. Just a quick word with us would have sufficed, Cammack. Really. we are full of suggestions...), but we're just going to put out a few ideas, ruminate over them...and see what happens. Yes, Lord Lloyd Webber; you are being 'fairied'!!!! Here's what we would like to see for a celebration of he Phantom Of The Opera at 25 years...
Venue
The Royal Albert Hall. For a couple of nights. The O2, though huge on a grander than massive scale, can be a bit impersonal (let alone chilly) and POTO needs to be seen by many, but in a slightly more intimate setting. Her Majestys Theatre, although the home of Phantom, isn't quite the venue. Namely because the last time we were there we had restricted view seats which were SO restricted we caught roughly one third of the action on stage. So from a purely personal point of view it's a no from us! RAH, please. Nice big stage, giving scope for all kinds of things, a beautiful setting, majestic even...
Type of event
Should it be the full stage show or should it be in concert format? Difficult. One argument is that as it has so much dialogue it might not lend itself very well to a concert. But it could work...if it was songs and scenes from the musical with 'guest stars', you know, surprise duets and pairings...oooh, quite liking the idea of that! Though, what must be remembered is that this is the most sumptuous of shows which prides itself on magnificent staging, special effects, beautiful costumes and stacks of dry ice (ALW likes dry ice. Ramin Karimloo would appear to have his very own dry ice machine in 'Love Never Dies'...). But a specially staged show might limit the choice of casting. Nonetheless, it would be an amazing setting (if it were in the RAH), a 'once seen, never forgotten' type of event.
The Cast
Yikes. this could prove tres difficile. If it was for the show, this is the cast we'd like to see...maybe...
Phantom - Ramin Karimloo (but we already knew that)What can be said about him that hasn't already been said? He is perfect in every way.
Christine - Sierra Boggess. Many would say this was too twee a pairing, taking into account 'Love Never Dies', but Sierra is good and we think she has the right look and sound.
Raoul - Murmurings abound that Lee Mead could potentially be up for this part. There is a time we would have said the same...but he needs to prove himself to us before he is launched into something this big. We would love him to get the part but we would worry for him constantly. He doesn't need any more negative press. Now if David Thaxton sang the part , we'd know that the moment he opens his mouth a guaranteed beautiful sound would emerge. And that guarantee is what you want for an occasion like this. However. As he's in LND already, some would argue it would be a casting 'too close to home'...and some may say that we are utterly predictable. So. Well, we are not proud.
Madame Giry - Karina would like to see Elaine Paige, possibly, in this part (See? I hold no grudges - Karina), but saying that, someone like Ruthie Henshall? Patti LuPone is a wonderful possibility for a cynical aging madame.
Meg Giry - Tricky. Young and innocent looking. What about Nancy Sullivan? She'd have the look. And although she hasn't the best voice in the world, Meg doesn't sing that much. But Nancy has always been very emotive on stage. Hayley Westenra? Tamsins Nan would approve....., Niamh Perry? Sweet voice.
Carlotta - Maybe Elaine Paige would actually suit this role better. Bit of a Diva, Grand Dame...been there...seen that....Could work. Another common 'wish' would be Sarah Brightman. Hmm. Our choice...? Penelope Keith..... we are not sure she can sing, but she would add a certain "Margotness" to proceedings. And arent opera divas supposed to be a little older?? Rebecca Caine? (No offence on the older thing...)
Monsieur Firmin - Michael Ball Michael Ball Michael Ball Michael Ball
Monsieur Andre - John Owen Jones or Earl Carpenter!!!! The Earl of Carpenter!!!!
Ubaldo Piangi - Message boards reckon this part should go to Alfie Boe. Does he have to crop up in everything?!?! He sings well. Note perfect, even. But we get no emotional punch from his performances (Oliviers were a good example of this. He sang 'Some Enchanted Evening' perfectly. But we didn't feel it. He sang, we listened and weren't moooooved!! ( Again.). So Alfie wouldn't be top of our wish list. But then , he is supposed to be a pompous berk with no redeeming features.....maybe a bit of stunt casting like Rhydian Roberts...(just kidding!). Or Peter Polycarpou...? He could be very good...
So. If it wasn't in a 'show' format and was a concert instead, we'd like most of the people from above (other than maybe EP. And Nancy Sullivan; (not that she isn't sweet, but she's not really spectacular...so maybe we shouldn't cast her...dilemma...). And maybe the original cast members (a bit like 25th Miz we suppose, very copy-cattish, but it would be awful not to include them) and maybe other phantoms past and present. And Christines. Lots of them.
Monday, 8 August 2011
Monday, 30 May 2011
Stuck in a (lovely) rut
The other day we had a little look at our archives and as much as we loved revisiting and remembering shows we've seen, we noticed (yet again) something a little disconcerting. Yes, it's been mentioned before but...how predictable are we exactly?? Always the same shows, always the same stars we love, always the same ooh's and aaah's. OK. We love Les Mis and Love Never Dies. Oh bloody yes, TOO RIGHT we'll be seeing both shows again this year. Sure, we've been to VIENNA (!!!!!) (if you hadn't heard our shrieks of joy nationwide by now...) to see the utterly marvellous, exquisitely talented, totally amazing Drew Sarich (and to see Vienna as only we can, naturally...) and of course we will always love certain performers and go unnecessary at the thought of seeing them in action. We are but fairy. Please understand.
However.
We recognise we need a change. We know we need to broaden our horizons and see new things and experience new performers and performances. Maybe we even need to see (gasp!) NEW SHOWS. Shiny new ones. New to us anyway. Blimey. Might have to sit down for a moment.
Right.
Deep breath.
The thing is, we fairies are a bit skint at the mo. We love our theatre, and if we like something, we will happily spend to see it again, but if we are a wee bit ambivalent..... well, £30 could be better spent. So, a dilemma. Shows we looooove versus shows we have yet to witness...... alongside limited means....times of austerity. All George Osborne`s fault we say. Theatre is a serious business, and rest assured, we're taking this seriously. So, there's only so many times we can write about LND and Les Mis or the rise and fall of Lee Mead or the twinkliness of Michael Ball's twinkly bits (...His eyes, you filthy minded people, his eyes...) or Top Ten's of our favourite...anythings. Even though, beware because we have plenty more Top Tens left in us yet. But all the same and back to the point...we need to see something new. Something a bit out there. Something we wouldn't have necessarily gone out of our way to see. Like, for instance...
Ghost.
Neither one of us rate the film much. The pottery scene is vomit inducing tosh and the whole concept is mawkish beyond belief. We're both quite pragmatic, even though we do enjoy a bit of romance in a film. Just not the Ghost-film type romance. Yet when we heard Caissie Levy sing a song from the show at the What's On Stage Awards we were taken aback by how beautiful it was. Her voice was stunning, which may have something to do with how much we enjoyed the performance, but there was no denying the song was beautifully crafted and unique. So we've decided we will definitely catch 'Ghost' when it comes to the West End. Despite the fact it will have Richard Fleeshman in it. For us he will always be the young boy from Corrie.Correction. We will not be judgemental. So, yay Richard! Sure he'll do just great...
What else...
Betty Blue Eyes.
Based on the film 'A Private Function' and, apparently centering on a pig. A piggy musical. That is a first.This musical has had rave reviews. Must confess, the concept doesn't exactly strike us as a complete winner, but hey. It's new, it's original and we need to see it without reservations. Let's face it, Karina was in two minds about seeing Avenue Q because the concept of rude, singing puppets didn't appeal and was then completely and utterly sold before the first minute was over. Maybe Betty will have the same effect...or it might spawn lots of animal musicals. Lassie come home, anyone? Or Babe the Musical...? The mind boggles...
Shrek The Musical
This is killing us but we're going with it. The buzz about this is immense and it promises to be big in every way. Hyped to the hilt. We are prepared to overlook Amanda Holden's annoying ways as this musical also stars Nigel Harman and Richard Blackwood and will be staged in a theatre we adore, The Theatre Royal Drury Lane. So Shrek it is. We will be there. And we WILL enjoy it come hell or high water.
The Wizard of Oz
Well we have to see it. It's new to the West End. Even though we know this show off by heart and for us Judy Garland is the definitive, annoying Dorothy, it is our duty as Theatrefairies to attend this show and give it an objective review. It will be starring the latest reality musical casting TV show recruit Danielle Hope and, of course, the Original Phantom (and for us, always and forever Frank Spencer) Michael Crawford. If anything, we're all about the dog. We're going to see Toto!!
Woof.
Legally Blonde
Yet another film adaptation. What is it with films turning into musicals? We really need to brace ourselves to see this one...we've avoided it for as long as we can. We hate to say, but we're going against our better judgement. Although it's been winning lots of gongs, they have been because of Sheridan Smith and not necessarily because of the quality of the music...which is a biggie for us. But we need an informed opinion. So we will see it. And see Lee Mead in his latest role, naturellement.
When we will see these shows...? This summer. We will. And anything else that comes along in the meantime. Should anyone stumble across this post and know of a goody we haven't mentioned or thinks of a show that they really enjoyed PLEASE TELL US. We could do with some inspiration and we're more than happy to go on recommendations. So leave us a comment!
And just whilst we're on the subject; since musicals are now being based on films, why not do one based on Serendipity ( the film with the yummy John Cusack...)? Lovely, cute story, lots of twists and turns and room for upbeat songs and ballads and everyone loves a few weddings you can chuck in...or, 'Four Weddings and a Funeral'. Oh, oh and Notting Hill!! And Bridget Jones Diary! The fairies would be more than happy to compose the score and write the entire play themselves...
EDIT: We wrote this about a month ago. We have since been in somewhat of a post Drew slump, moneywise and emotionally.... but this weekend we have seen Betty Blue Eyes.
Loved it. "There`s a PIG.....in the 'OUSE....". Review pending... but for now we need to get out of our PJs and put some slap on as we are off to take in some Shakespeare dahlings.
However.
We recognise we need a change. We know we need to broaden our horizons and see new things and experience new performers and performances. Maybe we even need to see (gasp!) NEW SHOWS. Shiny new ones. New to us anyway. Blimey. Might have to sit down for a moment.
Right.
Deep breath.
The thing is, we fairies are a bit skint at the mo. We love our theatre, and if we like something, we will happily spend to see it again, but if we are a wee bit ambivalent..... well, £30 could be better spent. So, a dilemma. Shows we looooove versus shows we have yet to witness...... alongside limited means....times of austerity. All George Osborne`s fault we say. Theatre is a serious business, and rest assured, we're taking this seriously. So, there's only so many times we can write about LND and Les Mis or the rise and fall of Lee Mead or the twinkliness of Michael Ball's twinkly bits (...His eyes, you filthy minded people, his eyes...) or Top Ten's of our favourite...anythings. Even though, beware because we have plenty more Top Tens left in us yet. But all the same and back to the point...we need to see something new. Something a bit out there. Something we wouldn't have necessarily gone out of our way to see. Like, for instance...
Ghost.
Neither one of us rate the film much. The pottery scene is vomit inducing tosh and the whole concept is mawkish beyond belief. We're both quite pragmatic, even though we do enjoy a bit of romance in a film. Just not the Ghost-film type romance. Yet when we heard Caissie Levy sing a song from the show at the What's On Stage Awards we were taken aback by how beautiful it was. Her voice was stunning, which may have something to do with how much we enjoyed the performance, but there was no denying the song was beautifully crafted and unique. So we've decided we will definitely catch 'Ghost' when it comes to the West End. Despite the fact it will have Richard Fleeshman in it. For us he will always be the young boy from Corrie.Correction. We will not be judgemental. So, yay Richard! Sure he'll do just great...
What else...
Betty Blue Eyes.
Based on the film 'A Private Function' and, apparently centering on a pig. A piggy musical. That is a first.This musical has had rave reviews. Must confess, the concept doesn't exactly strike us as a complete winner, but hey. It's new, it's original and we need to see it without reservations. Let's face it, Karina was in two minds about seeing Avenue Q because the concept of rude, singing puppets didn't appeal and was then completely and utterly sold before the first minute was over. Maybe Betty will have the same effect...or it might spawn lots of animal musicals. Lassie come home, anyone? Or Babe the Musical...? The mind boggles...
Shrek The Musical
This is killing us but we're going with it. The buzz about this is immense and it promises to be big in every way. Hyped to the hilt. We are prepared to overlook Amanda Holden's annoying ways as this musical also stars Nigel Harman and Richard Blackwood and will be staged in a theatre we adore, The Theatre Royal Drury Lane. So Shrek it is. We will be there. And we WILL enjoy it come hell or high water.
The Wizard of Oz
Well we have to see it. It's new to the West End. Even though we know this show off by heart and for us Judy Garland is the definitive, annoying Dorothy, it is our duty as Theatrefairies to attend this show and give it an objective review. It will be starring the latest reality musical casting TV show recruit Danielle Hope and, of course, the Original Phantom (and for us, always and forever Frank Spencer) Michael Crawford. If anything, we're all about the dog. We're going to see Toto!!
Woof.
Legally Blonde
Yet another film adaptation. What is it with films turning into musicals? We really need to brace ourselves to see this one...we've avoided it for as long as we can. We hate to say, but we're going against our better judgement. Although it's been winning lots of gongs, they have been because of Sheridan Smith and not necessarily because of the quality of the music...which is a biggie for us. But we need an informed opinion. So we will see it. And see Lee Mead in his latest role, naturellement.
When we will see these shows...? This summer. We will. And anything else that comes along in the meantime. Should anyone stumble across this post and know of a goody we haven't mentioned or thinks of a show that they really enjoyed PLEASE TELL US. We could do with some inspiration and we're more than happy to go on recommendations. So leave us a comment!
And just whilst we're on the subject; since musicals are now being based on films, why not do one based on Serendipity ( the film with the yummy John Cusack...)? Lovely, cute story, lots of twists and turns and room for upbeat songs and ballads and everyone loves a few weddings you can chuck in...or, 'Four Weddings and a Funeral'. Oh, oh and Notting Hill!! And Bridget Jones Diary! The fairies would be more than happy to compose the score and write the entire play themselves...
EDIT: We wrote this about a month ago. We have since been in somewhat of a post Drew slump, moneywise and emotionally.... but this weekend we have seen Betty Blue Eyes.
Loved it. "There`s a PIG.....in the 'OUSE....". Review pending... but for now we need to get out of our PJs and put some slap on as we are off to take in some Shakespeare dahlings.
Saturday, 30 April 2011
The best of bilingual Drew
Our love and admiration for Drew Sarich reignited, we hereby share a few of our favouritest songs which sadly we are unable to sing along to. We do try though, be warned.
A few little reasons to be bilingual.....
NO IDEA WHAT'S GOING ON.... DO WE CARE? (That'll be a no then...)
WE'RE GUESSING THE BOOK IS IMPORTANT TO THE PLOT.....
ANGUISH WITH SUBTITLES... (known forever to us as "The German Song")
DRACULA - HA - HA.....
AW.(We really wish we had seen this....)
We don`t speak German.
But we do speak Drew, and would listen to him sing the phone book. Backwards.
However, for all lovers of the English language.....(we know we have posted a couple of these before, but we are in a Drew kind of place at the moment. We make no apologies. It will pass. Eventually.)
OUT THERE
WITH KERMIT. HUH?
...or maybe not. We have it bad. Officially.
A few little reasons to be bilingual.....
NO IDEA WHAT'S GOING ON.... DO WE CARE? (That'll be a no then...)
WE'RE GUESSING THE BOOK IS IMPORTANT TO THE PLOT.....
ANGUISH WITH SUBTITLES... (known forever to us as "The German Song")
DRACULA - HA - HA.....
AW.(We really wish we had seen this....)
We don`t speak German.
But we do speak Drew, and would listen to him sing the phone book. Backwards.
However, for all lovers of the English language.....(we know we have posted a couple of these before, but we are in a Drew kind of place at the moment. We make no apologies. It will pass. Eventually.)
OUT THERE
WITH KERMIT. HUH?
...or maybe not. We have it bad. Officially.
Friday, 29 April 2011
Jersey Heads.
What? Jersey Boys
Where? Prince Edward Theatre, London
When? Wednesday 20th April 2011.
Well, well, well. We have just read back our New Year post on our planned show viewings for 2011, and you know what? We ain't doing too bad for 2 skint fairies! So far, we have seen: Love Never Dies, (no surprise there...), The Lion King, Chess, Jersey Boys and continental Drew. We are all booked up for Sweeney Todd in September, and Much Ado in May and cant't friggin' wait. An evening with Josh Groban awaits us in October. If that were't enough, we also went to 2 unplanned award shows. Yay!
