Review: Legally Blonde Tour at Wales Millennium Centre, Monday 20th August 7.30pm

So I’m finally updating my blog. It’s partly been due to being busy and partly due to being lazy. A confusing mixture but I can’t claim to have that much of an exciting life.

I’ve recently been to see the Legally Blonde tour which I was looking forward to a lot having missed it during its run in London. Most of the main cast were performing, apart from Jennifer Ellison as she’d recently had a family bereavement so Rhona McGregor played the role of Paulette instead.

Gareth Gates had recently come on board as Warner - A clearly popular casting decision with the audience. As you may know, I don’t particularly like stunt casting but I was okay with this. I’ve heard Gareth Gates singing as Marius and he’s not half bad. My problem was more with the audience reaction of whooping the second he walked on stage – not cheering for a good performance just cheering because of who he is. This is a natural phenomenon surrounding stunt casting as it’s designed to pull in fans of the celebrity. It was a minor annoyance with this show, though, since Legally Blonde is really just a bit of feel good fun with a good moral message running through the heart of it.

I was a little disappointed with Gareth Gates’s performance, though, his movement was very wooden and mechanical and I could tell he was playing a part rather than becoming the character – this distinction really does make a huge difference.

Faye Brookes takes on the role of Elle in this production;  The fun loving blonde who throws herself into a law degree for the sake of love only to discover something more within herself and teaches those around her that you don’t have to be what everyone expects. Faye takes us through this transformation with her character easily depicting the various emotions she journeys through well. Her onstage chemistry with Warner is okay, more to the fault of Gareth than her, but brilliant with the other leading man, Emmett played by Iwan Lewis.

I really liked Iwan Lewis’s take on Emmett. It was different to what I was expecting – he seemed younger and less self assured than the way Luke Wilson portrays him in the film but I think this works better; his vulnerability makes for a more interesting development of his character too. At the beginning it’s like he’s trying to act like a professional lawyer and mentor but somewhat falling short of the mark, but by the end he and Elle have helped each other become confident and ready to take on the world.

Andy Mace as Professor Callahan was suitably vile and sleazy with an edge of unforgiving relentlessness and Rhona McGregor really stepped up to the mark with her portrayal of Paulette providing the emotional support Elle needs to get her through the challenges she faces whilst also showing her own need for emotional support effectively.

The sorority sisters/ greek chorus do wonders for lifting the mood at various points throughout the show and provide a lot of energy that gets you dancing in your seat. And talking of energy, Hannah Grover must have it in bucket loads for ‘whipped into shape’ I was exhausted watching it, but that effort translates into one of my favourite dance scenes with the skipping rope action... and she has an amazingly flat, toned stomach.   

I also have to mention the dogs – how could I not? They get a better audience reaction that Gareth Gates even. They’re well trained and really are scene stealers.... and so cute.  I defy you not to go ‘awwwwww’ when they come on stage.

On the technical side there’s one major gripe that I often have with the WMC and that’s SOUND. I especially can’t forgive them for problems as they’ve designed the whole theatre around good acoustics – the chairs have holes in the bottom so if there’s no one sitting in the seat the vibrations pass through as if there was. Come on guys. If you put this much effort in, make sure it’s something you CAN boast about but something is going wrong somewhere. Every time I go there are problems with words getting lost under the weight of the orchestra; it’s about balancing not volume.  It wasn’t so bad for me because I’ve listened to the soundtrack many times and know the lyrics to fill in the blanks but the friends I was with had never heard it before so didn’t know what was going on. I originally booked a captioned performance by mistake, then changed it. Now I kind of wish I’d stuck with it so they knew what the performers were saying. Don’t get me wrong – it’s not all the time but during ‘Omigod You Guys’ I could barely make out one word from the sorority girls! This is the venue’s fault not the fault of the girls though.

The set was quite simple. A lighted border frames the stage and is moved either stage left, stage right or uses the whole area to create a sense of location as well as a few flown in set pieces and prop items. I’m not really a fan of dividing the stage into sections but I’ll let it go as it didn’t detract from the overall quality of the show.  

My friend didn’t like the costumes much. I thought they were alright; nothing that blew me away. I liked Elle’s clothes most of the time, apart from the one she wears to the dinner when she’s expecting Warner to propose – after she makes such a fuss to buy the perfect dress the floral almost casual looking number she ends up with is quite a disappointment.

