musicals
Matt Wolf
A musicals-intensive season gets off to a wan start with 9 to 5, a retooled West End version of a 2009 Broadway flop based on the beloved 1980 film that proffered a sisterhood for the ages in the combo of Dolly Parton, Jane Fonda, and Lily Tomlin. Parton gets bigtime producing billing on a stage venture for which she has provided a so-so (albeit Tony-nominated) score, and her shining face graces the onstage screens to clue us into the none-too-difficult plot and provide a fairly hoary Donald Trump joke. But it's clear pretty much from the start that Jeff Calhoun's production is aiming low and Read more ...
Jasper Rees
“I want to be a man without any past,” said Michel Legrand, who has died at the age of 86. He had perhaps the longest past in showbiz. Orchestrator, pianist, conductor, composer of countless soundtracks, who else has collaborated as widely - with Miles Davis and Kiri Te Kanawa, Barbra Streisand and Jean-Luc Godard, Gene Kelly, Joseph Losey and Edith Piaf? When I visited him at his house at his splendid classical manoir 100km south of Paris, on the mantelpiece in the large white sitting room four familiar gilt statuettes stood sentry. The oldest was for “Windmills of My Mind”, the best Read more ...
Marianka Swain
Following Caroline, or Change and Fun Home, the UK is blessed with another work from American composer Jeanine Tesori; this is the British premiere of her 1997 musical Violet, which had a Sutton Foster-starring Broadway production in 2014. If not as refined as that exquisite duo, it’s still a compelling piece, thanks to a ravishing score and a dynamite central performance.It’s 1964, and Violet (Kaisa Hammarlund, pictured below right) is travelling on a Greyhound bus from her small town in North Carolina to Tulsa, Oklahoma, in hopes of having her facial scar – caused by a loose axe head – Read more ...
Marianka Swain
“Love Changes Everything”, as immortalised by Michael Ball, is the most enduring feature of Andrew Lloyd Webber, Don Black and Charles Hart’s 1989 musical – a moderate West End success, and a Broadway flop. Jonathan O’Boyle’s production, seen last year at Manchester’s Hope Mill Theatre, follows the trend for stripping back big shows to get at the heart of them; a good tactic on the whole, though challenged by a work that’s ultimately more interested in dissecting love than sharing it.An adaptation of Bloomsbury Group member David Garnett’s 1955 novella, the convoluted story runs from 1947 to Read more ...
Marina Vaizey
The movie musical: money making or true art – or both? This was a programme to sing along to, in the company of Judy Garland and Gene Kelly, Elvis Presley and Cliff Richard. In this second instalment of Neil Brand’s brilliant three-part history, he looked at the genre from the 1940s to the 1960s, from the USA to the UK, as well as voyaging to India and China and dropping in a salut to France.These two decades are labelled the “Second Golden Age”. We bounced straight in with images of New York accompanied by Leonard Bernstein’s euphoric post-war “New York New York”, emblematic of the Read more ...
Veronica Lee
With the politics of hate alive and well both sides of the Atlantic, this seems a good time to revive Tony Kushner and Jeanine Tesori's 2003 musical, which is set in Civil Rights-era Louisiana. This production was first seen at Chichester Minerva Theatre last year and transfers to the West End via a run at Hampstead Theatre and has a stand-out central performance by Sharon D Clarke.Inspired in part by Kushner’s own Southern Jewish childhood, Caroline, or Change is almost entirely sung-through and Clarke (pictured below) is the titular black maid who is paid a pittance by the Gellman family to Read more ...
Thomas H. Green
This is a soundtrack with vast shoes to fill. Frozen, The Lion King and Aladdin may be the best-selling Disney soundtracks but, alongside The Jungle Book, the original 1964 Mary Poppins has the most beloved array of songs. It takes chutzpah to try and match a set that includes such childhood standards as “Supercalifragilisticexpialidocious”, “Chim Chim Cher-ee” and “A Spoonful of Sugar”. That the music from Mary Poppins Returns makes a spirited and expertly calibrated attempt is a nice surprise.The man who took on what could have been a poisoned chalice is Hollywood showbiz orchestration Read more ...
Jessica Duchen
When the biggest laugh in Bernstein’s Candide goes to a narrator’s mention of how nationalism was sweeping through Europe, you may have a problem. Still, the Bernstein Centenary has been among the best of all possible anniversary celebrations this year and at the LSO Candide - the great man’s bonkers operetta-ish take on Voltaire, a flawed masterpiece with a succession of glorious tunes and snappy lyrics - could have been its apex. At times, it was.If it wasn’t wholly up there, that is in large part due to the conundrum the piece poses about how to bring it convincingly to the stage (or here Read more ...
Adam Sweeting
Perhaps belatedly prompted by the release of Barbra Streisand’s new album Walls, the worst-selling disc in her 55 years with Columbia Records, this documentary was an uncritical celebration of Babs’s brilliant career from her first stage appearances in the late Fifties to the joys of Hello, Dolly!, The Way We Were and Yentl. The somewhat arbitrary cut-off date of 1984 meant that we were even able to enjoy a nostalgic blast of “Woman in Love”, from her collaboration album with Barry Gibb, Guilty.These days Streisand (present here only in archive clips) has become a grandiose diva in aspic, Read more ...
Marianka Swain
There’s a welcome alternative to panto hijinks in this gem of a Trevor Nunn musical revival – more attuned to the biting hardships of winter, and to the elegiac aspect of change, than to festive jollies. Which is not to say that there isn’t rousing fun to be had in many a slick set-piece, but this intimate, sensitive staging brings out the work’s soul, particularly its timeless call for empathy and compassion.Joseph Stein, Jerry Bock and Sheldon Harnick drew on Sholem Aleichem’s stories for their 1964 musical, and it initially feels like a folk tale: that of Tevye the dairyman (Andy Nyman) Read more ...
Marianka Swain
The road to full musical theatre production has been a long one for Hadestown. It began back in 2006, with Anaïs Mitchell’s song cycle – a folk/jazz take on the Orpheus and Eurydice myth – toured around Vermont in a school bus, then grew into an ecstatically received concept album in 2010, and has gone through further development with director Rachel Chavkin in Off-Broadway and Canadian stagings. Now, it comes to the National ahead of a Broadway run.Whatever its past or future forms, Chavkin’s staging is a superb fit for the Olivier. Rachel Hauck’s spare, multi-level speakeasy set, which Read more ...
Liz Thomson
What to make of The Simon & Garfunkel Story, which began a week-long residency at London’s Vaudeville Theatre last night and which tours in the new year? A success “from Sydney to Seattle” apparently, with Elaine Paige having called it “amazing” and various regional newspapers offering superlatives. The programme proclaims it (with idiosyncratic use of upper case), "The World's biggest and most successful Simon & Garfunkel Theatre Show". Is there competition?The singing is pretty classy, Sam O’Hanlon as Simon and Charles Blyth as Garfunkel producing evocative close harmony, though Read more ...