So, not too shabby. Admittedly, we do search high and low for our tickets (All credit to Tamsin here - she is Queen of bargain hunting and research - Karina), wee bargain hunters that we are, and if we will insist on theatre visits to the continent which involve planes, hotels and spending money, we must economise in other ways. We therefore firmly blame Drew Sarich (sigh) for the fact that we were forced to endure the restricted view £20 front row seats for our inaugural visit to Jersey Boys. (Last mention of the Sarich-God in this post, honest. Well, maybe.) Big girls really do cry...
So. Jersey Boys.
We had heard tell of the legendary JB front row, and if we are completely honest, it put us off. Images of ladies of a certain age clutching JB carrier bags and singing along to 60s hits intimidated us slightly, as did the strange woman who tried to befriend us in the scariest way possible at last years West End Live, whilst simultaneously dancing enthusiastically to the boys in the sparkly suits. The nice woman in the box office was concerned we may not know these seats were restricted view.... but we assured her we had gone for them deliberately on economic grounds. There's a recession on you know.
Her concern was justified. The seats are RIDICULOUS. Good for leg room though. We fairies are different heights ranging from 5'2 to 5'8 but found the view (or lack of) equally hilarious. There is nowt quite like looking up the nostrils of a West End leading man to set us off. Rest assured, we were well behaved........we always are.
We have experienced too many of the horrors to be found here
http://www.whatsonstage.com/board/index.php?/topic/22065-bad-behaviour-at-a-show/ to be otherwise.
But it took monumental willpower. Such is the giggle potential of watching a show where for at least 70% of it you can see either:
a) Nothing or
b) 4 jiggling hairdos.
For the other 30% , and at the other extreme we were sharing the spotlight with the performers. Sadly this was probably the closest either of us will get to the West End Stage, so we should have made the most of it, but we found ourselves sinking further down in our seats instead of embracing our close ups.
A missed opportunity? Possibly.
The hits came thick and fast. 'Sherry', Big Girls Don't Cry', 'Walk Like a Man' (we luuuurve the little dance moves and head wiggles to this one!), 'December 1963', 'Beggin''...the temptation WAS there to sing along...! BUT. This musical is surprisingly wordy. Some would say verbose. So much dialogue! And, in our humble fairy opinion, to the detriment of the songs. We wanted to hear good, lengthy songs, not constant chopping and changing. Not helped, granted, by the fact that we had to fill in the blanks and sometimes the context of the songs/dialogue was lost on us because we COULDN'T SEE THE BLOODY STAGE. And then, frequently, when we did get a glimpse of the action, it was of an actors back. They spent a lot of time with their backs to the audience...! Grumble over.
The cast. All four leads did well, Jon Boydon was particularly good as he played the role of Tommy DeVito as an arrogrant, slightly unlikable sod, but who still kind of had the best interests of the group at heart...or did he...? Ryan Molloy does the required high singing well. Eugene McCoy was lovely, as was Matthew Wycliffe. Our favourite was Wayne Smith (Bob Crewe), whom we know as Baby Pharoah who was marvellously camp. And has a great nose. In all honesty, it's difficult to really comment in more detail on the cast because they sounded good (and looked good when we did see them and weren't blinded by spotlights) but we were concentrating so hard on not getting permanent nerve damage in our necks we don't think we experienced the show at it's best. It was enjoyable though.
We would have joined in the standing ovation had it not meant our faces being directly opposite (and about 5" away) from the four leading mens groins. We're not prudes but it didn't feel appropriate. We figured we might try to see the show again but further, much further back. And maybe then we can write a proper review without having to mention counting nostril hairs or singing wigs.
Where? Prince Edward Theatre, London
When? Wednesday 20th April 2011.
Well, well, well. We have just read back our New Year post on our planned show viewings for 2011, and you know what? We ain't doing too bad for 2 skint fairies! So far, we have seen: Love Never Dies, (no surprise there...), The Lion King, Chess, Jersey Boys and continental Drew. We are all booked up for Sweeney Todd in September, and Much Ado in May and cant't friggin' wait. An evening with Josh Groban awaits us in October. If that were't enough, we also went to 2 unplanned award shows. Yay!
So, not too shabby. Admittedly, we do search high and low for our tickets (All credit to Tamsin here - she is Queen of bargain hunting and research - Karina), wee bargain hunters that we are, and if we will insist on theatre visits to the continent which involve planes, hotels and spending money, we must economise in other ways. We therefore firmly blame Drew Sarich (sigh) for the fact that we were forced to endure the restricted view £20 front row seats for our inaugural visit to Jersey Boys. (Last mention of the Sarich-God in this post, honest. Well, maybe.) Big girls really do cry...
So. Jersey Boys.
We had heard tell of the legendary JB front row, and if we are completely honest, it put us off. Images of ladies of a certain age clutching JB carrier bags and singing along to 60s hits intimidated us slightly, as did the strange woman who tried to befriend us in the scariest way possible at last years West End Live, whilst simultaneously dancing enthusiastically to the boys in the sparkly suits. The nice woman in the box office was concerned we may not know these seats were restricted view.... but we assured her we had gone for them deliberately on economic grounds. There's a recession on you know.
Her concern was justified. The seats are RIDICULOUS. Good for leg room though. We fairies are different heights ranging from 5'2 to 5'8 but found the view (or lack of) equally hilarious. There is nowt quite like looking up the nostrils of a West End leading man to set us off. Rest assured, we were well behaved........we always are.
We have experienced too many of the horrors to be found here
http://www.whatsonstage.com/board/index.php?/topic/22065-bad-behaviour-at-a-show/ to be otherwise.
But it took monumental willpower. Such is the giggle potential of watching a show where for at least 70% of it you can see either:
a) Nothing or
b) 4 jiggling hairdos.
For the other 30% , and at the other extreme we were sharing the spotlight with the performers. Sadly this was probably the closest either of us will get to the West End Stage, so we should have made the most of it, but we found ourselves sinking further down in our seats instead of embracing our close ups.
A missed opportunity? Possibly.
The hits came thick and fast. 'Sherry', Big Girls Don't Cry', 'Walk Like a Man' (we luuuurve the little dance moves and head wiggles to this one!), 'December 1963', 'Beggin''...the temptation WAS there to sing along...! BUT. This musical is surprisingly wordy. Some would say verbose. So much dialogue! And, in our humble fairy opinion, to the detriment of the songs. We wanted to hear good, lengthy songs, not constant chopping and changing. Not helped, granted, by the fact that we had to fill in the blanks and sometimes the context of the songs/dialogue was lost on us because we COULDN'T SEE THE BLOODY STAGE. And then, frequently, when we did get a glimpse of the action, it was of an actors back. They spent a lot of time with their backs to the audience...! Grumble over.
The cast. All four leads did well, Jon Boydon was particularly good as he played the role of Tommy DeVito as an arrogrant, slightly unlikable sod, but who still kind of had the best interests of the group at heart...or did he...? Ryan Molloy does the required high singing well. Eugene McCoy was lovely, as was Matthew Wycliffe. Our favourite was Wayne Smith (Bob Crewe), whom we know as Baby Pharoah who was marvellously camp. And has a great nose. In all honesty, it's difficult to really comment in more detail on the cast because they sounded good (and looked good when we did see them and weren't blinded by spotlights) but we were concentrating so hard on not getting permanent nerve damage in our necks we don't think we experienced the show at it's best. It was enjoyable though.
We would have joined in the standing ovation had it not meant our faces being directly opposite (and about 5" away) from the four leading mens groins. We're not prudes but it didn't feel appropriate. We figured we might try to see the show again but further, much further back. And maybe then we can write a proper review without having to mention counting nostril hairs or singing wigs.
Jesus Christ Superstar - Vienna (Ronacher) style
What: Jesus Christ Superstar
When: 21st and 23rd April 2011
Where: Ronacher Theatre, Vienna
WARNING (two posts, two warnings...we're doing well...): Readers prone to allergic rashes from overt gushing may need to stop reading now (or go take an antihistamine in preparation)
We finally made it.
We got to Vienna.
And lost our hearts to Drew Sarich all over again.
It isn't often us fairies are rendered speechless and incapable of simple everyday tasks such as thinking, blinking and breathing, but that's exactly what happened to us on Austrian soil. We wouldn't have had it any other way though. Drew Sarich was, if even humanly possible, better than we had ever heard him before. But more about that heart breaker in a moment - we need to start from the beginning...
Our first view of Vienna was in the glorious sunshine, and for the entire time we were there we didn't have a cloudy day. Vienna is gorgeous; beautiful, relaxed, stylish and sophisticated, and we managed to immerse ourselves in the cafe culture in TF style. We shopped, we drank, we ate ice cream, schnitzel, sausages and strudel. We tried to speak German, but gave up swiftly after one too many episodes of continually mixing up our please and thank yous like complete eejits. Still, we managed to get around and found the Ronacher Theatre with relative ease - we like to be prepared. Imagine, Tamsin doing her usual over-optimistic journey scheduling and us missing THE MAIN EVENT. Shudder. Especially after the stress of obtaining the karten (German for tickets dontcha know) through an Austrian website with the aid of Google translate. That was an adventure in itself. However, once bought, the karten arrived within 3 days (Delfont Mackintosh take note, you with your last minute posting...).
We won`t bang on about the trip, nothing worse than hearing about other peoples holidays, yawnsville. Suffice to say we had an amazing time and would gladly live in Vienna any day. But, we WILL dissect the show. Jesus Christ Superstar, in Vienna, with the one and only. Drew. Phew.
Well, where to begin? It was evidently a sellout, with standing tickets also available, and both nights we went, it was packed. The Austrians sure do love their MT - and incumbent show "Tanz der Vampire" had been packed up to make way for a simple set.
Stunning in its simplicity. It was staged as a concert rather than a musical, so a platform of scaffolding at the back of the stage and a large cross which divided the stage (and acted as a walkway) was the central focal point. No gimmicks, no big budget effects, no expensive costumes. Just simple, effective lighting which left the actors, the talented-to-extreme cast, to showcase their amazing talent. Gushy? Us? Oh yes. And this is just the beginning...
Drew Sarich...
OK. We know we love Drew. By now, anyone reading our musings knows we love Drew. Drew Sarich is unbeatable in every way. We adore the man.
Read on.
We have seen him in Les Mis several times, went to an acoustic gig he did whilst here in London, and since he disappeared back to Europe we have scoured YouTube for snippets. Though never intentionally unkind, we might have been a little teensy bit critical of some of his recent choices in terms of musicals and roles. But in our defence we love him and know just how good and amazing he is...and want to see more of him in roles that do his amazing talent justice. Gethsemane has been studied by us in minute detail in the past. Yet nothing, NOTHING, prepared us for his performance as Jesus. If we are completely honest, we were rather leaning towards him playing Judas - he seemed to get the best songs after all. And there is no doubt that he gives great Judas. The evidence is out there.
Evidence M'Lud. Hot Judas. Watch & learn, Judas pretenders.
However - now we have seen him play the main man....... words fail us. We swear that we possibly stopped breathing. For about 1 and a half hours, no interval. Gethsemane was, quite simply, the most amazing thing either of us have ever witnessed on stage. STAGGERING. Needless to say, vocally perfect - properly rock tenor too, no messing. Drew doesn't have to reach for notes; he hits them all perfectly - the high ones and low ones - with such precision it is almost unbelievable. There were screams. Anguish. Pain. Doubt. Anger. Sadness. Soulfulness. Beauty. It made us cry. And judging by the stream of mascara stained faces we saw when the lights were back up, we weren't the only ones. A well deserved and lengthy standing ovation, and he simply stood on stage, in character - still and unmoving, and waited to continue. A true professional. There is a bootleg out in the ether from Thursday night, but the sound doesn't do him justice so we won't link it For now, we must satisfy ourselves with our oft watched version from 3 years ago.
Sheer brilliance..........
Vocally great, emotive. Shame about the Valjean hair and beard, but we can see the beauty underneath....apologies LND haters. This version is great - not as great as the one we saw, but pretty astounding nonetheless..... but if you like that, imagine THAT VOCAL..... (are you imagining???) OK, now we are pretty sure Drew Sarich has a picture growing old in his attic....because that video was 2008, and in 2011 he looks like THIS.
And yes, that is eyeliner, so you can imagine the carnage in Fairyworld. And we are not ashamed.
But it wasn't just Gethsemane..... the Temple, the Last Supper, Poor Jerusalem. The Crucifixion OH THE CRUCIFIXION!!!!!!!!!!!!!!!!! Burning crosses on stage and shivers from us.
Having seen cameras all round the theatre on Saturday night, we live in hope of a DVD.
Because we need that performance captured so we can die happy.
Our only regret is that we genuinely think he may have spoiled us forever as far as JCS is concerned. No one else will do after this - any other version of JCS will pale in comparison. We have seen some wonderful performances in our theatre lives. Michael Ball in Hairspray. David Thaxton in Les Mis. Lea Salonga. John Owen Jones. Ramin Karimloo. Steve Balsamo. Nick Jonas (kidding).
Drew beats them all for us. He is RIDICULOUSLY TALENTED. For us he is the best. There is no other MT performer like him. Oh we know we sound like bad mad theatre groupies of the worst kind, but unless you see him and hear him for yourself you cannot possibly comprehend what you're missing out on. As if the talent wasn't enough, he comes in packaging that a red blooded fairy could have dreamed up...only he's real (see pictorial evidence above...). Believe it or not, even pictures don't do the man justice - he is that good looking. And charismatic. And so. Astonishingly. Handsome. But even with all the rest it's the talent that singles him out as bloody as near to perfection as a man can be.
Apologies for the capitals and the mega gush, but it was the kind of performance that made us want to scream at Lloyd Webber to get his Lordly ass on a plane and come see him. We want everyone to see him, so you see - we are not selfish, keeping this little Austria based St Louis born treat all to ourselves. The man is world class. You know what? Even if you don`t think you like him... if you get the chance, if he ever comes to a town near you, see him.
Once in your life. That is all. Do yourself a favour. Make a point of seeing him. He should be on every persons list of people to see before they die. We can now die happy women...only we'd like to see him a fair few more times before we die. Like, once or twice a week minimum. Live. A fairy can dream...
The Best of the Rest
OK, Drew aside. The cast of this concert were pretty impressive and introduced us to quite a few names we will be looking out for in the future. Vienna - or the Ronacher - seems to attract charismatic and incredibly talented people like a magnet and this cast was a perfect representation of talent at its best. It almost felt as if we stayed in the Ronacher long enough, maybe some of their skill and magic would rub off on us. Remains to be seen, we guess...our bosses haven't noticed anything different about us as yet (other than a deep yearning to be back in Vienna NOW) but give it time...
Mischa Mang
Judas as part AC/DC, part Jack Black. Karina admits to having a little crush on this big bear of a man with a smile that would melt icebergs. Although not in brilliant voice the first time we heard him, on the second visit he was amazing. He has a rock voice which compliments Drew's brilliantly and made us sit up and listen, and wonder what else he is capable of. Yes, we'd like to see more of Mischa. As if his talent wasn't enough, after the show we were having a post-show post-mortem over a bevvie in a bar near the theatre and spotted Mischa posing for the camera of two ladies with a gorgeous smile and a pleasant word for them. What a lovely, lovely man.
Rob Fowler
Renamed 'Drew Junior' by us (although not necessarily younger than Drew, we're not pedantic) for one reason. This man has a jaw dropping voice. Very Drewesque, and distinctive. Amazing stage presence as well - your eye is automatically drawn to him (unless Drew is on stage, naturally...). He has a similar range and way of hitting the top notes without straining, which is a joy to behold. And he's a bit pretty too. We like him. Alot. Did a good Simon/Annas.
Alexander Di Capri
Another discovery, this man. As well as having a remarkable voice, his interpretation of Pilate was spot on. Going from a little bit bored and exasperated right through to increasingly frustrated and desperate with the King of the Jew's refusal to defend himself, we lived those emotions with him. Very moving. Great nose too.
Caroline Vasicek
Sang a gorgeous Mary Magdalene. She has a pure, clear but soft voice. And something else she has in common with the rest of the cast was that her acting isn't compromised in favour of the singing. Both aspects were so strong, adding to the whole interpretation and making every single scene count. Well known fact that us fairies struggle with female voices - with Caroline we had absolutely no problem.
For pics from the performance itself at the Ronacher, here's the link to the official photographers website. Very much worth a gander...Click here
A special mention should go not just to the rest of the cast that we haven't mentioned - they were all magnificent - but also to the Viennese audience. Standing ovations at the end of the performance which lasted for 6 curtain calls (and would have gone on longer, had the cast not decided enough was enough...). The audience was respectful, appreciative, polite and so incredibly well behaved. There was no interval - this was 1.5 hours of non-stop music, yet there was no moving around in seats, no wandering off to the loos, no eating and rustling sweetie wrappers, no whispering, no mobile phones, no rubbish left in the aisles and even entering and leaving the theatre was done in an orderly, polite, unrushed fashion. Oh how we love Vienna. And Austria.