Another friend thought that some of the songs were pointless but I can’t agree with that point of view at all. Looking through the list they all have their point and purpose to the story and move it forward and help us understand the characters better.

This is a high energy production with fun and frivolity running through the veins to a heart where a ditzy blonde triumphs over expectation and well worth going along to. It’s no longer at Wales Millennium Centre, but moved on to Birmingham at the New Alexandra Theatre. Please check out the website http://www.legallyblondethemusical.co.uk/tour/ for further information and to book tickets. 

Here's the official trailer in case you need any more convincing:- 

Chicago Tour Review: Wales Millennium Centre, Saturday 14th July 8.30pm

I have to admit that I’ve never been too fussed to see the stage production of ‘Chicago’. I loved the film but hearing other theatre goers report back that the film version is superior I was dissuaded. I thought if everyone is saying it, surely it must be disappointing – the people saying this were theatre fans and not the kind of people to usually rate film over live performance.

But since the tour was coming to Cardiff, near to where I live, and my sister said this was one she’d really like to see I decided to buy tickets for my sister, my mum and myself. They enjoy theatre but aren’t fanatical about it like me.

For once I had tickets in the circle, rather than the stalls. I booked quite late and, since this is a show that appeals to many, tickets were few. However, I think the circle is a good choice for a show of this nature – a show that focuses strongly on the dance aspect over any other. Having an overview in this circumstance is more important than being seated in a position where you get a good perspective of acting.

When you enter the auditorium there is simply a chair set on stage downstage right with a hat a top it lit with a spot. The rest of the stage is in darkness.

As the show begins you are presented with the set which remains a consistent from start to finish. It’s a rather stage dominating construction – a cutaway of a jazz club upon which are seated the actual orchestra for the show. Yes, the orchestra are on stage for the whole performance (I’d already heard this before, though I hadn’t realised just how much of the stage they dominated). This leaves a very narrow playing area downstage. There is a little corridor of space either side of the set but this is mainly used as a seating area for chorus when they are not needed in a particular song.

This all has its purpose of course. The idea is to create the feel that we are watching a performance in one of the old jazz clubs. Chicago is presented as a city obsessed with ‘sex, jazz and liquor’ and all the characters are so seduced by this lifestyle that they play out the stories of their lives in this way.

           “in this town, murder is a form of entertainment”.

The problem with this set up is it can feel quite bland at times – especially in the more intimate numbers. They’ve tried to create some sense of location through lighting, such as jail cell bars lit on the floor for the prison scenes but this left me a bit cold.

It’s the dancing that is the key standout feature of ‘Chicago’. This is no real revelation as Fosse is always centred on dance but it really is this that Chicago’s strength rides upon.  (Well, that and the fact it’s notorious for stunt casting. Meeeeow)

So onto the principle performances:-

Weak generally – none of them really blew me away.

Ali Bastian’s portrayal of Roxie Hart was lacking – the singing was weak, the dancing – just okay. And perhaps this could have been forgiven if she’d delivered a convincing character but I really wasn’t feeling it. When I then looked in the programme at the interval to read more about her background and noticed she’d played Becca Dean in Hollyoaks, I couldn’t help but spend the rest of the performance comparing her to her Hollyoaks colleague, Carley Stenson, who’s fresh in my memory from seeing her in Shrek recently.

Tupele Dorgu delivered a decent performance of Velma Kelly. Again, her singing wasn’t very strong but the tone was pleasant and she portrayed the character’s single minded hardness and lust for the Chicago lifestyle to a good standard. It says in the programme that she’s “delighted to be playing Velma Kelly, a role she’s always wanted to play” and I think this shows – she seems to have worked hard to get the character right.

The best of the leads, though, was Stefan Booth as Billy Flynn. Although not a skilled singer either, he has the charisma and stage presence one would expect of this character. Towards the end of the show his voice did start to suffer, though – it sounded like he really needed to cough, which then made me want to cough (because I’m sooo empathetic). This makes me concerned about his stamina and ability to keep up the same level of performance for the rest of his stint on the tour.  

Bernie Nolan was as to be expected as Mama Morton – good singing but lacking any real character and I felt that since Amos doesn’t do a lot of dancing that he should at least be a great singer – unfortunately that wasn’t the case with Jamie Baughan who was acceptable but I just didn’t warm to his Amos – and that’s the one character you should be able to warm to.

The chorus were the stars of this show, though, and I’m pleased they were each individually acknowledged at the bows.

