Some of the big name musical theatre stars who release albums of showtunes tend to release studio albums – your Balls, your Barrowmans, your Paiges. They generally sound wonderful, but with the luxury of being able to re-record you’d expect them to. And yet, one of the great thrills of hearing a great musical theatre performance is being able to appreciate them sung live, to thrill at that almost imperceptible change of tone as a performer’s chest swells in response to a receptive audience. And, yes, the occasional moment where they come in a fraction too early or late, or their voice breaks a little. It’s the slight little things, the lack of clinicality, that gives a live performance the edge over a purely studio-bound recording for me.
One drawback with live albums is that the sound quality is often lower as a result, but that’s far from the case with Momentous Musicals. This CD was originally recorded at an evening showcasing the best in musical theatre songs at the New Wimbledon Theatre in 2012 (further dates in July 2013 are planned) – and while Gareth Gates is the only musical theatre performer’s face on the cover of the CD, this is an ensemble of West End performers doing what they do best: along with Gates, the CD features performances from Rachael Wooding, Daniel Boys, Jonathan Ansell and Emma Williams.
Starting with Dreamgirls’ One Night Only – surely the most well-known musical theatre song never to have received a West End outing – the disc rattles through standards old and new, from musicals as diverse as West Side Story and Company to Chitty Chitty Bang Bang and Legally Blonde.
The balance between uptempo numbers and the big power ballads is just about right, and the orchestrations by musical director George Dyer bring out the best of both the original compositions and the performers on the night. Emma Williams’ Mein Herr is a particular delight, while Company’s Being Alive – possibly my favourite Sondheim number ever – feels safe in the hands and vocal cords of Daniel Boys. Rachael Wooding stands out, though, putting her heart and soul into every one of the several songs she is tasked with performing.
As a record of an evening in the company of great singers – or even as consolation for not being able to be there in person – it’s hard to beat. As incentive to book tickets for the next tour, it’s pretty good too.
In general, the vogue for adapting films into stage musicals tends to be looked down upon in musical theatre circles. Ghost, Top Hat, Legally Blonde, Singin’ in the Rain, The Bodyguard, Footloose, Dirty Dancing… the list seems to get ever longer.
The quality of such adaptations varies wildly – and generally, the closer the stage version attempts to remain to the original, the less creative and enjoyable the result for the audience.
Once is the latest movie to make the transition to the stage. One advantage it has is that the film itself is comparatively little-known, despite the song Falling Slowly winning an Academy Award for Best Original Song. But mostly, its staging ignores that origin, and instead treats itself as a standalone piece of art. The result is a sublime evening of warm humour, great songs and heartbreakingly beautiful romance.
Continue reading “Review: Once, Phoenix Theatre”
Review: Once, Phoenix TheatreScott Matthewman2013-05-23 14:03:58In general, the vogue for adapting films into stage musicals tends to be looked down upon in musical theatre circles. Ghost, Top Hat, Legally Blonde, …
When Aylesbury’s Waterside Theatre opened in October 2010, its marketing tagline talked of “Bringing the West End to Waterside”. As it launches its second spring season, that promise is certainly being fulfilled: in May, it will play host to the Lincoln Center’s revival of Rodgers & Hammerstein’s South Pacific that recently played at the Barbican, whose stars (including Samantha Womack, Dan Koek and Alex Fearns) will all be joining the production in Aylesbury. The season will also see Hull Truck’s production of Alan Bennett’s The Lady in the Van and the National Theatre’s Travelling Light, starring Anthony Sher.
And it is in evidence this week, too, as the touring production of Legally Blonde – The Musical comes to town while its big West End sorority sister is still running (for now) at the Savoy Theatre. Last week, of course, the Olivier award-winning West End show posted closing notices. That must be frustrating for Aylesbury in a couple of ways: first, the show they’ve been promoting has been in the theatrical headlines because it’s not been doing well enough to stay open. Also, because there’s nothing like a closing notice to indicate the possibility of cut-price tickets for the London show. With Chiltern Railways’ annoying-but-better-than-most train service into the capital, the touring version of Laurence O’Keefe and Nell Benjamin’s musical faces stiff competition from its West End counterpart.
The good news is that, one or two patchy spots apart, it withstands the comparison well.
Continue reading “Legally Blonde – The Musical, Aylesbury Waterside”
Legally Blonde – The Musical, Aylesbury WatersideScott Matthewman2012-02-01 10:18:09When Aylesbury’s Waterside Theatre opened in October 2010, its marketing tagline talked of “Bringing the West End to Waterside”. As it launches …