And there you have it, in a nut shell. One of our favourite musicals, in our new favourite town, with our all time favourite MT performer. We went for two years without hearing Drew live and have sworn it won't be another two before we see him again. No amount of words can fully convey our utter love and admiration for this man. Take our word for it. Just see him. And fall in love with him. He is so worth it. End of gush.
When: 21st and 23rd April 2011
Where: Ronacher Theatre, Vienna
WARNING (two posts, two warnings...we're doing well...): Readers prone to allergic rashes from overt gushing may need to stop reading now (or go take an antihistamine in preparation)
We finally made it.
We got to Vienna.
And lost our hearts to Drew Sarich all over again.
It isn't often us fairies are rendered speechless and incapable of simple everyday tasks such as thinking, blinking and breathing, but that's exactly what happened to us on Austrian soil. We wouldn't have had it any other way though. Drew Sarich was, if even humanly possible, better than we had ever heard him before. But more about that heart breaker in a moment - we need to start from the beginning...
Our first view of Vienna was in the glorious sunshine, and for the entire time we were there we didn't have a cloudy day. Vienna is gorgeous; beautiful, relaxed, stylish and sophisticated, and we managed to immerse ourselves in the cafe culture in TF style. We shopped, we drank, we ate ice cream, schnitzel, sausages and strudel. We tried to speak German, but gave up swiftly after one too many episodes of continually mixing up our please and thank yous like complete eejits. Still, we managed to get around and found the Ronacher Theatre with relative ease - we like to be prepared. Imagine, Tamsin doing her usual over-optimistic journey scheduling and us missing THE MAIN EVENT. Shudder. Especially after the stress of obtaining the karten (German for tickets dontcha know) through an Austrian website with the aid of Google translate. That was an adventure in itself. However, once bought, the karten arrived within 3 days (Delfont Mackintosh take note, you with your last minute posting...).
We won`t bang on about the trip, nothing worse than hearing about other peoples holidays, yawnsville. Suffice to say we had an amazing time and would gladly live in Vienna any day. But, we WILL dissect the show. Jesus Christ Superstar, in Vienna, with the one and only. Drew. Phew.
Well, where to begin? It was evidently a sellout, with standing tickets also available, and both nights we went, it was packed. The Austrians sure do love their MT - and incumbent show "Tanz der Vampire" had been packed up to make way for a simple set.
Stunning in its simplicity. It was staged as a concert rather than a musical, so a platform of scaffolding at the back of the stage and a large cross which divided the stage (and acted as a walkway) was the central focal point. No gimmicks, no big budget effects, no expensive costumes. Just simple, effective lighting which left the actors, the talented-to-extreme cast, to showcase their amazing talent. Gushy? Us? Oh yes. And this is just the beginning...
Drew Sarich...
OK. We know we love Drew. By now, anyone reading our musings knows we love Drew. Drew Sarich is unbeatable in every way. We adore the man.
Read on.
We have seen him in Les Mis several times, went to an acoustic gig he did whilst here in London, and since he disappeared back to Europe we have scoured YouTube for snippets. Though never intentionally unkind, we might have been a little teensy bit critical of some of his recent choices in terms of musicals and roles. But in our defence we love him and know just how good and amazing he is...and want to see more of him in roles that do his amazing talent justice. Gethsemane has been studied by us in minute detail in the past. Yet nothing, NOTHING, prepared us for his performance as Jesus. If we are completely honest, we were rather leaning towards him playing Judas - he seemed to get the best songs after all. And there is no doubt that he gives great Judas. The evidence is out there.
Evidence M'Lud. Hot Judas. Watch & learn, Judas pretenders.
However - now we have seen him play the main man....... words fail us. We swear that we possibly stopped breathing. For about 1 and a half hours, no interval. Gethsemane was, quite simply, the most amazing thing either of us have ever witnessed on stage. STAGGERING. Needless to say, vocally perfect - properly rock tenor too, no messing. Drew doesn't have to reach for notes; he hits them all perfectly - the high ones and low ones - with such precision it is almost unbelievable. There were screams. Anguish. Pain. Doubt. Anger. Sadness. Soulfulness. Beauty. It made us cry. And judging by the stream of mascara stained faces we saw when the lights were back up, we weren't the only ones. A well deserved and lengthy standing ovation, and he simply stood on stage, in character - still and unmoving, and waited to continue. A true professional. There is a bootleg out in the ether from Thursday night, but the sound doesn't do him justice so we won't link it For now, we must satisfy ourselves with our oft watched version from 3 years ago.
Sheer brilliance..........
Vocally great, emotive. Shame about the Valjean hair and beard, but we can see the beauty underneath....apologies LND haters. This version is great - not as great as the one we saw, but pretty astounding nonetheless..... but if you like that, imagine THAT VOCAL..... (are you imagining???) OK, now we are pretty sure Drew Sarich has a picture growing old in his attic....because that video was 2008, and in 2011 he looks like THIS.
And yes, that is eyeliner, so you can imagine the carnage in Fairyworld. And we are not ashamed.
But it wasn't just Gethsemane..... the Temple, the Last Supper, Poor Jerusalem. The Crucifixion OH THE CRUCIFIXION!!!!!!!!!!!!!!!!! Burning crosses on stage and shivers from us.
Having seen cameras all round the theatre on Saturday night, we live in hope of a DVD.
Because we need that performance captured so we can die happy.
Our only regret is that we genuinely think he may have spoiled us forever as far as JCS is concerned. No one else will do after this - any other version of JCS will pale in comparison. We have seen some wonderful performances in our theatre lives. Michael Ball in Hairspray. David Thaxton in Les Mis. Lea Salonga. John Owen Jones. Ramin Karimloo. Steve Balsamo. Nick Jonas (kidding).
Drew beats them all for us. He is RIDICULOUSLY TALENTED. For us he is the best. There is no other MT performer like him. Oh we know we sound like bad mad theatre groupies of the worst kind, but unless you see him and hear him for yourself you cannot possibly comprehend what you're missing out on. As if the talent wasn't enough, he comes in packaging that a red blooded fairy could have dreamed up...only he's real (see pictorial evidence above...). Believe it or not, even pictures don't do the man justice - he is that good looking. And charismatic. And so. Astonishingly. Handsome. But even with all the rest it's the talent that singles him out as bloody as near to perfection as a man can be.
Apologies for the capitals and the mega gush, but it was the kind of performance that made us want to scream at Lloyd Webber to get his Lordly ass on a plane and come see him. We want everyone to see him, so you see - we are not selfish, keeping this little Austria based St Louis born treat all to ourselves. The man is world class. You know what? Even if you don`t think you like him... if you get the chance, if he ever comes to a town near you, see him.
Once in your life. That is all. Do yourself a favour. Make a point of seeing him. He should be on every persons list of people to see before they die. We can now die happy women...only we'd like to see him a fair few more times before we die. Like, once or twice a week minimum. Live. A fairy can dream...
The Best of the Rest
OK, Drew aside. The cast of this concert were pretty impressive and introduced us to quite a few names we will be looking out for in the future. Vienna - or the Ronacher - seems to attract charismatic and incredibly talented people like a magnet and this cast was a perfect representation of talent at its best. It almost felt as if we stayed in the Ronacher long enough, maybe some of their skill and magic would rub off on us. Remains to be seen, we guess...our bosses haven't noticed anything different about us as yet (other than a deep yearning to be back in Vienna NOW) but give it time...
Mischa Mang
Judas as part AC/DC, part Jack Black. Karina admits to having a little crush on this big bear of a man with a smile that would melt icebergs. Although not in brilliant voice the first time we heard him, on the second visit he was amazing. He has a rock voice which compliments Drew's brilliantly and made us sit up and listen, and wonder what else he is capable of. Yes, we'd like to see more of Mischa. As if his talent wasn't enough, after the show we were having a post-show post-mortem over a bevvie in a bar near the theatre and spotted Mischa posing for the camera of two ladies with a gorgeous smile and a pleasant word for them. What a lovely, lovely man.
Rob Fowler
Renamed 'Drew Junior' by us (although not necessarily younger than Drew, we're not pedantic) for one reason. This man has a jaw dropping voice. Very Drewesque, and distinctive. Amazing stage presence as well - your eye is automatically drawn to him (unless Drew is on stage, naturally...). He has a similar range and way of hitting the top notes without straining, which is a joy to behold. And he's a bit pretty too. We like him. Alot. Did a good Simon/Annas.
Alexander Di Capri
Another discovery, this man. As well as having a remarkable voice, his interpretation of Pilate was spot on. Going from a little bit bored and exasperated right through to increasingly frustrated and desperate with the King of the Jew's refusal to defend himself, we lived those emotions with him. Very moving. Great nose too.
Caroline Vasicek
Sang a gorgeous Mary Magdalene. She has a pure, clear but soft voice. And something else she has in common with the rest of the cast was that her acting isn't compromised in favour of the singing. Both aspects were so strong, adding to the whole interpretation and making every single scene count. Well known fact that us fairies struggle with female voices - with Caroline we had absolutely no problem.
For pics from the performance itself at the Ronacher, here's the link to the official photographers website. Very much worth a gander...Click here
A special mention should go not just to the rest of the cast that we haven't mentioned - they were all magnificent - but also to the Viennese audience. Standing ovations at the end of the performance which lasted for 6 curtain calls (and would have gone on longer, had the cast not decided enough was enough...). The audience was respectful, appreciative, polite and so incredibly well behaved. There was no interval - this was 1.5 hours of non-stop music, yet there was no moving around in seats, no wandering off to the loos, no eating and rustling sweetie wrappers, no whispering, no mobile phones, no rubbish left in the aisles and even entering and leaving the theatre was done in an orderly, polite, unrushed fashion. Oh how we love Vienna. And Austria.
And there you have it, in a nut shell. One of our favourite musicals, in our new favourite town, with our all time favourite MT performer. We went for two years without hearing Drew live and have sworn it won't be another two before we see him again. No amount of words can fully convey our utter love and admiration for this man. Take our word for it. Just see him. And fall in love with him. He is so worth it. End of gush.
Monday, 18 April 2011
Let's hear it for the boys (or maybe it's just a love for men in make up...?)
(Health Warning: This post has VERY LITTLE TO DO WITH THEATRE.)
We admit it.
We're biased.
Even when it comes to male MT performers, anyone taking a look at any of our posts will notice a clear preference and the same names cropping up again and again. So we've decided the time has come to try and be slightly more objective and less gushy about the boys, even if it is just for the length of this post, and to see if we can isolate some more (possibly non-MT) performers who have managed to impress us purely because of their talent and skill.
We've made our preference for male voices clear. We'd draw the line at male voice choirs but male soloists are a different matter. It's the pitch and the tone; a nice well rounded voice is like having a shot of whisky infront of a log fire on a cold winters day. Or something like that. And as much as we don't like high female vocals, we like a well controlled male falsetto (Drew Sarich, anyone...?) as much as a good baritone. But. No favouritism. Therefore, a selection of guys we think are great (with no mention at all of Drew Sarich, Ramin Karimloo, David Thaxton, Lee Mead, Michael Buble (we soooo heart Mike Bubble!) or Josh Groban. None of our usual suspects. Be gone with you!!). Oh, and we're not limiting this list to MT either. In fact, it barely gets a look in, as you will see. Just good male voices. Or talent. Male talent. Or charisma...You'll see what we mean in a moment...
There is a little something we need to make clear though. See, we both have always found ourselves admiring...men in eyeliner. Men in make up. Maybe it's the whole theatrical element of it but starting from the days Karina was convinced she'd marry Adam Ant (before we started squabbling over Simon Le Bon's hand) to finding ourselves mesmerised by Johnny Depp, especially in his guise as Captain Jack Sparrow...though he does a mean moody musician...
...as if any proof was needed. Sure, this love for a slightly dishevelled, rocky, arty, tortured soul (with eyeliner!) doesn't encompass why we love certain performers more than others...though we do have a theory that most theatre boys long to be a Rock God in their private lives, maybe to balance out the stigma being in MT can sometimes carry. But we digress. Just keep these points in mind whilst we take you through our latest list of marvellous performers..
Simon Shorten
Seen in Les Mis as 2nd understudy Valjean, Simon properly impressed us - and as Valjean that ain`t easy. We are fussy. We know what we like, and we like what we bloody well know. But Simon was a revelation - a pretty faultless voice, and the acting.....wow. Just wow. He was good. He will forever be known to us as Sunday Valjean. Strange but true.
Jeff Nicholson
Current (and soon to be departing....sob...) understudy Javert. He is about 7 foot tall, and strikes a pose. His voice is faultless, and WHY OH WHY he has not been given the principal role in recent years is a mystery. Especially when up against Nordic Javert. Who was UNINTELLIGABLE. (But cute.) Catch him while ye can people.....
Adam Duritz
A bit of a Tamsin one this. Karina has joined by default through our friendship and has been infected with a liking for this man, but Tamsins adoration for him has been there for more years than she cares to count. Not the most perfect vocal, often erratic performance wise, but in terms of songwriting the man is a God. A poet. A genius. And everytime you see him live it`s a new performance because he freestyles, mixes songs together, and make stuff up from his head. Its amazing. He`s a troubled soul, who is married to his music, and we love him.
' "If it's love" she said, "then were gonna have to think about the consequences"
She can't stop shaking and I can t stop touching her and.....
This time when kindness falls like rain
It washes her away and Anna begins to change her mind
"these seconds when I'm shaking leave me shuddering
for days" she says.
"And I'm not ready for this sort of thing." '
ANNA BEGINS by Counting Crows.
You can`t argue with lyrics like that. And we are not alone in this............
Steven Tyler
If Adam Duritz was a 'Tamsin', this choice is a 'Karina'. The man is skinny, looks like a ferret with a huge big mouth, loves a good scarf and has been around forever. The frontman of Aerosmith knows how to perform and is mesmerising to watch on stage. And to listen to. Talk about having a 'Rock-voice'. And there's something about him that is just...just is. It is with much sadness that Karina admits some of this man's glow has vanished since he sold out by becoming a judge on American idol but what can you do other than Rock On.
Michael Xavier
Michael is still something of an enigma to us. A very pretty enigma. We've heard his name crop up all over the place; first in 'Into the Woods' (which we never got around to seeing, bummer) and then in 'Love Story' (which we missed, double bummer). But we heard him sing both at the WOS awards and the Oliviers. And he looks mighty fine with a bit of eyeliner (please see exhibit A) and the boy can sing. Beautifully. We will make it our mission to see him in whatever he is in next. It's our duty.
Adam Lambert
If ever a man was born to be on stage, Adam is it. Witness please as he wipes the stage floor with actual American Idol winner Kris .....something. There really is no comparison. Freddie lives and breathes.
Tony Vincent
While we are on Freddie, Tamsin was underwhelmed at her inaugural visit to We will Rock You, but overwhelmed by the stage presence and talent (also the eyeliner) of the original Galileo. Tony Vincent was a huge part of the shows success we feel - let`s face it, it wasn`t the script....
Matt Bellamy
Another mysterious choice, this one, but one that is particularly close to Karina's heart. The frontman of Muse just has that 'Je ne sais quoi' (and eyeliner) with the addition of vocals that, at their best, leave you breathless. A-M-A-Z-I-N-G. Wouldn't quite drink his bathwater, but he is spectacular all the same.
Tom Chaplin
Public schoolboy with the vocal chords of an angel. Seriously. If you have not seen the frontman of Keane live, raising the roof with the sheer belt of his voice, then you should do so before you die. End of. No eyeliner, sadly. He`s just not that rock n roll.... but he can sing. Oh yes.
Kelly Jones
Oh deear lord. Witnessed by Tamsin at the V festival back in the day, this man is sex on legs. Short in stature, big in stage presence, with a voice like he has smoked 60 B & H before he takes to the stage.... one person who defines the rock voice. Better than the grandaddy he models himeself on, Rod Stewart.
Listen & weep.
And there you have it. We didn't manage a post without a gush or two, and we conclude we're no more objective, either.
Do we care?
That would be a no, then...!
We admit it.
We're biased.
Even when it comes to male MT performers, anyone taking a look at any of our posts will notice a clear preference and the same names cropping up again and again. So we've decided the time has come to try and be slightly more objective and less gushy about the boys, even if it is just for the length of this post, and to see if we can isolate some more (possibly non-MT) performers who have managed to impress us purely because of their talent and skill.