My favourite scenes were the ones which made use of these outstanding dancers, especially during the Billy Flynn scenes.  ‘All I Care About is Love’ was one of my favourites with the girls carrying large white tail like feathers which caught the light beautifully as they twirled them around Billy Flynn.

‘We Both Reached for the Gun’ was also brilliantly choreographed and the scene I’d been looking forward to most of all for that famous ‘puppet act’ which was done perfectly by all, credit where it’s due.

‘Razzle Dazzle’ was another highlight with most of the technical budget being thrown into this. It was the most exciting visually, with a lighting baton being lowered from the flys to the floor, uplighting some of the chorus members and ‘razzle dazzling’ us as they shake their tinsel pompoms which sparkle as they catch the light, then raining down little pieces of ‘razzle dazzle’ during a pyro effect, leaving the stage glittering for the rest of the show.

I also really liked the ridiculousness of the re-enactment of Fred Casley’s murder; Very in tradition with the old vaudeville performances with the overacting and exaggerated movements. It reminded me of an episode of Family Guy where they mock William Shatner’s acting.

This is one of those incredibly rare occasions where I would have to agree with the majority and say the film incarnation of ‘Chicago’ is superior to the stage version. I like the fact that in the film there is actually a substantial story playing out in real life around Roxie’s jazz obsessed delusions, rather than just feeling like we’re watching a story within a vaudeville performance. Although the latter may have been the original vision for Chicago, I do prefer a strong, concrete storyline in my musicals.

Chicago is continuing to tour around the UK until the end of the year. Please check their website http://www.chicagothemusical.co.uk/uktour.php for venues near you, more information & to book tickets. 

Review: Shrek the Musical, Theatre Royal Drury Lane, Friday 22nd June 7.30pm

If you’re looking for a feel good musical that’s pure smiles and an original score (barring ‘I’m a Believer’ of course) then this is the show for you.

I’ve seen other reviewers say it’s a little too panto but I think that’s okay for a show like this. It’s a fairy tale, essentially – a fairy tale for a modern generation - and since panto is all about the fairy tales too, I think this fits. So, if you hate panto then this isn’t the show for you!

It has the hero in Shrek himself, the ‘damsel in distress’ in Princess Fiona (who turns out to be nothing of the sort), the archetypical panto ‘baddie’ in Farquaad and the side kick in Donkey; All these being staple characters of the pantomime tradition.

As my first introduction into theatre was panto, I was more than happy to get lost in this magical and ridiculously silly world and reconnect with the child who first fell in love with theatre. From the moment the show began and the colourful story book set opened up I had a beaming smile on my face which stayed with me after the curtains fell.

My favourite character had to be Lord Farquaad played by Neil McDermott. Given that this is a role that requires shuffling around on his knees, it was always going to be hilarious. But it’s his facial expressions that really round off the ridiculousness of this character. Every expression is comically exaggerated aided by the absurdly drawn on eyebrows.

Carley Stenson as Princess Fiona was a surprise to me. Anyone who watched Hollyoaks in the last few years will know she played Steph – a character who was very much a wannabe performer who didn’t quite have the skills in singing, dancing or acting. So it came as quite a shock to witness her doing all three to a high standard – particularly the singing which she does beautifully. This can only be a testimony to what a versatile performer she is.  

Dean Chisnall is quite a trooper as Shrek in that rather cumbersome get up – I feel hot just thinking about having to wear all that padding and make up under the lighting but Dean shows no sign of discomfort. He gives a strong and assured performance and is, naturally, the linchpin on which this production balances.

There was one cast member that I felt really let the otherwise strong team down. Richard Blackwood as Donkey. He managed to really capture Donkeys irritating side without adding any of the endearing qualities that Eddie Murphy manages to portray, through voice acting alone, in the films. He also couldn’t really grasp the accent and it ended up just sounding quite grating. I’d have really liked to have seen one of the understudies in this role, which, rather frustratingly, if I’d have gone on the Saturday would have happened.

I was very impressed with the costumes & make up – whether that be creating the wooden puppet look for the actor playing Pinocchio or simply painting on bright and sparkling make up on the witches and fairies.

**Spoiler Alert**

One of my favourite scenic elements happens during a song that I’ve never been particularly fond of from the Original Broadway Cast Recording and that’s ‘The Travel Song’. The scene starts of simply with a rolling painted scene in a pastiche of ‘The Lion King’ behind a sign post in the centre of the stage. Towards the end of the song Shrek & Donkey stand in front of this signpost and it the platform splits and lifts, creating 2 pillars stage left and stage right with a rope bridge stretching between them. It’s still quite a technically simple achievement but it’s visually pleasing and works well.