We've made our preference for male voices clear. We'd draw the line at male voice choirs but male soloists are a different matter. It's the pitch and the tone; a nice well rounded voice is like having a shot of whisky infront of a log fire on a cold winters day. Or something like that. And as much as we don't like high female vocals, we like a well controlled male falsetto (Drew Sarich, anyone...?) as much as a good baritone. But. No favouritism. Therefore, a selection of guys we think are great (with no mention at all of Drew Sarich, Ramin Karimloo, David Thaxton, Lee Mead, Michael Buble (we soooo heart Mike Bubble!) or Josh Groban. None of our usual suspects. Be gone with you!!). Oh, and we're not limiting this list to MT either. In fact, it barely gets a look in, as you will see. Just good male voices. Or talent. Male talent. Or charisma...You'll see what we mean in a moment...
There is a little something we need to make clear though. See, we both have always found ourselves admiring...men in eyeliner. Men in make up. Maybe it's the whole theatrical element of it but starting from the days Karina was convinced she'd marry Adam Ant (before we started squabbling over Simon Le Bon's hand) to finding ourselves mesmerised by Johnny Depp, especially in his guise as Captain Jack Sparrow...though he does a mean moody musician...
...as if any proof was needed. Sure, this love for a slightly dishevelled, rocky, arty, tortured soul (with eyeliner!) doesn't encompass why we love certain performers more than others...though we do have a theory that most theatre boys long to be a Rock God in their private lives, maybe to balance out the stigma being in MT can sometimes carry. But we digress. Just keep these points in mind whilst we take you through our latest list of marvellous performers..
Simon Shorten
Seen in Les Mis as 2nd understudy Valjean, Simon properly impressed us - and as Valjean that ain`t easy. We are fussy. We know what we like, and we like what we bloody well know. But Simon was a revelation - a pretty faultless voice, and the acting.....wow. Just wow. He was good. He will forever be known to us as Sunday Valjean. Strange but true.
Jeff Nicholson
Current (and soon to be departing....sob...) understudy Javert. He is about 7 foot tall, and strikes a pose. His voice is faultless, and WHY OH WHY he has not been given the principal role in recent years is a mystery. Especially when up against Nordic Javert. Who was UNINTELLIGABLE. (But cute.) Catch him while ye can people.....
Adam Duritz
A bit of a Tamsin one this. Karina has joined by default through our friendship and has been infected with a liking for this man, but Tamsins adoration for him has been there for more years than she cares to count. Not the most perfect vocal, often erratic performance wise, but in terms of songwriting the man is a God. A poet. A genius. And everytime you see him live it`s a new performance because he freestyles, mixes songs together, and make stuff up from his head. Its amazing. He`s a troubled soul, who is married to his music, and we love him.
' "If it's love" she said, "then were gonna have to think about the consequences"
She can't stop shaking and I can t stop touching her and.....
This time when kindness falls like rain
It washes her away and Anna begins to change her mind
"these seconds when I'm shaking leave me shuddering
for days" she says.
"And I'm not ready for this sort of thing." '
ANNA BEGINS by Counting Crows.
You can`t argue with lyrics like that. And we are not alone in this............
Steven Tyler
If Adam Duritz was a 'Tamsin', this choice is a 'Karina'. The man is skinny, looks like a ferret with a huge big mouth, loves a good scarf and has been around forever. The frontman of Aerosmith knows how to perform and is mesmerising to watch on stage. And to listen to. Talk about having a 'Rock-voice'. And there's something about him that is just...just is. It is with much sadness that Karina admits some of this man's glow has vanished since he sold out by becoming a judge on American idol but what can you do other than Rock On.
Michael Xavier
Michael is still something of an enigma to us. A very pretty enigma. We've heard his name crop up all over the place; first in 'Into the Woods' (which we never got around to seeing, bummer) and then in 'Love Story' (which we missed, double bummer). But we heard him sing both at the WOS awards and the Oliviers. And he looks mighty fine with a bit of eyeliner (please see exhibit A) and the boy can sing. Beautifully. We will make it our mission to see him in whatever he is in next. It's our duty.
Adam Lambert
If ever a man was born to be on stage, Adam is it. Witness please as he wipes the stage floor with actual American Idol winner Kris .....something. There really is no comparison. Freddie lives and breathes.
Tony Vincent
While we are on Freddie, Tamsin was underwhelmed at her inaugural visit to We will Rock You, but overwhelmed by the stage presence and talent (also the eyeliner) of the original Galileo. Tony Vincent was a huge part of the shows success we feel - let`s face it, it wasn`t the script....
Matt Bellamy
Another mysterious choice, this one, but one that is particularly close to Karina's heart. The frontman of Muse just has that 'Je ne sais quoi' (and eyeliner) with the addition of vocals that, at their best, leave you breathless. A-M-A-Z-I-N-G. Wouldn't quite drink his bathwater, but he is spectacular all the same.
Tom Chaplin
Public schoolboy with the vocal chords of an angel. Seriously. If you have not seen the frontman of Keane live, raising the roof with the sheer belt of his voice, then you should do so before you die. End of. No eyeliner, sadly. He`s just not that rock n roll.... but he can sing. Oh yes.
Kelly Jones
Oh deear lord. Witnessed by Tamsin at the V festival back in the day, this man is sex on legs. Short in stature, big in stage presence, with a voice like he has smoked 60 B & H before he takes to the stage.... one person who defines the rock voice. Better than the grandaddy he models himeself on, Rod Stewart.
Listen & weep.
And there you have it. We didn't manage a post without a gush or two, and we conclude we're no more objective, either.
Do we care?
That would be a no, then...!
Saturday, 19 March 2011
Wicked revisited
Us fairies had something of an epiphany recently, and we decided to share it with you.
Wicked.
OK - we've seen it a few times and like it. We think it has some cracking songs and, of course, staging and costumes to die for. But generally there's always been something that has stopped this musical from reaching the dizzy heights of a 'must see' for us. We're all for seeing something new, and although we resisted seeing 'Wicked' for the longest time, when we did eventually succumb we did fall in love with the idea of it (and do a good rendition of 'Popular' and 'Defying Gravity' on long car journeys...) as it is visually so impressive as well as having a few really catchy tunes. What has let it down, at least for us, is the story line which is so weak and in some places trite and so mawkish that you're reduced to tears for the wrong reasons. Same with the lyrics; though generally good, there are some truly rubbish ones. Nonetheless, it's an enjoyable show.
We weren't expecting to see or hear anything different last week, but we had the opportunity to go and see the show again and like hell we'd give up the chance of a night at the theatre. And we saw the show with completely different eyes. Why?
Because we saw it in the dress circle. Who would've thought it would make such a difference? We've only seen the show from the stalls before. The sound quality hasn't always been brilliant; we were accustomed to hearing what sounded like overly loud amplifiers and microphones cutting out every so often, with the ensemble sounding as if they had to shout over the melee. Yet in the dress circle, sitting slightly further back, the sound was vastly improved. The orchestra sounded so much better. Not only that, but the lighting and special effects, which before had looked impressive and rather lovely, now looked amazing. What a revelation.
There are characters in the story that really never develop and are there just to keep the story ticking along in some direction or another. For us, Nessarose, Boq and Fiyero really are a bit pointless.Controversial we know, but it's our opinion and we're sticking to it! Not because they don't fit in to the story, but their parts are written so thinly that they seem like a waste of space. The part of Nessa is not really a gift, for example, and regardless of the skill or talent of the actress, she will always be portrayed as bitter, angry and selfish. Really not very likable. Boq is always a bit...unnecessary, other than becoming the tin man. George Ure was fine in the part, no quibbles, but Ben Stott made us sit up and listen to Boq more so than usual. Normally Boq gets ignored by us, but not this time. Good work!
Which brings us to Fiyero. Never a favourite. We first saw Oliver Tompsett in the role, and sure he had a pleasant voice, but he looked acutely uncomfortable sometimes. Lee Mead...played Fiyero straight and didn't get the comedic aspect. Left us cold. And then we see Mark Evans. He has a nice voice, but more than that he has stage presence and comic timing. He doesn't take it too seriously. He had us in fits of giggles with his dancing in 'Dancing Through Life' as he did in other scenes; in the serious ones he still kept his acting the right side of funny. We were truly impressed. For the first time EVER we thought Fiyero was OK. He was played as a doofus who knew his own limitations. He was the mindless scarecrow. Lee Mead played him as a self important prince. You never really believed his Fiyero. You do this one.What an improvement. We found ourselves rooting for Fiyero!
No real reason to critique the leads - we like Louise Dearman a lot and she was great on the night. Nikki Davis-Jones was on as 'Elphaba' and was OK...ish. Karina felt she over-acted and her voice wasn't great. What we did discover was that the whole show works brilliantly when the cast play the show for what it is; a slightly silly fairy story but with a sweet message. Play it any other way and it can seem a bit stiff and unintentionally funny. Keep it light and fluffy. It works so much better.
We left the Apollo feeling almost as if we'd seen a whole new show. Who would have known!!
Wicked.
OK - we've seen it a few times and like it. We think it has some cracking songs and, of course, staging and costumes to die for. But generally there's always been something that has stopped this musical from reaching the dizzy heights of a 'must see' for us. We're all for seeing something new, and although we resisted seeing 'Wicked' for the longest time, when we did eventually succumb we did fall in love with the idea of it (and do a good rendition of 'Popular' and 'Defying Gravity' on long car journeys...) as it is visually so impressive as well as having a few really catchy tunes. What has let it down, at least for us, is the story line which is so weak and in some places trite and so mawkish that you're reduced to tears for the wrong reasons. Same with the lyrics; though generally good, there are some truly rubbish ones. Nonetheless, it's an enjoyable show.
We weren't expecting to see or hear anything different last week, but we had the opportunity to go and see the show again and like hell we'd give up the chance of a night at the theatre. And we saw the show with completely different eyes. Why?
Because we saw it in the dress circle. Who would've thought it would make such a difference? We've only seen the show from the stalls before. The sound quality hasn't always been brilliant; we were accustomed to hearing what sounded like overly loud amplifiers and microphones cutting out every so often, with the ensemble sounding as if they had to shout over the melee. Yet in the dress circle, sitting slightly further back, the sound was vastly improved. The orchestra sounded so much better. Not only that, but the lighting and special effects, which before had looked impressive and rather lovely, now looked amazing. What a revelation.
There are characters in the story that really never develop and are there just to keep the story ticking along in some direction or another. For us, Nessarose, Boq and Fiyero really are a bit pointless.Controversial we know, but it's our opinion and we're sticking to it! Not because they don't fit in to the story, but their parts are written so thinly that they seem like a waste of space. The part of Nessa is not really a gift, for example, and regardless of the skill or talent of the actress, she will always be portrayed as bitter, angry and selfish. Really not very likable. Boq is always a bit...unnecessary, other than becoming the tin man. George Ure was fine in the part, no quibbles, but Ben Stott made us sit up and listen to Boq more so than usual. Normally Boq gets ignored by us, but not this time. Good work!
Which brings us to Fiyero. Never a favourite. We first saw Oliver Tompsett in the role, and sure he had a pleasant voice, but he looked acutely uncomfortable sometimes. Lee Mead...played Fiyero straight and didn't get the comedic aspect. Left us cold. And then we see Mark Evans. He has a nice voice, but more than that he has stage presence and comic timing. He doesn't take it too seriously. He had us in fits of giggles with his dancing in 'Dancing Through Life' as he did in other scenes; in the serious ones he still kept his acting the right side of funny. We were truly impressed. For the first time EVER we thought Fiyero was OK. He was played as a doofus who knew his own limitations. He was the mindless scarecrow. Lee Mead played him as a self important prince. You never really believed his Fiyero. You do this one.What an improvement. We found ourselves rooting for Fiyero!
No real reason to critique the leads - we like Louise Dearman a lot and she was great on the night. Nikki Davis-Jones was on as 'Elphaba' and was OK...ish. Karina felt she over-acted and her voice wasn't great. What we did discover was that the whole show works brilliantly when the cast play the show for what it is; a slightly silly fairy story but with a sweet message. Play it any other way and it can seem a bit stiff and unintentionally funny. Keep it light and fluffy. It works so much better.
We left the Apollo feeling almost as if we'd seen a whole new show. Who would have known!!
And in the news this week...
Twitter is a marvellous thing. We got news that has made us sit up and start speculating and planning our outfits in advance (Yes we are girls. Yes we do that kind of thing. Yes it makes us happy...). It's the news that there will be a Phantom of the Opera 25th Anniversary celebration!! And taking the lead will be none other than our very own Ramin Karimloo. Still no news on the venue, the staging, who will be involved, the rest of the casting, will it be recorded for posterity etc etc but so what. Fact is that regardless of where it will be, we will be there and experiencing it. We should have realised something of this magnitude was being planned but our radar must have been temporarily disabled as this little snippet crept up on us without warning. Should the Lord Lloyd Webber be needing any extras for an extravagant, never-seen-before 'Masquerade' scene, he only needs to give us a nod and we will be there...But joy of joys!!!!! Honestly, theatre is an unbeatable hobby...
Secondly, we hear Lee Mead is going to be following in the footsteps of his fragrant wife in 'Leegally Blonde' (see what we did there...?) as Emmett. Having not yet seen the show, we can't comment on his suitability for the role, other than we hear there is a lot of acting, 'proper' acting involved. Will this prove to be a task too hard? Or will he prove himself as an actor finally? Remains to be seen.
The message boards are already on fire about this topic. Fans become very precious about their shows and who they deem suitable for the various parts and 'Legally Blonde' are no exception with their ardent fan base. There's only one thing for it; we need to see the show before he starts in it in order to get an unbiased opinion and possibly a second time (if we like the show enough, which is debatable...) once he's in it.
Yet another few theatre outings. Life is tough...thankfully though; at least once the boy Mead starts, Denise Van Outen will have already left. Having them both in the show at the same time would have been bad for his credibility...in our honest opinion...but since that's not an issue, we shall remain quiet on the subject like the good little fairies that we are. But it does make you wonder. Why is he staying clear of the shows with gravitas? LB is by it's own admission unashamedly fluffy...Would it destroy him to sing Marius? Or Raoul in POTO (and not as an understudy)? Or finally bring out that album of MT tunes that everyone wants to hear? ARE YOU LISTENING, MEADY-BOY?? Time will tell...
Now we need to sit down and do a dream casting of Phantom and see how close we could be to getting it right (or utterly wrong as the case may be...)!
Secondly, we hear Lee Mead is going to be following in the footsteps of his fragrant wife in 'Leegally Blonde' (see what we did there...?) as Emmett. Having not yet seen the show, we can't comment on his suitability for the role, other than we hear there is a lot of acting, 'proper' acting involved. Will this prove to be a task too hard? Or will he prove himself as an actor finally? Remains to be seen.
The message boards are already on fire about this topic. Fans become very precious about their shows and who they deem suitable for the various parts and 'Legally Blonde' are no exception with their ardent fan base. There's only one thing for it; we need to see the show before he starts in it in order to get an unbiased opinion and possibly a second time (if we like the show enough, which is debatable...) once he's in it.
Yet another few theatre outings. Life is tough...thankfully though; at least once the boy Mead starts, Denise Van Outen will have already left. Having them both in the show at the same time would have been bad for his credibility...in our honest opinion...but since that's not an issue, we shall remain quiet on the subject like the good little fairies that we are. But it does make you wonder. Why is he staying clear of the shows with gravitas? LB is by it's own admission unashamedly fluffy...Would it destroy him to sing Marius? Or Raoul in POTO (and not as an understudy)? Or finally bring out that album of MT tunes that everyone wants to hear? ARE YOU LISTENING, MEADY-BOY?? Time will tell...
Now we need to sit down and do a dream casting of Phantom and see how close we could be to getting it right (or utterly wrong as the case may be...)!
Wednesday, 16 March 2011
An Ode To Amdram
Karina here.
Last night I sat in a chilly village hall for three hours watching an amateur dramatics theatre production of 'Oklahoma'. It has been an ...experience.
Before I'd even taken my seat I heard a clipped, authoritative voice to my right, looked down and saw a lovely, small (but scary) lady, well in her 80's with a walking stick. She barked at me :"Take me to my seat", grabbed hold of my arm, and off she went with me in tow, towards what I presumed was her chair. A few seconds later another voice...an apology from a man in his 50's saying: "I'm so sorry...Mother! That's not Mandy and that's not your seat!" To which mother replied:" She didn't say she wasn't! And she brought me here!" I left them to it. This lady was not in isolation; the majority of the audience were older members of the community and I was unceremoniously asked a few times to get out of the way and elbowed accordingly, unless I was on 'escort duty' (I didn't think I looked like an usher, but I think a few of them figured I looked benign and was sturdy enough to lean against). Taking into account I knew nobody there and had never visited this village before, this caused some amusement amongst my colleagues I was seeing the show with.
It was an ambitious production. Long as well...I thought they would have left out some scenes or songs but nope, they did the whole thing, including the 'dream sequence' (with choreography modified to fit a stage a little larger than a postage stamp). And after the last notes of 'Oklahoma' and 'Oh What A Beautiful Morning' (that song again...) had rung, and I thought it was finally time to go, they decided to do a medley of all the songs again. For our delectation.
There's something quite magical about amateur dramatics. I'm very lucky to be utterly spoilt by being able to see professional productions with experienced singers and actors, with talented set and stage designers, sumptuous costumes and brilliant orchestrations. All this on a regular basis (funds permitting. But it is one of my only vices...tickets and shows...and chocolate...and the odd glass of wine...moving on...). These guys don't have the money, or the backing or training, but they do it because it's their passion. They just love singing and performing. And they had so much enthusiasm; a few West End casts could have a thing or two to learn from the energy that this cast managed to generate on that stage, however clumsily. And for that reason alone they deserve a gold star and a standing ovation.
There's no doubt amdram is alive and well in some communities, but on the whole, it seems to be a diminishing concept. It tends to attract the older members of the community more frequently than the younger, yet watching that cast yesterday (the youngest were in their late 20's, the oldest in their 80's) it was an absolute delight to see people of all ages working as a team and doing something together that they really enjoyed.It should really be encouraged - mutual respect and co-operation across the age span. So what if the backdrops creaked and rattled, if the costumes didn't match and the acting skills were questionable - it was fun. They have more guts than me, as I'd never be able to get up on stage in front of my local community like these people do.
So despite my numb bum and need for a stiff drink afterwards, I left that hall with a new found respect for amateur dramatics. As much as I need to choose my show wisely if I get an opportunity to go again (Oklahoma has never been a favourite...) the time, effort and commitment shown to these productions deserve recognition. And strangely enough I am so very tempted to have a go...
Last night I sat in a chilly village hall for three hours watching an amateur dramatics theatre production of 'Oklahoma'. It has been an ...experience.
The average age of the cast was (it appeared ) Saga holiday aged. The only accompaniment throughout the entire show was a piano. The opening lines to the very first song of the show, 'Oh What a Beautiful Morning' were sung in a completely different key to what was being played. This became a feature throughout the evening, this singing in a different key to the piano - and to the rest of the cast. American accents and 'yee-haws' ruled, that is, when the cast didn't slip into Estuary English accents (and I believe the West Country was represented as well). Lots of pacing, lots of catalogue posing (arms crossed, pointing, staring in to the distance...), lots of entering the hall en masse laughing and talking animatedly, lots of exiting the hall en masse doing more of the same. Plenty of 'Margot Leadbetters' who all wanted to be the star, clamouring to be noticed on stage and singing as loud as they could.
Before I'd even taken my seat I heard a clipped, authoritative voice to my right, looked down and saw a lovely, small (but scary) lady, well in her 80's with a walking stick. She barked at me :"Take me to my seat", grabbed hold of my arm, and off she went with me in tow, towards what I presumed was her chair. A few seconds later another voice...an apology from a man in his 50's saying: "I'm so sorry...Mother! That's not Mandy and that's not your seat!" To which mother replied:" She didn't say she wasn't! And she brought me here!" I left them to it. This lady was not in isolation; the majority of the audience were older members of the community and I was unceremoniously asked a few times to get out of the way and elbowed accordingly, unless I was on 'escort duty' (I didn't think I looked like an usher, but I think a few of them figured I looked benign and was sturdy enough to lean against). Taking into account I knew nobody there and had never visited this village before, this caused some amusement amongst my colleagues I was seeing the show with.
It was an ambitious production. Long as well...I thought they would have left out some scenes or songs but nope, they did the whole thing, including the 'dream sequence' (with choreography modified to fit a stage a little larger than a postage stamp). And after the last notes of 'Oklahoma' and 'Oh What A Beautiful Morning' (that song again...) had rung, and I thought it was finally time to go, they decided to do a medley of all the songs again. For our delectation.
There's something quite magical about amateur dramatics. I'm very lucky to be utterly spoilt by being able to see professional productions with experienced singers and actors, with talented set and stage designers, sumptuous costumes and brilliant orchestrations. All this on a regular basis (funds permitting. But it is one of my only vices...tickets and shows...and chocolate...and the odd glass of wine...moving on...). These guys don't have the money, or the backing or training, but they do it because it's their passion. They just love singing and performing. And they had so much enthusiasm; a few West End casts could have a thing or two to learn from the energy that this cast managed to generate on that stage, however clumsily. And for that reason alone they deserve a gold star and a standing ovation.
There's no doubt amdram is alive and well in some communities, but on the whole, it seems to be a diminishing concept. It tends to attract the older members of the community more frequently than the younger, yet watching that cast yesterday (the youngest were in their late 20's, the oldest in their 80's) it was an absolute delight to see people of all ages working as a team and doing something together that they really enjoyed.It should really be encouraged - mutual respect and co-operation across the age span. So what if the backdrops creaked and rattled, if the costumes didn't match and the acting skills were questionable - it was fun. They have more guts than me, as I'd never be able to get up on stage in front of my local community like these people do.
So despite my numb bum and need for a stiff drink afterwards, I left that hall with a new found respect for amateur dramatics. As much as I need to choose my show wisely if I get an opportunity to go again (Oklahoma has never been a favourite...) the time, effort and commitment shown to these productions deserve recognition. And strangely enough I am so very tempted to have a go...
Monday, 14 March 2011
...And the winner is... The Olivier Awards!!!
 |
| Photography by Karina. Unsung genius. |
Seriously, what's not to love?? A bit of glitz and glamour, mwah-mwah air kissing and back patting. Beautiful gowns and handsome men in Black Tie.The Olivier's were such a treat (and a rather last-minute event for us) so we had no real expectations other than rather a lot of excitement and something other to do on a Sunday evening than the usual humdrum and catching up with chores. Any old excuse to don our fancy frocks again. And it proved to be every bit as fabulous as we expected, though we did feel slightly like the poor peasants of the theatre community (but more of that in a moment).
Let's just start off by saying that no one puts the Theatrefairies in the corner. Or indeed 'the viewing pen'. Hear that, Mr Bigwig Olivier Security Man??? No one. Though we were tempted to have a gander as the rich and famous posed and schmoozed on the red carpet, we were swiftly moved on - unless we wanted to enter 'the viewing pen'. Err, no, was the answer to that question. No biggie, as we had seats to occupy in the Theatre Royal itself. High up in the Theatre Royal. Besides, Jodie Prenger, bless her, was making a right pigs ear of interviewing on the red carpet - truly cringeworthy in places. Just goes to show that being able to sing and act doesn't make you a natural in all areas of showbiz...also, wearing a dress which covers ones...decolletage might be advisable for future engagements. It was like seeing two small bald children tussling for room under that gown.
So, clutching our tickets and brushing off our posh frocks, in we went after a stern warning about the need to empty our collective bladders before the show started. There would be no interval, just a 7 minute "pause", and so no time for luxuries like visiting the ladies room. Like good little girls we listened; and like fully toilet-trained adults were able to sit through 3.5 hrs without a pitstop. Shame the same can`t be said of many of our balcony-residing colleagues, who clipped clopped up and down the stairs all the livelong night. Given that most were in long eveningwear its frankly a miracle they all made it in one piece. (And also in view of the fact that 2.5hrs in we were ready to trip the 700th person. The temptation was strong...)
Our seats were fab, actually. Although in the Gods, we were able to see the entire stage, we heard everything and even managed to get two glasses of (free) champagne each, just by virtue of being smiley and in the right seats at the right time. The programme is such a thing of joy. Quality. With embossed writing and everything. We do like a trinket or a memento of a special occasion. But on with the show.
To start with Mica Burns, the President of the Society of London Theatre said a few words...general house keeping stuff, and going on about how marvellous the thespian community is. We have no problem with this. But there did seem to be a bit of a political agenda, especially in terms of the planned cuts to the arts funds. She wasn't the only one to mention it; it was spoken of ad nauseum. Of course it's a worry. Of course it's a sign of the difficult fiscal climate. But. Taking into account that this was the first time in God knows how many years the Oliviers were opened up for Joe Public to attend, and that all of us passionate theatregoers were sitting up there, herded into our seats in the dark so we wouldn't spoil the live streaming of the programme, how many times were we referred to? Not once. Actually - that`s a fib. Roger Allum mentioned the audiences.... but he was the only one! Who are the people who keep theatre's and productions in business? The paying public. Spending money we can`t really afford either. They get their money from us and we also face constant financial insecurity and threats of job cuts. A little recognition, no? A "hello up there, thanks for coming!" No. The thespian community are very good at patting each other on the back. At least in Olivier -world. Mind you, given that the goddamn public, in their endless lack of taste voted We Will Rock You as best musical over the Miz, maybe you can`t blame 'em.......
Aaaaaah Michael Ball. All dimply and twinkly and lovely. And Imelda Staunton was a great co-host. Together they kept proceedings ticking over, though it would have been bloody marvellous to hear them sing something from Sweeney Todd. Can't have everything, we suppose. But they were great. The orchestra was conducted by our fave conductor David Charles Abell, who did a sterling job - the orchestration was lush. The entire setting was beautiful; we'd forgotten how gorgeous the Theatre Royal was. Certainly a great venue for an occasion such as this.
Definite highlights were the musical interludes in the show. Need we mention the absolute flabberghastingly glorious vocal by Ramin Karimloo? How can he keep on getting better and better? And being so charismatic? He's not a big man but he fills that stage. And he's sooooooo handsome you can't help but stare at him...sorry to sound so fangirlish but he is a legend already. He. Is. A-M-A-Z-I-N-G, and he brought the house down. If you don`t believe us, go to Iplayer. The cast of Sweet Charity did a great 'Big Spender' and we enjoyed seeing the cast of 'In to the Woods' - especially Michael Xavier, who has got a lovely voice. And smile. Nice. Moving on... We did enjoy a "Passion" reprise by Elena Roger, although Karina gave an audible whimper when only one microphone was set up. We were, of course, hoping for a little DT on Olivier night, but twas not to be. We did, however, get Sierra Boggess and John Owen Jones doing 'The Phantom of the Opera'! With a boat and dry ice and all the drama you could imagine. What a treat...to quote Tamsin, when we realised what was about to happen :"My God. The gift that keeps on giving..." because frankly, short of hearing David Thaxton sing, we saw bits from all our faves. Sierra, by the way, sounded gorgeous and looked lovely and is the perfect Christine. And JOJ is just lovely, bless his little head banging, Metallica-loving heart! But our musical highlight of the night? Honestly (other than the utter wonderfulness that is Ramin heartbreaker-sing-us-to-sleep-any-night-you-like Karimloo)?
BARRY MANILOW!
He is Mr Showbiz. True, he could really do with putting on weight. And he actually looks very much like Karina's ex-mother-in-law, right down to his hair do. But to watch him shimmy across the stage in his glittery jacket singing 'Copacabana' was magical. And frankly the entire auditorium was on their feet, shaking their thespian asses. Utter, wonderful cheese by the bucketful. We heart Barry with all our mushy fairy hearts. He's lovely. And then Kerry Ellis joined him for 'Look to the Rainbow'...a bit of a fairy favourite, especially for Tamsin. We liked. Unusual choice of song for a duet, him being at the Oliviers in the first place was a bit random,but awwwwwwwww! WE LOVED!!
Angela Lansbury sang' Liasons' from 'A Little Night Music' - certainly impressive. She's a beautiful, elegant lady. And her song brings us nicely to Stephen Sondheim, and his tribute. To be honest, if there had been a Sondheim drinking game, you would have had to carry us out of the theatre. Nominations, mentions, tributes, tunes...you name it. It was pretty much Sondheims night. Quite right really, his 80th birthday etc... and it was a privilege to see him. He is after all, a musical theatre LEGEND. But, we have a bit of a thing about Stephen Sondheim musicals. It's not that we don't value him or like him or think him talented, but we have yet to hear anything more than the odd song that we like. So we have set ourselves a mission; to set out and find a Sondheim musical we like and can rave about! Any suggestions on a postcard, please...
And now on to the gongs. Well. We won`t reinvent the wheel by reposting, but will steer you towards this link for all the pretty pics and results.
Who won then?
We will simply say.... Sheridan. We are sure she`s great, but it`s getting a teensy bit boring. So we will endeavour to see her in her next show so we can eat our words. And well done to David Thaxton, not a predictable win judging by the near silence in the Gods, but a deserved one. We think the Olivier should be on a shelf in the bar scene for symbolism. Just a suggestion. It was a shame 'Love Never Dies' didn't get the recognition it deserves - especially as we weren't overly impressed with the bits of 'Legally Blonde' that we heard. Yet it is the musical to beat. We really need to go and see it for ourselves so we can have an informed opinion...
And finally as they say, our favourite tweet of the night....
"Just seen David Suchet walk by looking for his seat. He`s a detective. He`ll figure it out."
Fabulous darling.
P.S. We almost went flying in to Patrick Stewart outside the theatre. Karina is still having arrythmias and wittering to all who bother listening. Patrick Stewart!
Sunday, 13 March 2011
The Female Musical Theatre Performer: A much negelcted entity...
...In Fairy World anyway. See, it has come to our attention that we admire a whole host of male performers, but when asked to stop and think about their female counterparts, we struggle. Why?? We're women. We like to sing (not brilliantly, granted, but we sing...), and most musicals have female leads (or do they?...hmmm...), and there are plenty of accomplished performers out there. Karina has a healthy respect for Elaine Paige which has been unearthed recently (even if she did receive a curt rejection from the EP forum when she applied to join following her concert epiphany. Ouch. Not a big enough fan...we suppose...the shame...!), and we both would jump at the chance to see someone like Barbra Streisand in concert. One of our anonymous friends has asked what other female performers we admire and that's when we truly had to stop and think. Because...we don't rightly know.
Is that shameful?? The fact is that just one of the many reasons we're such good friends is because we have very similar tastes, music included. Neither one of us is generally speaking fond of female voices, especially those towards the higher end of the register, because they can so easily nudge the screechy spectrum. Another common phenomenon, in our humble opinion, is being nasal. Ladies, more so than men, fall foul of this little trait. Also, women frequently succumb to the 'I sing (shout) loud, therefore I sing well' rule and, especially nowadays, rely on vocal acrobatics, melisma, 'riffing' (call it what you will) rather than just singing a song and trusting the music and their voice to convey the beauty, emotion or the message of the piece. It can be very annoying. For us anyway.
Then there's the problem with musicals in general. Frequently the male parts are more dominant (unless you're looking at shows such as 'Wicked' or' Legally Blonde'... errrrmm...yep, this is turning into a somewhat weak argument as there's also 'Sweet Charity' and 'Calamity Jane' and 'Evita' and 'Chicago' and.....but bear with us) and for some reason it's the men who appear to get more accolades. Is musical theatre just a two tier society like the rest of the world (not about to start a feminist rant here so no worries) or could it be that male voices - and performers - are just more popular (to borrow the words of Galinda) than their female counterparts, both with the public and in the press, to a point?
It might also have something to do with fan bases. Although this is a generalisation and an incredibly inexact science (as you might have already gathered), on the whole male performers seem to attract a large, steady female following and female performers appear to attract a sizable, but often transient, young female and gay following. Naturally, this is not an exclusive statement and variations to this apply across the spectrum. But. We think of Michael Ball; large and visible female following. Sheridan Smith; big younger female and gay following (as witnessed at the WoS awards). Ramin Karimloo; vast (and growing) female following. Kerry Ellis; young women and gay men by the bucketful. And so on and so forth. Male MT performers seem to have much larger, and more 'static' fanbases. They seem to be more popular!!
We like male voices more than female.
Looking at our respective CD collections there are few female vocalists present. Karina has Alison Moyet, Alison Goldfrapp, Annie Lennox, Edith Piaf (who was a belter...and some would argue screechy. I love the raw passion of her songs but appreciate the irony - Karina) alongside EP albums (though all evidence of EP in my collection might have to go now following 'the rejection'...not that I'm bitter -Karina), we both have our Barbra Streisand's and Tamsin has Lady Gaga, Duffy (annoying after the first couple of listens) Doris Day and Madonna tucked away somewhere, but otherwise the remainder are all male vocalists in our collections...our point being; all of these female vocalists are mainly on the lower vocal register. But that's not to say good female vocalists don't exist. Neither would we be so arrogant as to suggest that just because we haven't come across them, neither has anyone else.We might be fickle but they are out there somewhere, we know they are! (Tamsin is leaning towards Adeles latest, now that she is singing stuff that makes sense instead of laments about pavements.)