**End Spoiler**

My very favourite scenic element, though, has to be the dragon puppet. It’s a huge puppet that took four people to manoeuvre and control it. I was quite mesmerised by the lead puppeteer (who, it seems from the programme is the puppet himself – Pinocchio – played by Jonathan Stewart) who has to lead the dragon and control the mouth movement and the blinking. It must have taken some rehearsal to coordinate this scene.

Talking of the dragon’s scene – the song has been changed from the Broadway version. ‘Donkey Pot Pie’ is gone and a song called ‘Forever’ takes its place. ‘Forever’ is a much better song, in my opinion, showing off the singers range and skill. It was difficult to pick up the lyrics, however, as there seemed to be a general problem with sound levels with the orchestra often drowning out the singing.

There’s also been another change to the score – ‘Build a Wall’ has been cut completely which I was quite disappointed about as I like this song but they must have had their reasons and it isn’t really  a song to move the story forward – it’s more about Shrek having a sulk.

I was really looking forward to seeing ‘Freak Flag’ being performed by all the fairy tale characters as this is my favourite song from the soundtrack and they all performed it perfectly. It was so energetic, powerful, bright and colourful. I do wonder if Pinocchio is ever tempted to replace ‘stand up to Farquuad’ with ... ... well I’m sure you can figure that out. If not, click here. I know that’s what I sing when I sing along in the shower.

I also have to mention a nice little touch before the show began. An announcement came over the tannoy in the voice of the Fairy Godmother. She said she has three wishes before the show can begin (1) no photography (2) turn of mobile phones and (this last one I loved) (3) please unwrap any noisy sweets before the show begins. I’ve never heard this asked at another show and yet it’s one of the main pet peeves of theatre goers.  It was such a cleverly non-confrontational way of asking too, which given the nature of this show, could only be done at Shrek the Musical.

While this show may not completely blow you away, it’ll certainly leave you with a huge smile & a feeling of lightness (lightness  from woes, hopefully, not gas - though maybe both if you decide to join in with the fart-off in ‘I Think I’ve Got You Beat’).

Shrek the Musical is currently at the Theatre Royal Drury Lane. Please visit the website http://www.shrekthemusical.co.uk/ for more information & to book tickets. 

Review: Ghost the Musical, Piccadilly Theatre, Saturday 23rd June 7.30pm

I think I may have found a musical to add to the favourites list just as it’s about to leave London. I have to admit I was sceptical at first. Not so much because of the story or the music – I love the film and the music (written by Eurythmics Dave Stewart & six time grammy award winner Glen Ballard) sounded good. Though, I have to say  it wasn't until I saw the show and experienced the emotion of the music first hand that I really appreciated how brilliant the soundtrack is.

The reason I was initially sceptical was because I knew that there was a lot of automation, video and projection used as set and I was worried about a high tech take-over of theatre would ruin the magical atmosphere created by imagination and make it more like the experience of watching a film.

Even as I sat in my seat (row A in the centre – not too shabby for a last minute theatre ticket at half price eh? God bless tkts London) I still felt unsure about it. As the show began, projections played out over the gauze and the large screens moved around into position with the relevant images being thrown across them I could feel the doubt about this show seeping in.

Then I noticed how it all reminded me of Times Square and from there came the quick realisation that actually it has been designed, very cleverly, in this way to convey that bustling, never sleeping, workaholic New York feel. Thinking about the story – how Carls obsession with money and the materialistic costs Sam his life – I realised you can also glean a message from the design about the sensory overstimulation when living somewhere like New York. The constant bombardment of images and sounds creating a materialism and greed that doesn’t consider cost.  A message that can also be taken from the song ‘More’:-

                “We’re just playing a numbers game.
                And every second those numbers change.

                This is what I live to feel

                It’s the beauty of the deal....”

Incidentally, this may be my favourite riff(?) in the show.

Though the main story is certainly about the love between Molly and Sam that survives beyond his death, once I noticed the sub-theme I couldn’t stop picking up on little things.