So... in conclusion.... we have searched and thought and pondered and contemplated and come up with the following female MT performers we like. The decision making process has been much, much longer than we could have ever anticipated, and we have revisited this list so many times it started to feel slightly surreal. Be warned, there may be very few surprises...(not saying we're predictable or anything...):
Our admiration for Ms Salonga is well documented. She moved us to tears at the O2 and managed to do the same on the Les Mis 10th Anniversary DVD. Whether it's Ms Saigon, The Miz or anything, her voice has a purity that is almost impossible to explain and nigh impossible to replicate. She is good. And we'd see her in anything if she came back to the West End.
Kerry Ellis
Although arguably best known for her 'Elphaba', and latterly 'Nancy',we heard Kerry in the Chess Concert at RAH singing 'Svetlana' (and, in our opinion, she outsang Idina Menzel...). Great voice, charismatic and is doing brilliantly for good reason; she is a powerhouse but with emotional punch.
Barbara Dickson
So who were you when you sang 'I know Him So Well' with your mates? Elaine or Barbara? Barbara has a stunning tone to her voice and we feel could have easily been equal to - if not bigger than - EP. She seems to prefer less publicity, maybe, and therefore hasn't been seen in quite as many prominent roles. Yet another person we would have seen in anything and still would, as she is fabulous.
Summer Strallen
A revelation, this lady. Seen by us in 'Love Never Dies' as Meg, and escaped our attention completely before the show had its refurbishment. Then suddenly Summer literally became one of the stars of the show. She's a triple threat; pleasant voice (particularly her lower register), great dancer, good actor. Pretty as well. We should hate her but we can't. And her sister, Scarlett, appears to be in a very similar league. However, these talented ladies' auntie, Bonnie Langford has never been a big favourite in our eyes (and very, very occasionally the familial similarity is there for all to see)...
Ruthie Henshall
With her clenched jaw and bad 'cockerney' accent, this lady is another one who divides audiences. But she has been around forever.Respect. And used to date Prince Edward (...and John Gordon Sinclair...?). And has some hefty theatre credentials as well as a memorable voice and stage presence.
Louise Dearman
Currently charming the crowds as Galinda/Glinda in Wicked, Louise really impressed us. She has a high soprano which doesn't have that annoying, shrill quality, good acting skills, great comic timing and she comes across as a really nice lady. So we look forward to seeing her in lots more things!
Ute Lemper
Possibly something of an acquired taste, this lady, but Karina was introduced to Ute Lemper through listening to her friends records in her student days in the early 90's. Missed her in Chicago in London, but would love to see her for real in a concert or something. Maybe in Vienna...? She is a 'continental' after all...
Frances Ruffelle
As quirky as they come and we like her... the MT answer to Helena Bonham-Carter in our opinion! Well remembered for being the original Eponine, skating in Starlight Express and representing Royaume Uni in Eurovision; what's not to love???
Alexia Khadime
Alexia has an exquisite tone to her voice and remains our all time favourite 'Elphaba'. She managed the iconic high notes of 'Defying Gravity' and 'No Good Deed' without succumbing to yelling and put so much soul and emotion into her singing and acting we sat there mesmerised. We hope to see her in lots of things in the future, as she deserves to be a regular of the West End stages.
Tabitha Webb
This lady almost slipped through the webb (excuse the appalling pun...) had it not been for a journey down memory lane and a particularly memorable weekend spent in the Isle of Wight listening to Les Mis in concert at Osbourne House. Tabitha was 'Cossette', a part we normally are indifferent to for too many reasons to mention, yet not only did she do the part justice, she actually made us like Cossette, which is miraculous.
And that's it so far. We're not saying the other, numerous female performers we've seen and heard weren't good or spectacular in their own way, they just weren't... as memorable. And it really might just be a preference thing. Who can say. We are always open to suggestions, opinions and recommendations and, as always, hold the right to change our minds at a moments notice!
Is that shameful?? The fact is that just one of the many reasons we're such good friends is because we have very similar tastes, music included. Neither one of us is generally speaking fond of female voices, especially those towards the higher end of the register, because they can so easily nudge the screechy spectrum. Another common phenomenon, in our humble opinion, is being nasal. Ladies, more so than men, fall foul of this little trait. Also, women frequently succumb to the 'I sing (shout) loud, therefore I sing well' rule and, especially nowadays, rely on vocal acrobatics, melisma, 'riffing' (call it what you will) rather than just singing a song and trusting the music and their voice to convey the beauty, emotion or the message of the piece. It can be very annoying. For us anyway.
Then there's the problem with musicals in general. Frequently the male parts are more dominant (unless you're looking at shows such as 'Wicked' or' Legally Blonde'... errrrmm...yep, this is turning into a somewhat weak argument as there's also 'Sweet Charity' and 'Calamity Jane' and 'Evita' and 'Chicago' and.....but bear with us) and for some reason it's the men who appear to get more accolades. Is musical theatre just a two tier society like the rest of the world (not about to start a feminist rant here so no worries) or could it be that male voices - and performers - are just more popular (to borrow the words of Galinda) than their female counterparts, both with the public and in the press, to a point?
It might also have something to do with fan bases. Although this is a generalisation and an incredibly inexact science (as you might have already gathered), on the whole male performers seem to attract a large, steady female following and female performers appear to attract a sizable, but often transient, young female and gay following. Naturally, this is not an exclusive statement and variations to this apply across the spectrum. But. We think of Michael Ball; large and visible female following. Sheridan Smith; big younger female and gay following (as witnessed at the WoS awards). Ramin Karimloo; vast (and growing) female following. Kerry Ellis; young women and gay men by the bucketful. And so on and so forth. Male MT performers seem to have much larger, and more 'static' fanbases. They seem to be more popular!!
Of course straight men also enjoy theatre (and for the record, this post is not intending to be a poke at anyone's gender or sexuality, likes or dislikes!) but straight men, on the whole, although they obviously attend theatre performances, rarely make up a large part of any specific fan group. A bit like our dads; love theatre, wouldn't dream of joining a fan club or stage dooring (unless there's something they haven't told us).
So could it be that just because we're women and no longer teenagers, we automatically tune in to the male voices and are more critical of the female voices and vice versa? Women do frequently make up a large portion of a theatre audience, with their husbands/boyfriends often just 'dragged' along for the ride, or simply left at home... Could it be that male performers are still preferred over female performers vocally as much as everything else? Is this a historical thing? Maybe there is no hard and fast rule to this and maybe it's just us.
So could it be that just because we're women and no longer teenagers, we automatically tune in to the male voices and are more critical of the female voices and vice versa? Women do frequently make up a large portion of a theatre audience, with their husbands/boyfriends often just 'dragged' along for the ride, or simply left at home... Could it be that male performers are still preferred over female performers vocally as much as everything else? Is this a historical thing? Maybe there is no hard and fast rule to this and maybe it's just us.
We like male voices more than female.
Looking at our respective CD collections there are few female vocalists present. Karina has Alison Moyet, Alison Goldfrapp, Annie Lennox, Edith Piaf (who was a belter...and some would argue screechy. I love the raw passion of her songs but appreciate the irony - Karina) alongside EP albums (though all evidence of EP in my collection might have to go now following 'the rejection'...not that I'm bitter -Karina), we both have our Barbra Streisand's and Tamsin has Lady Gaga, Duffy (annoying after the first couple of listens) Doris Day and Madonna tucked away somewhere, but otherwise the remainder are all male vocalists in our collections...our point being; all of these female vocalists are mainly on the lower vocal register. But that's not to say good female vocalists don't exist. Neither would we be so arrogant as to suggest that just because we haven't come across them, neither has anyone else.We might be fickle but they are out there somewhere, we know they are! (Tamsin is leaning towards Adeles latest, now that she is singing stuff that makes sense instead of laments about pavements.)
So... in conclusion.... we have searched and thought and pondered and contemplated and come up with the following female MT performers we like. The decision making process has been much, much longer than we could have ever anticipated, and we have revisited this list so many times it started to feel slightly surreal. Be warned, there may be very few surprises...(not saying we're predictable or anything...):
Lea Salonga
Our admiration for Ms Salonga is well documented. She moved us to tears at the O2 and managed to do the same on the Les Mis 10th Anniversary DVD. Whether it's Ms Saigon, The Miz or anything, her voice has a purity that is almost impossible to explain and nigh impossible to replicate. She is good. And we'd see her in anything if she came back to the West End.
Kerry Ellis
Although arguably best known for her 'Elphaba', and latterly 'Nancy',we heard Kerry in the Chess Concert at RAH singing 'Svetlana' (and, in our opinion, she outsang Idina Menzel...). Great voice, charismatic and is doing brilliantly for good reason; she is a powerhouse but with emotional punch.
Barbara Dickson
So who were you when you sang 'I know Him So Well' with your mates? Elaine or Barbara? Barbara has a stunning tone to her voice and we feel could have easily been equal to - if not bigger than - EP. She seems to prefer less publicity, maybe, and therefore hasn't been seen in quite as many prominent roles. Yet another person we would have seen in anything and still would, as she is fabulous.
Summer Strallen
A revelation, this lady. Seen by us in 'Love Never Dies' as Meg, and escaped our attention completely before the show had its refurbishment. Then suddenly Summer literally became one of the stars of the show. She's a triple threat; pleasant voice (particularly her lower register), great dancer, good actor. Pretty as well. We should hate her but we can't. And her sister, Scarlett, appears to be in a very similar league. However, these talented ladies' auntie, Bonnie Langford has never been a big favourite in our eyes (and very, very occasionally the familial similarity is there for all to see)...
Ruthie Henshall
With her clenched jaw and bad 'cockerney' accent, this lady is another one who divides audiences. But she has been around forever.Respect. And used to date Prince Edward (...and John Gordon Sinclair...?). And has some hefty theatre credentials as well as a memorable voice and stage presence.
Louise Dearman
Currently charming the crowds as Galinda/Glinda in Wicked, Louise really impressed us. She has a high soprano which doesn't have that annoying, shrill quality, good acting skills, great comic timing and she comes across as a really nice lady. So we look forward to seeing her in lots more things!
Ute Lemper
Possibly something of an acquired taste, this lady, but Karina was introduced to Ute Lemper through listening to her friends records in her student days in the early 90's. Missed her in Chicago in London, but would love to see her for real in a concert or something. Maybe in Vienna...? She is a 'continental' after all...
Frances Ruffelle
As quirky as they come and we like her... the MT answer to Helena Bonham-Carter in our opinion! Well remembered for being the original Eponine, skating in Starlight Express and representing Royaume Uni in Eurovision; what's not to love???
Alexia Khadime
Alexia has an exquisite tone to her voice and remains our all time favourite 'Elphaba'. She managed the iconic high notes of 'Defying Gravity' and 'No Good Deed' without succumbing to yelling and put so much soul and emotion into her singing and acting we sat there mesmerised. We hope to see her in lots of things in the future, as she deserves to be a regular of the West End stages.
Tabitha Webb
This lady almost slipped through the webb (excuse the appalling pun...) had it not been for a journey down memory lane and a particularly memorable weekend spent in the Isle of Wight listening to Les Mis in concert at Osbourne House. Tabitha was 'Cossette', a part we normally are indifferent to for too many reasons to mention, yet not only did she do the part justice, she actually made us like Cossette, which is miraculous.
And that's it so far. We're not saying the other, numerous female performers we've seen and heard weren't good or spectacular in their own way, they just weren't... as memorable. And it really might just be a preference thing. Who can say. We are always open to suggestions, opinions and recommendations and, as always, hold the right to change our minds at a moments notice!
Thursday, 10 March 2011
Our hearts will go on (or how we started out on the Titanic and ended up in the Adelphi)
Us fairies love a bit of history. We also love a good story, or a conspiracy theory. And we quite like a rollicking tune and a bit of razzle dazzle. Saturday was a combination of the best of everything (thanks to Tamsin; she has the best ideas! -Karina)...
It started at the O2, where we attended the Titanic Exhibition. Both of us have been fascinated with stories of the ill-fated ship since we were knee high, so seeing artefacts and this bit of history so acutely brought to life was amazing. Tamsin has a remarkable capacity for remembering lines from the film, (and clearly, a lamentable lack of decorum - Tamsin) and our tour of the exhibition was peppered with a soundtrack provided by her (she does the voices too by the way:'...It's been 84 years, and I can still smell the fresh paint... The china had never been used... The sheets had never been slept in. Titanic was called the Ship of Dreams, and it was. It really was...!'). However, for all the fascination we have with this subject and the undeniable glamour of the era, the undercurrent of the exhibition is sombre; and when faced with very human evidence of the disaster (a solitary boot, a full bottle of champagne, personal items) you're reminded this was a huge disaster and tragic human loss. Right up until the exit from the exhibition, where you are faced with the Titanic Shop, where you can buy a snow globe with the ship and an iceberg for a tenner, or roll yourself up in a replica of a third class blanket. Poor souls were probably trying to keep warm in those very same things until they froze to death in the water. You can even buy a lump of original Titanic Coal in a display box for £35. Huh?!?!? So the souvenirs got a big thumbs down from us.
For the history boffs out there, the exhibition is well worth a visit. It does bring home the human cost of the disaster as well as the sheer arrogance and stupidity of ignoring 6 ice warnings. Very poignant. Even if it did mean we spent the rest of the day humming the Titanic soundtrack and remembering and re-enacting scenes from the film ("Hold my skirt, Jack!'."Can`t you just tuck it in your pants?"..or was that French and Saunders...?); Oh yes. Indeed we do 'drink like men', and 'spit like men'.
We know how to live. Then we went off to a real party...
The Adelphi beckoned for a viewing of 'Love Never Dies'. Cast change, dontcha know, and we'd bought our tickets thinking we'd be waving goodbye to Ramin Karimloo. Fantastic show. The atmosphere was amazing, and from the very first scene, Ramin was on fire!!! Literally; we're not sure we've ever heard him sing so well. From soft, barely audible whispers to menacing growling to belting top notes that sent shivers running down our spine - he was magnificent.
Sierra Boggess, Joseph Millson, Summer Strallen and Niamh Perry were among those taking their final bow and they gave it their all. It'll be interesting to see where their careers will take them next. We've enjoyed seeing them in their parts and since they have originated the roles they played, seeing how those who take over those parts will interpret them will be intriguing. There were lots of emotions on show, and Sierra got a lengthy and well-deserved ovation for her final rendition of the title song. Naturally, we are now waiting with baited breath to see David Thaxton as Raoul (but you knew that) - not saying Joseph Millson wasn't good in the part because he was. Brilliant. But yes, Thacko and his legendary lungs need to be heard on the stage of the Adelphi alongside Ramin's golden tones. As we write, the first performance is on it's way with the new cast...and we have tickets. Though not for a month or so...
It's worth mentioning, that after our first viewing of LND we weren't big fans. We saw it a second time and the music had really grown on us (let alone hearing Ramin's interpretation for the first time...) and by the third time, after the changes, we were hooked, and saw the show for what it was: a complete, robust, fantastic bit of theatre. The changes really do make all the difference. We would go on record as saying that if we'd seen the 'new' version first, we would never have had any doubts about this show. And we know a thing or two about shows!
There are still rumblings and murmurings on the ether about this show, probably caused by pathetic little sabotage attempts by pitiful groups such as 'Love should die' (and our ranting on this topic is also on record...) - all we're saying is this. Before anyone has an opinion on this show, go and see it for yourself. Hear the music, listen to the singing, take in the beauty of the sets, the talent of the cast...then decide. This is a show worth seeing and worth loving. Though Miz will always be our golden child, LND is running a close second. And not just because of Ramin either. It's a show that really, really works. It's up for heaps of Oliviers so clearly it is hitting the right spots...we're obviously not the only two people appreciating it.
And speaking of the Olivier's...yes.
We caved.
Of course we bloody did.
So we're in the nosebleed seats. So what? Our credit cards are making pitiful little whimpering noises, hobbling along on crutches and too scared to peep out of our purses, but so be it. We have frocks and crippling shoes, and dammit we are gonna use them. We'll soon be frog marched by our loved ones to personally book appointments with Martin Lewis the money expert but HAH is what we say!!! We'll be quaffing champagne and watching the show and SEEING BARRY MANILOW ( All together now;'...Her name was Lola, she was a showgirl...') and whatsisname from 'Lost' and Michael Ball twinkling away as only he can and and and...! Oh, we are happy. Very happy. And naturally we'll report back whatever we see and hear. Which should be many delights as the wondrous JOJ is performing as well alongside Sierra. And a tribute to Sondheim (Although not huge Sondheim fangirls, we recognise an MT legend when we see one ).
Considering we thought this was going to be a quiet few months for fairykind, we're not doing too badly at all.....