Such as the choreography. Lots of people seemed to dislike it as it can be quite mechanical and choppy. But I found it really helped set the atmosphere. The movement is also very carefully and cleverly considered, it seems to me - as the office drones the dancer’s movements are mechanical because their lives are mechanical – their lives are about working to achieve the material things they think they need. For the moments when it needed to set the bustling scene of typical New York it was urban, gritty and sexually charged. I loved the moment on the tube where they’re getting thrown about by the subway ghost and they barely even seem to notice. They just sit back down after wards – like they’ve become so jaded by the city that nothing phases them.

So I think it’s really important to acknowledge the creative team on this show, in particular the set designer Rob Howell (who actually won a whatsonstage award for his design for both Ghost and Matilda and an Olivier for Matilda) the choreographer Ashley Wallen and Liam Steel for the Additional Movement Sequences.

On to the cast – there wasn’t a weak link in the lot and I think that’s quite rare in an age where roles are often stunt cast, regardless of talent. They could all sing, act and dance – even if the accents were a little dodgy at times.

Siobhan Dillon as Molly and Mark Evans as Sam, were both as fantastic as I expected them to be and really made me believe in their characters love. 

My  favourites, though, were Andrew Langtree as Carl Bruner and Sharon D Clarke as Oda Mae Brown.

Andrew Langtree portrays the characters dripping corporate sleaziness through demeanour and the way he talks and moves. You can really sense his need to have everything – by whatever means necessary. And who doesn't love a good baddie? 

Sharon D Clarke had the mannerisms of the character we love so much from the film down to perfection. It was as though she has studied Whoopie Goldburg’s portrayal in depth. Perhaps it would have been nice to have a bit of her own interpretation in there too, though?

If you go to see Ghost the Musical for no other reason, though, go for the illusions (created by Paul Kieve). Wow, I was blown away. I’ve studied technical theatre, which to be honest has spoilt the magic of some stage illusions, but the magic was reclaimed in this show. I really couldn’t figure it out. I can guess at some of the elements that made it work (which I won’t theorise about here, as I wouldn’t want to take anything away from a person going to see it for the first time) but how those elements worked to create the ghostly illusions, I just don’t know. For me, this is wonderful. It’s like being a child again and being completely swept away in the magic.

So, go, be swept away in the magic currently happening at the Piccadilly Theatre, before the shows own untimely end in October later this year.


http://www.ghostthemusical.com/home/

West End Live: Relived

Well, what a weekend at West End Live. My legs have only just stopped aching from hours of standing but it was all worth it.

For musical theatre fans everywhere this is an event firmly placed in the theatrical diary. In previous years, I’ve been the one sitting at home wishing I could be there, but this year I decided I HAD to go. So as a first time attendee, my introductory experience of it is quite different from those that have been going since it began.

It started out as a relatively small event in Leicester Square with only 4 shows performing. Skip forward 7 years and it’s become a massive event at Trafalgar Square, with all the musicals that are currently running in the West End having a set (of various lengths – ranging from 5 minutes to 25 minutes) and wonderfully, massive crowds – Trafalgar Square was pretty much full to capacity at the high points of the day.

And it’s not just the die-hard musical fans attending now. Casual theatre goers, tourists and people just looking for an entertaining day out are coming and, consequently discovering shows they may never have otherwise considered going to see, which is great for the future of theatre. Let’s hope that this event is still going strong for many years.

With bigger crowds, however, come worse views so you’d better be prepared to be early if you want to be right at the front. One of the hosts asked someone at the front on Saturday what time they’d got there and they said 5.30am! That’s dedication.

On the Saturday, I attended the signing for ‘The Inbetween Musical’ at the Dress Circle shop before going along to West End Live. Both started at 11am so you can imagine by the time I turned up at Trafalgar Square (just in time for ‘Sweeney Todd’ at 11.45am) I was pretty much on the outskirts and pretty much only had a view of the screen. I was determined to support this wonderful new musical though at the expense of a good view. If you’ve not heard of it, please check out the website:-http://www.theinbetweenmusical.com/

My best view on Saturday
Scott Garnham singing 'Beyond the Door' from
The Inbetween

An hour later I’d made it to a point where I could see tiny dots moving about on stage and I was here for most of the day then, eventually made my way to the front of the fountain by the time The Inbetween did their set.

It’s not just established musicals that get a slot at West End Live but it’s also a showcase for new talent, such as this show (which was well received by the crowd) and for theatre schools such as National Youth Music Theatre, West End Kids and the Mark Jermin Theatre School, all of whom were fantastic and as professional as any of the other shows showcased.

Saturday Highlights

It seemed a lot of the crowd were excited for Chicago with many people around me cheering loudly whenever it was mentioned (and the crowds certainly seemed to thin a bit once it was finished – great for me as it meant inching slightly closer)

For me, though, the highlights were seeing the new cast of Les Miserables singing One Day More together (even if it was only on the screen – if I stood on tiptoe I could just about see the tops of their heads on stage), Jersey Boys and Rock of Ages because they did energetic sets that got the crowd going and, of course, The Inbetween because it was so great to see a new musical being showcased in front of so many people.

Saturday Lowlights

I would have to say Thriller. It seemed to please a lot of people and there was nothing wrong with it, essentially. It just does nothing for me. This is more a matter of personal taste than anything they did wrong. It was one of the longer sets too so that dragged for me, a little.

I was also disappointed that Sweeney Todd and Phantom didn’t do more songs, but I understand that this may be tricky given the dark content of these shows and this being a family friendly event (and the middle of the day).

**Theatre Snobbery Commencing**

I have to mention a comment over heard from two girls standing nearby that just made my heart sink. This conversation happened during I Dreamed a Dream:-

Girl 1: I’ve heard this song before

Girl 2: Yeah, it was in the first season of Glee.

Me: *sigh*

**Theatre Snobbery End**

I decided to leave after The Inbetween’s set on the Saturday to get some food and start getting ready for that evening’s show (Ghost the Musical– review coming later in week, along with a review of Friday night’s show Shrek)

xxxxxxxxxxxxxxx

On Sunday I got to Trafalgar Square by 11am, an hour before it was due to start, and made sure I had food to take in with me this time.

I got much closer to the stage this time, although my view was still pretty obscured given that I’m only 5 foot! If I was just a few inches taller I’d have seen much better. Nature can be so cruel.

But it wasn't so bad, I made it to the front barrier eventually

Sunday Highlights

I haven’t had a chance to see this show yet but Matilda was the highlight for me with Sophia Kiely singing ‘Naughty’ and I intend to book to see this for after the Olympics finishes (because I’m not going anywhere near London during). It’s astonishing the talent some of these kids have and how effortlessly they perform and although I’m not a huge Billy Elliot fan (I say this in ignorance really as I’ve not seen the show) I have to acknowledge Ryan Collinson for his performance of ‘Electricity’ just before the Matilda set.

Quite unexpectedly, I enjoyed Horrible Histories in a really silly, childish way. They did a song about Henry the Eighth being a big fat man, loves to stuff his face from the frying pan and we joined them in a dance to the old divorced, beheaded, died rhyme. It’s obviously aimed at kids and I wouldn’t actually go to this, but if you’re a parent this is a fun way to get them to learn something.

 I also enjoyed seeing some West End performers showcasing some of their own songs from their albums. It’s nice to see what they enjoy singing outside of Musical Theatre. Don’t leave theatre completely, though, please, we’d miss you J

As with the previous day I also felt Jersey Boys and Rock of Ages stood out and was pleased to once again support the Inbetween. I’m sure there’ll be great things in store for this show soon.

Sunday Lowlights

Thriller did another 20 minute set which we’ve already established I wasn’t keen on the first time round and, unsurprisingly, given that I’m not 5 years old ‘Everything’s Rosie’ and ‘Angelina Ballerina the Mousical’ were pretty cringeworthy moments to get through, though I’m sure they were lovely for the little ones and I wouldn’t want to deny them discovering the joys of theatre so this really is nit picking from an entirely selfish stand point.

Also the Big Zumba Dance was a bit of a drag – I don’t know if they noticed but there was hardly room in the crowd to do a two step let alone all the energetic twirling and bouncing they were doing. And there really isn’t any point to Zumba if you’re not joining in, it’s not exactly fun to watch.  

The weather also let us down a couple of times with downpours of rain, but they passed fairly quickly and when the sun was out it was lovely and warm so we dried out quickly. I did feel sorry for people further back when the umbrella canopy came out. They probably couldn’t see a thing. Come on people, we’re British, we can get brave the rain without umbrella’s, can’t we?

The best day, for me, was the Sunday mostly due to having a much better view and being properly in amongst the crowd - the only place to truly soak up the atmosphere. 

This was a wonderful experience that I’m glad I got to share first hand this year and will certainly be going again. The atmosphere of all those people getting together to share the joy of theatre is priceless and, coincidentally so is the fee for entry – it’s absolutely free, so if you missed out this year, make sure you keep the last weekend in June clear next year so you can come along and share in the experience too.