It started at the O2, where we attended the Titanic Exhibition. Both of us have been fascinated with stories of the ill-fated ship since we were knee high, so seeing artefacts and this bit of history so acutely brought to life was amazing. Tamsin has a remarkable capacity for remembering lines from the film, (and clearly, a lamentable lack of decorum - Tamsin) and our tour of the exhibition was peppered with a soundtrack provided by her (she does the voices too by the way:'...It's been 84 years, and I can still smell the fresh paint... The china had never been used... The sheets had never been slept in. Titanic was called the Ship of Dreams, and it was. It really was...!'). However, for all the fascination we have with this subject and the undeniable glamour of the era, the undercurrent of the exhibition is sombre; and when faced with very human evidence of the disaster (a solitary boot, a full bottle of champagne, personal items) you're reminded this was a huge disaster and tragic human loss. Right up until the exit from the exhibition, where you are faced with the Titanic Shop, where you can buy a snow globe with the ship and an iceberg for a tenner, or roll yourself up in a replica of a third class blanket. Poor souls were probably trying to keep warm in those very same things until they froze to death in the water. You can even buy a lump of original Titanic Coal in a display box for £35. Huh?!?!? So the souvenirs got a big thumbs down from us.
For the history boffs out there, the exhibition is well worth a visit. It does bring home the human cost of the disaster as well as the sheer arrogance and stupidity of ignoring 6 ice warnings. Very poignant. Even if it did mean we spent the rest of the day humming the Titanic soundtrack and remembering and re-enacting scenes from the film ("Hold my skirt, Jack!'."Can`t you just tuck it in your pants?"..or was that French and Saunders...?); Oh yes. Indeed we do 'drink like men', and 'spit like men'.
We know how to live. Then we went off to a real party...
The Adelphi beckoned for a viewing of 'Love Never Dies'. Cast change, dontcha know, and we'd bought our tickets thinking we'd be waving goodbye to Ramin Karimloo. Fantastic show. The atmosphere was amazing, and from the very first scene, Ramin was on fire!!! Literally; we're not sure we've ever heard him sing so well. From soft, barely audible whispers to menacing growling to belting top notes that sent shivers running down our spine - he was magnificent.
Sierra Boggess, Joseph Millson, Summer Strallen and Niamh Perry were among those taking their final bow and they gave it their all. It'll be interesting to see where their careers will take them next. We've enjoyed seeing them in their parts and since they have originated the roles they played, seeing how those who take over those parts will interpret them will be intriguing. There were lots of emotions on show, and Sierra got a lengthy and well-deserved ovation for her final rendition of the title song. Naturally, we are now waiting with baited breath to see David Thaxton as Raoul (but you knew that) - not saying Joseph Millson wasn't good in the part because he was. Brilliant. But yes, Thacko and his legendary lungs need to be heard on the stage of the Adelphi alongside Ramin's golden tones. As we write, the first performance is on it's way with the new cast...and we have tickets. Though not for a month or so...
It's worth mentioning, that after our first viewing of LND we weren't big fans. We saw it a second time and the music had really grown on us (let alone hearing Ramin's interpretation for the first time...) and by the third time, after the changes, we were hooked, and saw the show for what it was: a complete, robust, fantastic bit of theatre. The changes really do make all the difference. We would go on record as saying that if we'd seen the 'new' version first, we would never have had any doubts about this show. And we know a thing or two about shows!
There are still rumblings and murmurings on the ether about this show, probably caused by pathetic little sabotage attempts by pitiful groups such as 'Love should die' (and our ranting on this topic is also on record...) - all we're saying is this. Before anyone has an opinion on this show, go and see it for yourself. Hear the music, listen to the singing, take in the beauty of the sets, the talent of the cast...then decide. This is a show worth seeing and worth loving. Though Miz will always be our golden child, LND is running a close second. And not just because of Ramin either. It's a show that really, really works. It's up for heaps of Oliviers so clearly it is hitting the right spots...we're obviously not the only two people appreciating it.
And speaking of the Olivier's...yes.
We caved.
Of course we bloody did.
So we're in the nosebleed seats. So what? Our credit cards are making pitiful little whimpering noises, hobbling along on crutches and too scared to peep out of our purses, but so be it. We have frocks and crippling shoes, and dammit we are gonna use them. We'll soon be frog marched by our loved ones to personally book appointments with Martin Lewis the money expert but HAH is what we say!!! We'll be quaffing champagne and watching the show and SEEING BARRY MANILOW ( All together now;'...Her name was Lola, she was a showgirl...') and whatsisname from 'Lost' and Michael Ball twinkling away as only he can and and and...! Oh, we are happy. Very happy. And naturally we'll report back whatever we see and hear. Which should be many delights as the wondrous JOJ is performing as well alongside Sierra. And a tribute to Sondheim (Although not huge Sondheim fangirls, we recognise an MT legend when we see one ).
Considering we thought this was going to be a quiet few months for fairykind, we're not doing too badly at all.....
Sunday, 27 February 2011
A feast for the eyes and ears...
What? The Lion King
Where? Lyceum Theatre, London
When? 26th February 2010
February is not one of our favourite months. It usually marks the failure of New Year resolutions, dark evenings, empty bank accounts and far too long to wait until summer. The perfect excuse to take in a new show then? Well, not new exactly - currently in its 11th year actually, but new to the fairies. We had always kind of avoided this most Disneyfied of musicals, for precisely that reason. It seemed, well, too Disney. And the movie makes us cry. It`s for a good reason Disney waited 50 years after killing off Bambi`s mother before they dared pull a stunt like that again in The Lion King. The difference this time is the message. The circle of life, regeneration, renewal and eternal spiritual existence. Dead deep.
So, on a rainy February afternoon, it fell to me, Tamsin, to escort my gorgeous goddaughter to see her first West End musical.
This was obviously going to be the one. Until Shrek opens later this year, The Lion King is the most child friendly show on the West End stage - but imagine the surprise when this fairy found herself as spellbound as her 7 year old theatrebuddy. This is not a show to pull in the fangirls - because it is the show which is the star. Fabulous performances throughout, the harmonious ensemble just blend so beautifully with the principals that in the end, it is impossible to distinguish one soaring vocal from another. Not really knowing what to expect, this fairy was certainly not expecting to be reduced to tears 3 times during the course of a matinee!
It is hard to describe the sheer beauty of this show. Musically, it is evocative and haunting, moving and uplifting and fabulously exotic. The partnership between the Disneytastic tunes of Elton John and Tim Rice, and the choruses written by African composer Lebo M are a glorious melting pot of melody and tribal chanting. Gorgeous! Despite the strength of the vocals, much of the score feels like a lullaby, soothing you and calling you in turns. Two of the boxes nearest the stage are inhabited by two incredibly talented percussionists who supplement the orchestra with a specatuclar array of drums and other instruments, and are fascinating to watch - whenever you can tear your eyes from the stage, that is. Which is tricky.
It has been many a year since this fairy was left wide-eyed with amazement, but the sheer breathtaking beauty of this show is hard to describe. The sets are simple but fabulously effective, and the costumes / puppets blend with the actors bodies so seemlessly that they become the animal they are protraying. The auditorium beyond the stage is filled in turn with plodding wildlife and circling birds, and the designers have had a field day with masks, shadow puppetry and special effects. The choreography and direction take you far away from the rainy Strand to the African savannah, and the endearing comic strip characters make you feel like you are actually in a cartoon. Credit has to go to the incredibly talented cast - particularly the puppeteers. But sometimes, the simplest idea is the most effective. White ribbons falling as tears from the masks of a pride of lions as they mourned the death of King Mufasa elicted a not so silent sniffle from several areas of the audience. Mine included....
My goodness, this is an utterly gushing review huh??
Well, that simple fact is that from the moment Rafiki (a-maz-ing performance by the way) appeared to call the animals to meet their future king, and they returned the call from within the audience picked out by spotlights, I was sold. Utterly. The sight of my goddaughter - eyes wide, mouth agape - as the elephant plodded down the aisle past her, followed by legions of other African "wildlife" is a sight I will never forget.
And I`m pretty sure, if there had been a mirror handy, I`d have looked much the same. With added tears. Gorgeous gorgeous gorgeous.
Sniff.
Tamsin
Where? Lyceum Theatre, London
When? 26th February 2010
February is not one of our favourite months. It usually marks the failure of New Year resolutions, dark evenings, empty bank accounts and far too long to wait until summer. The perfect excuse to take in a new show then? Well, not new exactly - currently in its 11th year actually, but new to the fairies. We had always kind of avoided this most Disneyfied of musicals, for precisely that reason. It seemed, well, too Disney. And the movie makes us cry. It`s for a good reason Disney waited 50 years after killing off Bambi`s mother before they dared pull a stunt like that again in The Lion King. The difference this time is the message. The circle of life, regeneration, renewal and eternal spiritual existence. Dead deep.
So, on a rainy February afternoon, it fell to me, Tamsin, to escort my gorgeous goddaughter to see her first West End musical.
This was obviously going to be the one. Until Shrek opens later this year, The Lion King is the most child friendly show on the West End stage - but imagine the surprise when this fairy found herself as spellbound as her 7 year old theatrebuddy. This is not a show to pull in the fangirls - because it is the show which is the star. Fabulous performances throughout, the harmonious ensemble just blend so beautifully with the principals that in the end, it is impossible to distinguish one soaring vocal from another. Not really knowing what to expect, this fairy was certainly not expecting to be reduced to tears 3 times during the course of a matinee!
It is hard to describe the sheer beauty of this show. Musically, it is evocative and haunting, moving and uplifting and fabulously exotic. The partnership between the Disneytastic tunes of Elton John and Tim Rice, and the choruses written by African composer Lebo M are a glorious melting pot of melody and tribal chanting. Gorgeous! Despite the strength of the vocals, much of the score feels like a lullaby, soothing you and calling you in turns. Two of the boxes nearest the stage are inhabited by two incredibly talented percussionists who supplement the orchestra with a specatuclar array of drums and other instruments, and are fascinating to watch - whenever you can tear your eyes from the stage, that is. Which is tricky.
It has been many a year since this fairy was left wide-eyed with amazement, but the sheer breathtaking beauty of this show is hard to describe. The sets are simple but fabulously effective, and the costumes / puppets blend with the actors bodies so seemlessly that they become the animal they are protraying. The auditorium beyond the stage is filled in turn with plodding wildlife and circling birds, and the designers have had a field day with masks, shadow puppetry and special effects. The choreography and direction take you far away from the rainy Strand to the African savannah, and the endearing comic strip characters make you feel like you are actually in a cartoon. Credit has to go to the incredibly talented cast - particularly the puppeteers. But sometimes, the simplest idea is the most effective. White ribbons falling as tears from the masks of a pride of lions as they mourned the death of King Mufasa elicted a not so silent sniffle from several areas of the audience. Mine included....
My goodness, this is an utterly gushing review huh??
Well, that simple fact is that from the moment Rafiki (a-maz-ing performance by the way) appeared to call the animals to meet their future king, and they returned the call from within the audience picked out by spotlights, I was sold. Utterly. The sight of my goddaughter - eyes wide, mouth agape - as the elephant plodded down the aisle past her, followed by legions of other African "wildlife" is a sight I will never forget.
And I`m pretty sure, if there had been a mirror handy, I`d have looked much the same. With added tears. Gorgeous gorgeous gorgeous.
Sniff.
Tamsin
Thursday, 24 February 2011
Whats on Stage??
And so, on Sunday evening, it fell upon us to attend another glittering night of mingling with the theatrical greats in London's West End. As if we were going to say 'No' to an opportunity to dig out a nice frock and a pair of high heels, or needed even more persuading to soak up the atmosphere of the very excitable thespian community. This was a much looked-forward to event which didn't disappoint. At all.
For starters, we had to make our way in to the theatre by running the gauntlet of autograph hunters (some clearly professional, judging by the amount of photos they wanted signed, tsk tsk) and paparazzi. As predicted, the camera's stopped flashing the moment we got close but that's OK. We like to keep a certain 'je ne sais quoi'. We walked past a couple of girls being interviewed about why they loved theatre so much and who they were here to see. 'Sheridan Smith!' they squealed.
Sheridan Smith.
That was a name we would be hearing a lot over the course of the evening.
We reflected on the fickleness of MT fandom as we had been followed in by an anonymous actress we know to have sung in Les Miserables and Hairspray amongst others. West End MT is a pretty close knit circle, with the same faces moving from one show to the next, swapping roles with friends and popping off on tour until the next part appears. As such, we pondered on how the cameras and squees which ceased on our entrance (and that of our anonymous friend) could potentially burst into life next year if she stepped into the right role with the right fanbase..... how fickle the lot of a theatre darling can be.
In the foyer we spotted Phyllida Law, who flashed us a radiant smile. Quite frankly, if we look like that when we get to her age we would be happy fairies. The woman is stunning. Naturally stunning, seemingly without the help of any nips and tucks and fillers. Her face moves and everything. And she is so elegant! She really is someone to aspire to. But back to the show!
You know what? It was nice to be able to attend an Award Show at all.
Usually not the place for Joe Public plebs like us, it makes you feel paying your theatre dollar as we do (all too often, in some opinions) is worthwhile if you get to have a say in rewarding the efforts of those you have seen. And even better, get to see them receiving the gong. The Oliviers, far more worthy, are closed off from those outside "the industry", much like the Baftas and the Oscars etc.
(EDIT 27.2.11 Just an amendment to say that the powers that be must have been reading our blog. For the first time in 10 years, you can get tickets to the Oliviers!! Sadly, we fairies have overstretched ourselves recently so will have to dress in a fab frock and wtach it on TV through our tears. Sob.)
But these awards are voted for BY US and are a much humbler affair. However, according to the organisers and recipients, also a bit naughtier, more fun, and more important because bums on seats and touching an audience is not only what keeps them in work, but the reason they do what they do.
So bless all at Whats on Stage... we love them for their honest shit-just-checked-the-awards-have-all-got-the-right-names-on-God-we`re-so-excited-whose-coming?-wear-what-you-like-we-aren`t-going-black-tie-tweet-all-day-now-we`re exhausted-and-we`re-off-to-Maccy-Ds approach to public relations.
One of these days, we are certain those that vote (ie us) won`t be able to go to the show, but for now it`s still low budget enough for them to want us in the audience. It looked like they may have even used Powerpoint for the backdrop. Aw!! We felt very sorry for the poor head of WOS who actually won the raffle and came on stage to yells of "Fix!" and so made them redraw it. Poor love. You put on a great show, we would have given you the prize any time!
But the show itself was fab. Fab fab fab. Introduced by the one and only Biggins, along with Sheridan Smith and Miranda Hart as trusty sidekicks, it was of course largely award oriented, but interspersed with musical numbers from La Boheme to Umbrellas of Cherbourg. (Enjoyed the ooh-la-la-ness, not so keen on the op-e-raaaa). We had the lovely Ramin singing Green Day on acoustic guitar with a contemprorary dance and gospel choir accompaniment (whaaat??), before bringing on Hadley Fraser for a blast of Sheytoons Blue Grass merriment. We had Hannah Levane raising the roof, along with Alfie Boe, and the casts of Departure Lounge and ...... Even a sneaky preview of Ghost from the wondrous Caissie Levy. What a voice that girl has. Spellbinding. (Even made us kind of curious to see the show, despite our fear it may turn out to be as awful as the movie.)
All this, and we got to see Biggins dressed in blue gingham asking if there were any friends of Dorothy in the house. Such pure cheese. Twas a joy to behold. Even with the screeching fangirls behind us.
Why why why has it suddenly become OK to scream, yes, scream
"WOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO!! WOOOOOOOOOOOOOOOOOOOOOOOO!!"
whenever a favourite person or show appears or is mentioned? AT EARSPLITTING VOLUME. Shush dears. We love the boy Ramin too, but it nearly did our fairy heads in. He wasn`t the only one to receive such approval though. Nope. All things Wicked and Legally Blonde (especially Sheridan Smith) also got the honours. Now considering she was hosting, and also picked up several gongs, you can only imagine our poor heads. We like Sheridan though. Not her fault she has such ardent girlfans, and we especially like her as she reacted to the presence of Ramin the way we would. ie dumbstruck and pathetic. In view of the sheer amount of Legally Blonde love on show, we have decided that at some point we will go to see what all the fuss is about, even though it doesn`t appeal really. Cheap tickets here we come.
The winners are all on the WOS site, along with videos of the night. Everyone is so happy! (seems they found the free champagne that eluded us...)
Whats on Stage site
Oh, and our favourite Tweet of the night.... (anonymous of course) So good it was retweeted by many and therefore founds its way to us......
"Can someone take one of the 3 awards Cameron Mackintosh is holding and hit him on the head with it for casting the Jonas child."
Our sentiments exactly.
For starters, we had to make our way in to the theatre by running the gauntlet of autograph hunters (some clearly professional, judging by the amount of photos they wanted signed, tsk tsk) and paparazzi. As predicted, the camera's stopped flashing the moment we got close but that's OK. We like to keep a certain 'je ne sais quoi'. We walked past a couple of girls being interviewed about why they loved theatre so much and who they were here to see. 'Sheridan Smith!' they squealed.
Sheridan Smith.
That was a name we would be hearing a lot over the course of the evening.
We reflected on the fickleness of MT fandom as we had been followed in by an anonymous actress we know to have sung in Les Miserables and Hairspray amongst others. West End MT is a pretty close knit circle, with the same faces moving from one show to the next, swapping roles with friends and popping off on tour until the next part appears. As such, we pondered on how the cameras and squees which ceased on our entrance (and that of our anonymous friend) could potentially burst into life next year if she stepped into the right role with the right fanbase..... how fickle the lot of a theatre darling can be.
In the foyer we spotted Phyllida Law, who flashed us a radiant smile. Quite frankly, if we look like that when we get to her age we would be happy fairies. The woman is stunning. Naturally stunning, seemingly without the help of any nips and tucks and fillers. Her face moves and everything. And she is so elegant! She really is someone to aspire to. But back to the show!
You know what? It was nice to be able to attend an Award Show at all.
Usually not the place for Joe Public plebs like us, it makes you feel paying your theatre dollar as we do (all too often, in some opinions) is worthwhile if you get to have a say in rewarding the efforts of those you have seen. And even better, get to see them receiving the gong. The Oliviers, far more worthy, are closed off from those outside "the industry", much like the Baftas and the Oscars etc.
(EDIT 27.2.11 Just an amendment to say that the powers that be must have been reading our blog. For the first time in 10 years, you can get tickets to the Oliviers!! Sadly, we fairies have overstretched ourselves recently so will have to dress in a fab frock and wtach it on TV through our tears. Sob.)
But these awards are voted for BY US and are a much humbler affair. However, according to the organisers and recipients, also a bit naughtier, more fun, and more important because bums on seats and touching an audience is not only what keeps them in work, but the reason they do what they do.
So bless all at Whats on Stage... we love them for their honest shit-just-checked-the-awards-have-all-got-the-right-names-on-God-we`re-so-excited-whose-coming?-wear-what-you-like-we-aren`t-going-black-tie-tweet-all-day-now-we`re exhausted-and-we`re-off-to-Maccy-Ds approach to public relations.
One of these days, we are certain those that vote (ie us) won`t be able to go to the show, but for now it`s still low budget enough for them to want us in the audience. It looked like they may have even used Powerpoint for the backdrop. Aw!! We felt very sorry for the poor head of WOS who actually won the raffle and came on stage to yells of "Fix!" and so made them redraw it. Poor love. You put on a great show, we would have given you the prize any time!
But the show itself was fab. Fab fab fab. Introduced by the one and only Biggins, along with Sheridan Smith and Miranda Hart as trusty sidekicks, it was of course largely award oriented, but interspersed with musical numbers from La Boheme to Umbrellas of Cherbourg. (Enjoyed the ooh-la-la-ness, not so keen on the op-e-raaaa). We had the lovely Ramin singing Green Day on acoustic guitar with a contemprorary dance and gospel choir accompaniment (whaaat??), before bringing on Hadley Fraser for a blast of Sheytoons Blue Grass merriment. We had Hannah Levane raising the roof, along with Alfie Boe, and the casts of Departure Lounge and ...... Even a sneaky preview of Ghost from the wondrous Caissie Levy. What a voice that girl has. Spellbinding. (Even made us kind of curious to see the show, despite our fear it may turn out to be as awful as the movie.)
All this, and we got to see Biggins dressed in blue gingham asking if there were any friends of Dorothy in the house. Such pure cheese. Twas a joy to behold. Even with the screeching fangirls behind us.
Why why why has it suddenly become OK to scream, yes, scream
"WOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO!! WOOOOOOOOOOOOOOOOOOOOOOOO!!"
whenever a favourite person or show appears or is mentioned? AT EARSPLITTING VOLUME. Shush dears. We love the boy Ramin too, but it nearly did our fairy heads in. He wasn`t the only one to receive such approval though. Nope. All things Wicked and Legally Blonde (especially Sheridan Smith) also got the honours. Now considering she was hosting, and also picked up several gongs, you can only imagine our poor heads. We like Sheridan though. Not her fault she has such ardent girlfans, and we especially like her as she reacted to the presence of Ramin the way we would. ie dumbstruck and pathetic. In view of the sheer amount of Legally Blonde love on show, we have decided that at some point we will go to see what all the fuss is about, even though it doesn`t appeal really. Cheap tickets here we come.
The winners are all on the WOS site, along with videos of the night. Everyone is so happy! (seems they found the free champagne that eluded us...)
Whats on Stage site
Oh, and our favourite Tweet of the night.... (anonymous of course) So good it was retweeted by many and therefore founds its way to us......
"Can someone take one of the 3 awards Cameron Mackintosh is holding and hit him on the head with it for casting the Jonas child."
Our sentiments exactly.
Wednesday, 23 February 2011
Elaine Paige: Ultimate respect!!
What? Elaine Paige in Concert
Where? Cliffs Pavillion Southend-on-Sea (again...)
When? 22nd February 2011
Another night, another outing. Why is it that all my outings seem to happen in one big cluster and then I'll go through a complete dry spell where nothing will happen? Doesn't really matter, does it. The bottom line is I am one lucky fairy, as I have just come in from another fantastic concert and thought I'd share. That's right, share! Karina here, reporting from a grey and damp seaside resort, wishing her fellow fairy had been here to see what I've just seen, a celebration of MT in true old school West End style.
It's story time, so make sure you're sitting comfortably, and I'll begin.
All my pocket money was spent buying vinyl records (and sweets) as a kid. I wanted to be in musical theatre. And more than that, I wanted to be Elaine Paige. I bought every single record she ever made and used to sing along to them with gusto. To the point that my vocal coach/singing tutor person used to commend me for working so hard at my scales at home, whereas in actual fact all I'd done was sing along to EP. And occasionally Barbra Streisand, but mostly EP. I never got a chance to see her on stage and sadly life got in the way and I never made it to drama school as I got sidetracked by getting a 'proper job' (as mother would call it).
So I could hardly not go and see EP when I heard she was doing a concert, could I? Off I trotted, not really knowing what to expect. After all, she's a good bit older than in her Evita, Cats and Chess heyday. But she's Elaine Paige. The Grand Dame and Diva Extraordinaire. The Ultimate Lovey.
The concert opened to...Jon Robyns singing 'Oh What a Circus'. Oh what a surprise! Jon! Last seen as Demented Enjolras in touring Les Mis! He was in jolly good voice and looked a whole lot better without the blond wig. He's a handsome boy without it. See? That's him on the right there. I think EP thinks so too, but more of that in a moment.
The opening song changed to the opening bars of 'Don't Cry For Me Argentina' and slowly a small figure started walking regally across the stage in a white gown. EP as Evita Peron. 'Cheese' does not begin to describe the moment but I was mesmerised as when she opened her mouth I was transported back to being a tubby little girl, singing into her hairbrush in front of a mirror. And before I knew it I had a blobby tear in my eye. It was EP! And she sounds exactly the same as she did on those old records; the years have not changed her voice even slightly. It was almost spooky. She looks amazing for her years as well. Does she have a special mirror hidden away at home...?
She certainly deserves her position as the Grand Dame of British musical theatre. Her voice can't be described as 'beautiful' but she is note perfect, you understand every word she sings and she acts every song. And her voice is strong, no doubt about it, but with variations and nuances. She is an absolute, utter, MT professional. She sang songs from her new album, 'Elaine Paige with friends', interspersed with favourites from musicals. And obviously it was the MT numbers that floored me. 'I know him so well', Nobody's Side', 'As if we Never Said Goodbye', 'Je ne Regrette Rien'...loved it. And every song was like a huge, massive nostalgia fest. God I love musical theatre!
There was a particular moment which did, however leave me feeling as if my eyes and psyche had been permanently scarred. She sang a duet with Jon Robyns off the album and remarked on it being a 'sexy song' which needed a 'sexy boy'...'Come here...' she growled at poor Jon Robyns whilst giving him the 'come hither' look, and he proceeded to do just that, looking like a bunny in the headlights. What followed next was a lot of touchy feely shimmying and - hmm - suggestiveness. A word I've never used in the context of describing a lady in her 60's before (but there's a first time for everything...) is 'gyrating'. With Jon. There was much shoulder and hip action. She was behaving (and dancing) like a saucy, tipsy older auntie who has decided to seduce your brother's best mate. Best mate decides to go along with auntie's shenanigans just to keep the peace and not cause offence, but looks mortified. Need I say more? I won't then.
Hermione Hennessey was another revelation; she was the 'other' supporting singer alongside Jon Robyns and comes from an illustrious musical background. Beautiful voice; very ethereal and reminiscent of one of the Corr's sisters or Katie Melua, but not an MT voice. Her solo was 'You'll Never Walk Alone'. Eek. A well documented non-favourite of fairy-kind, but nonetheless beautifully sung.
On the whole, great concert. I loved the MT songs and the rest of the audience (mostly women of a certain age who had dragged their husbands along) loved it all. ET loves her Bossa Nova beat...I remeber having a keyboard with a button for Bossa Nova. Very 70's. And EP does love her jazz as well. She also loves to do a bit of name dropping and sounds exactly the same as on her radio programme. There's something quite endearing about her; she comes across as a little pompous and very daaaahling but it also suits her. And it's a reflection of the world she has been part of for four or more decades. I suspect I would be exactly the same if I'd had the fabulous career she's had moving in the circles she has. Wouldn't we all...?.
And that was the crux of it. I didn't so much want to be EP as much as I would have loved her career. The starring roles, the songs, the recordings, the radio and TV work - marvellous. When she sung 'Memory' as an encore I was transported back to the school prom where I sang my first solo and it was that same song. Big teenage dreams of being a singer, like, proper...and here I am now in a very different career than the one I dreamed of many, many years later. Not a worse career, just different. And during that encore I discovered another couple of blobby tears, just being caught up in the nostalgia of the past and all because of the memories that song evokes and her voice. I am an unbelievably mushy softie. What can I say? I guess I literally grew up to a soundtrack of her music.
But that is the magic of EP. There's something very steady and unchanging about her. I never even realised how much I respected her until I saw her on stage. If you get a chance, go see her. She really is the epitome of MT and deserved her standing ovation. They just don't make 'em like her anymore.
She's a legend.
P.S Essex woman - and man - seemed slightly better behaved. Though the couple sitting infront of me were asked at the interval, by a lovely usher, if they could stop singing loudly through the songs and talking through the ones they didn't know (and it wasn't me making the complaint either) on the whole it was a much better audience than for 'Chess'. Thank goodness. Though they don't half like sweeties in wrappers, these Essex types. I'm just saying.
Where? Cliffs Pavillion Southend-on-Sea (again...)
When? 22nd February 2011
Another night, another outing. Why is it that all my outings seem to happen in one big cluster and then I'll go through a complete dry spell where nothing will happen? Doesn't really matter, does it. The bottom line is I am one lucky fairy, as I have just come in from another fantastic concert and thought I'd share. That's right, share! Karina here, reporting from a grey and damp seaside resort, wishing her fellow fairy had been here to see what I've just seen, a celebration of MT in true old school West End style.
It's story time, so make sure you're sitting comfortably, and I'll begin.
All my pocket money was spent buying vinyl records (and sweets) as a kid. I wanted to be in musical theatre. And more than that, I wanted to be Elaine Paige. I bought every single record she ever made and used to sing along to them with gusto. To the point that my vocal coach/singing tutor person used to commend me for working so hard at my scales at home, whereas in actual fact all I'd done was sing along to EP. And occasionally Barbra Streisand, but mostly EP. I never got a chance to see her on stage and sadly life got in the way and I never made it to drama school as I got sidetracked by getting a 'proper job' (as mother would call it).
So I could hardly not go and see EP when I heard she was doing a concert, could I? Off I trotted, not really knowing what to expect. After all, she's a good bit older than in her Evita, Cats and Chess heyday. But she's Elaine Paige. The Grand Dame and Diva Extraordinaire. The Ultimate Lovey.
The concert opened to...Jon Robyns singing 'Oh What a Circus'. Oh what a surprise! Jon! Last seen as Demented Enjolras in touring Les Mis! He was in jolly good voice and looked a whole lot better without the blond wig. He's a handsome boy without it. See? That's him on the right there. I think EP thinks so too, but more of that in a moment.
The opening song changed to the opening bars of 'Don't Cry For Me Argentina' and slowly a small figure started walking regally across the stage in a white gown. EP as Evita Peron. 'Cheese' does not begin to describe the moment but I was mesmerised as when she opened her mouth I was transported back to being a tubby little girl, singing into her hairbrush in front of a mirror. And before I knew it I had a blobby tear in my eye. It was EP! And she sounds exactly the same as she did on those old records; the years have not changed her voice even slightly. It was almost spooky. She looks amazing for her years as well. Does she have a special mirror hidden away at home...?
She certainly deserves her position as the Grand Dame of British musical theatre. Her voice can't be described as 'beautiful' but she is note perfect, you understand every word she sings and she acts every song. And her voice is strong, no doubt about it, but with variations and nuances. She is an absolute, utter, MT professional. She sang songs from her new album, 'Elaine Paige with friends', interspersed with favourites from musicals. And obviously it was the MT numbers that floored me. 'I know him so well', Nobody's Side', 'As if we Never Said Goodbye', 'Je ne Regrette Rien'...loved it. And every song was like a huge, massive nostalgia fest. God I love musical theatre!
There was a particular moment which did, however leave me feeling as if my eyes and psyche had been permanently scarred. She sang a duet with Jon Robyns off the album and remarked on it being a 'sexy song' which needed a 'sexy boy'...'Come here...' she growled at poor Jon Robyns whilst giving him the 'come hither' look, and he proceeded to do just that, looking like a bunny in the headlights. What followed next was a lot of touchy feely shimmying and - hmm - suggestiveness. A word I've never used in the context of describing a lady in her 60's before (but there's a first time for everything...) is 'gyrating'. With Jon. There was much shoulder and hip action. She was behaving (and dancing) like a saucy, tipsy older auntie who has decided to seduce your brother's best mate. Best mate decides to go along with auntie's shenanigans just to keep the peace and not cause offence, but looks mortified. Need I say more? I won't then.
Hermione Hennessey was another revelation; she was the 'other' supporting singer alongside Jon Robyns and comes from an illustrious musical background. Beautiful voice; very ethereal and reminiscent of one of the Corr's sisters or Katie Melua, but not an MT voice. Her solo was 'You'll Never Walk Alone'. Eek. A well documented non-favourite of fairy-kind, but nonetheless beautifully sung.
On the whole, great concert. I loved the MT songs and the rest of the audience (mostly women of a certain age who had dragged their husbands along) loved it all. ET loves her Bossa Nova beat...I remeber having a keyboard with a button for Bossa Nova. Very 70's. And EP does love her jazz as well. She also loves to do a bit of name dropping and sounds exactly the same as on her radio programme. There's something quite endearing about her; she comes across as a little pompous and very daaaahling but it also suits her. And it's a reflection of the world she has been part of for four or more decades. I suspect I would be exactly the same if I'd had the fabulous career she's had moving in the circles she has. Wouldn't we all...?.
And that was the crux of it. I didn't so much want to be EP as much as I would have loved her career. The starring roles, the songs, the recordings, the radio and TV work - marvellous. When she sung 'Memory' as an encore I was transported back to the school prom where I sang my first solo and it was that same song. Big teenage dreams of being a singer, like, proper...and here I am now in a very different career than the one I dreamed of many, many years later. Not a worse career, just different. And during that encore I discovered another couple of blobby tears, just being caught up in the nostalgia of the past and all because of the memories that song evokes and her voice. I am an unbelievably mushy softie. What can I say? I guess I literally grew up to a soundtrack of her music.
But that is the magic of EP. There's something very steady and unchanging about her. I never even realised how much I respected her until I saw her on stage. If you get a chance, go see her. She really is the epitome of MT and deserved her standing ovation. They just don't make 'em like her anymore.
She's a legend.
P.S Essex woman - and man - seemed slightly better behaved. Though the couple sitting infront of me were asked at the interval, by a lovely usher, if they could stop singing loudly through the songs and talking through the ones they didn't know (and it wasn't me making the complaint either) on the whole it was a much better audience than for 'Chess'. Thank goodness. Though they don't half like sweeties in wrappers, these Essex types. I'm just saying.
Subscribe to:
Comments (Atom)