Here are some links to other peoples pictures/blogs and videos­:-


@JedihomerT - http://www.youtube.com/watch?v=JQbhMOQoM44&feature=youtu.be - Ghost
                            https://plus.google.com/photos/111374058545157959810/albums/5757928862290638113 - pics from Saturday

@Steffi_G - http://confessionsofatheatregirl.wordpress.com/2012/06/25/west-end-live-2012/ - blog and beautiful pics from both days.

Broadwayworld.com photo coverage - http://westend.broadwayworld.com/article/Photo-Coverage-WEST-END-LIVE-Part-1-20120626
http://westend.broadwayworld.com/article/Photo-Coverage-WEST-END-LIVE-Part-2-20120626

officiallondontheatre.com photo coverage - http://www.officiallondontheatre.co.uk/news/backstage-pass/article/item145143/gallery-looking-back-on-west-end-live/

The Stage Calls

“Ladies and Gentleman of the cast and crew, this is your beginner’s call. Beginner’s to the stage”

Last Saturday I volunteered my time at one of my occasional backstage stints – this time making sure the singers had their radio mics attached discreetly & comfortably and more importantly ensuring that they were turned ON. With only 3 mics and many cast members I needed to be standing by to coordinate the switch over’s.

After the show the chairman of the company was chatting with me about my Gramps, who he also knows and is the one to blame for introducing me to musical theatre back when my age consisted of single digits. The chairman made the following comment:

“I really admire him, I don’t know how he can love theatre so much and not want to be on the stage. He used to go up to London all the time to see shows and yet he never feels the need to experience the limelight”

Days later, I find myself still contemplating these words. Can you be a musical theatre fan without wanting to be in one? - Whether this is a realised dream or a secret fantasy.

What is it about musical theatre lovers & the need to be part of this world?

Is it the desire to perform that creates a love of musicals or is it a love of musicals that creates the desire to perform?

For me, trying to answer that last one is like trying to decide whether the chicken came before the egg. It seemed to just happen at once.

Thinking back really, really... really far, I’d say it was actually panto that came first. My Gramps started taking me to panto the second I was able to appreciate it... probably before. I suppose it was this that sparked in me a desire - no, a need - to put on painstakingly drawn out and terrible renditions of my own (I thought they were brilliant and inspired at the time, of course) for my weary looking parents (weary and somewhat drunk... they had to be to get through it, to be fair) & the parents of my friends who I’d coerced into taking part.

Even back then, however, I was more into being the production/creative team. And no, I don’t mean part of it – I was the entire production/creative team; I was script writer, director, programme designer, costume & set designer and lighting designer (and by that I mean I stretched & sellotaped quality street wrappers over a torch). I would only take a small role for myself.

That being said I do love singing. It’s mostly loudly in the shower, self consciously in the car or silly singing with my mum and sister (usually les mis, since I know you were wondering).

So does it have to be on stage to get the feeling that the chairman was talking about? I suppose it depends what that ‘feeling’ is. For him, I suppose it’s the exhilaration of sharing his passion with an audience and basking in the warm glow of the adoration in the applause – in this case, it definitely needs to be on stage. For me, it’s the satisfaction of seeing all the elements of show making come together & knowing you had a part in creating this magical world – for this you can be backstage or on stage, in a role big or small.

 Either way, we still feel the need to have a role in it.

Isn’t that what we’re always told, though? – do something that you love. Isn’t it the same for anyone with a passion for something? Or is there something about the magic and escapism of theatre? That we just want to wrap ourselves up in this fantastical bubble and escape from harsh reality into a world of jazz hands and sequins?

“Ladies and Gentleman of the cast and crew. Stand by for curtain call.”

In Focus: Les Miserables Trailer & Upcoming Film Adaptation

I seem to be in the minority here, judging by the excitement on twitter, but I was a little underwhelmed by the trailer for the upcoming Les Miserables movie that was unleashed upon the world on Wednesday of last week. Here it is if it’s somehow passed anyone by, or if you’re just ridiculously excited and want to watch it again:-

It starts with Anne Hathaway singing ‘I Dreamed a Dream’ and the first thing I think is that I’ve seen YouTube clips of amateur singers singing it better. I don’t mean this as harshly as it seems – those amateur singers are technically very good. But that’s just the point. Technically, she’s not very good. She has a sweet voice and it sounds alright but I just don’t think alright is good enough when you’re making a film of this magnitude; A film of a production that means so much to so many. There’s no strength or control to her vocal ability. I suppose you could argue that the character is at a vulnerable point at this stage of the story and that she wouldn’t be strong or in control. This is true, but I don’t think you should dramatise that through singing style. It should be done through acting. I think of some of the Fantine’s I’ve seen in the stage versions   - Ruthie Henshall, Lea Salonga, Caroline Sheen – they prove that  you can still sing strongly and capture the character’s vulnerability and hopelessness.

I feel I have to defend this opinion here after reading the review on www.lastminutetheatretickets.com where Julie Robinson says the following:

“To be frank, people who leave remarks like these are just highlighting the ignorance on their part. Hathaway is an accomplished vocalist who has a very strong voice; a fact she has displayed on numerous occasions.”

When I heard that Hathaway was to play Fantine the first thing I did was find clips of her singing and based on all the evidence  I disagree with the above statement.  I think she’s shown she has a pleasantly sweet singing voice but certainly not strong. For a taste of things to come here’s a link to the clip of Hathaway and Jackman singing together for the Oscars at the 81^st Annual Academy Awards (Hathaway joins in at 4:00)

http://www.youtube.com/watch?v=Terhj8mjPwY 

This leads nicely on to Hugh Jackman as Jean Valjean. There’s not too much given away in the trailer just a few clips of him in character at different stages of the story. I’m quite content with the casting of Jackman in this role. He has a background in Musical Theatre, having started his career in theatre, most notably performing as Curly in ‘Oklahoma’ in the West End in 1998.

I’m trying to keep an open mind about Russell Crowe as Javert. He looks menacing enough and seems to convey that air of over inflated authority that I feel Javert as a character must possess (except where are the trademark sideburns?). I haven’t heard him sing much, so I’m not sure what to expect. Philip Quast is always going to be the perfect Javert in my eyes, which I realise is a bit unfair as that’s a big talent to match.

Samantha Barks, on the other hand, is the perfect Eponine to me and I’m very excited to see her in this film adaptation. She looks exactly as I’d imagine Eponine would look and has the right kind of singing voice. And, of course, she is first and foremost a musical theatre performer so she's flying the flag (literally) for those people who do this night after night and never tire, yet get consigned to extras in the film.

I do realise why the producers do this. It's a bums on seats deal. Big Hollywood names = Bigger audience attraction rate. Whilst this may be annoying, it's a fact of film and I'm not going to get too upset over that. If it means more people will come and see the theatrical version then it's not all bad. 

Eddie Redmayne has been a real surprise. Only when I approached writing up my thoughts of the upcoming film did I do some research into his singing voice and, I have to say, it stopped me in my tracks! I’d never have thought he’d have such a good singing voice whilst watching him crawl through muddy trenches in the gritty BBC adaptation of the Sebastian Faulks novel 'Birdsong' earlier this year. I still don’t think he looks right as Marius but that’s probably been because I’ve seen the likes of Michael Ball and Fra Fee in the role. I’ve come to expect him to be more innocent looking with curly hair. Eddie Redmayne looks harsher, more world weary. After hearing him sing, though, I’m quite looking forward to seeing what he does with this role.

We don’t see Sacha Baron Cohen or Helena Bonham Carter in this trailer (I wonder if double barrel surnames were a requirement of the actors playing these parts) but I’m sure they will be fine in their respective roles - looking at the picture below, it's not at all difficult to imagine them together as the Thenardier's. They are both known for playing comedic yet sinister characters which they both demonstrated in the film adaptation of ‘Sweeney Todd’.  I’d say this is the most important requirement for these characters over vocal ability.

In conclusion, I’m going to keep my expectations low for this film; I would rather it exceeds my expectations than disappoint. Even though there have been plenty of well made film adaptations of musicals, such as Sweeney Todd, Chicago and Rent, I’m still feeling the sting from the disappointing 2006 film adaption of ‘Phantom of the Opera’ which is one of the ultimate musicals, just like Les Miserables and I think that makes it much more of a risk. 

I found this clip on YouTube earlier showcasing each cast members singing voice, so have a listen if you haven’t heard them all already and catch them all at Christmas time, hopefully doing justice to our well loved characters, at a cinema near you:-

note: above video belongs to wolfart2003 on YouTube