'Sister Act', Edinburgh Playhouse, 2/11/11

I was never really interested in dragging my arse to London to see the stage version of Sister Act despite my enjoyment of the film. I’d heard one or two of the songs and they were enjoyable enough. I was also aware (since the first production several years ago in America) that the plot (and period) had been changed but I simply wasn’t entranced enough to dig into my wallet to fork out for this show out of all the others that exist.

Natch the show announced its closing and then a tour was announced. Between these events the show moved to Broadway in a revised and re-directed version. It was this update that was to tour the UK and its coming close to me (and the nagging of a friend who did want to see it) was a more attractive option.

The show is as exuberant as the best and was a very enjoyable night out. The production may not have all the trappings of a West End or Broadway production but the slightly altered set was effective, evocative and serviced the show well. Likewise all the other elements - lighting, costume and sound – were quite excellent. As was the orchestra and the musical direction which truly brought the music to life creating a pounding disco atmosphere that had the audience in thrall together with the laugh out loud script which had the sell-out audience in stitches. That revised script also fleshed out characters from the film and altered the plot sufficiently to keep the basics of the film’s plot together with fresh material to engage the audience.

The cast were flawless and, though it’s not always nice to compare, I felt they outdid those that feature on the London cast recording. Certainly Deloris (Cynthia Erivo) packed a punch both vocally and in her comedic skills, not to mention her creating a character that was not a mere rehash of the Whoopi Goldberg film performance. Denise Black as the Mother Superior shone a different light onto the hardened character bringing a husky, bluesy vocal quality that I really liked.

The production received a very well deserved standing ovation and I wouldn’t be opposed to seeing the show again when it comes even closer to my current habitat.

'The Phantom Of The Opera' at the Royal Albert Hall

This post has been in the works for ages and I am still not really happy with it. Nonetheless I shall post what I have but reserve the right to change it at a later time.

I declined to see this production in the flesh as I refuse to pay such stratospheric prices that were demanded. Add to the ticket price the cost of travel and accommodation and, frankly, I would have had to have started turning tricks to pay my rent and buy groceries for the rest of the year!
So;

I saw Phantom 25 twice at the cinema; the live broadcast and the encore screening (which was the edited, final cut).

The live broadcast was incredibly exciting and was a sell-out. The camera work and sound were excellent with the orchestra thundering away in a way I never expected from a cinematic experience. The orchestrations, even the most subtle, seemed to come through as never heard before.

The cameras were able to get in real tight showcasing the cast perfectly, the only downfall being that the theatrical special effects were very obvious at times (after all they were designed for an audience who weren’t getting so close at the Albert Hall).

The encore, however, was a little disappointing with some editing choices being a mystery to me; whilst they were able to show things that were missed during the live broadcast (e.g. using a cover shot to show numerous things onstage at once instead of a close up) they chose to use some footage obviously from a different night to the soundtrack they were using meaning that the syncing of picture to vocal was a little off. They also cut some of the more ‘real’ moments e.g. during the live broadcast when Christine kisses the Phantom’s hand as she leaves as she pulls away a thin thread of saliva exists between hand and mouth. Not very nice, perhaps, but very real and raw and I hoped they would leave it in. they didn’t. They cut the shot just before the saliva thread is formed. Gutted. What the film version lacked (amongst other things) was truth and that saliva thread was a fine example of how Phantom 25 overshadowed the film version in most cases. Other editing choices also sped up the run of the show which, I felt, did nothing except make some sequences feel a tad rushed (the finale especially). Other editing choices I disagreed with include the first manager’s office scene where, in the live broadcast, we saw a lot of covering shots showed the staging well. The final cut depended more on close ups, robbing us of really being able to see the staging.

The music was also dulled in the final edit. Nigel Wright as co-producer of Andrew Lloyd Webber’s music for 20 years, has a knack for eroding the excitement out of an orchestration (just listen to the 1996 Jesus Christ Superstar album in comparison to the original – it’s too polished and sanitised) and he has done the same with this soundtrack. Where once the cymbals were pronounced they are now muddled in the mix. The same goes for a lot of the string sounds. The title song was incredibly exciting during the live broadcast thanks to the strings (which were heard a lot throughout the live broadcast – more so than I’d ever heard previously) but not so much here.

As for the production itself, well there was a lot to admire; true the chandelier was that of the film rather than the stage show (probably because the stage version would have looked tiny in the Albert Hall) and didn’t fall, true a lot of the set was suggested on screens rather than in actual existence but they served the production well and generally complimented Maria Bjornson’s designs, even when they weren’t used.

The costumes looked as rich as ever although I absolutely loathed the mask worn by the Phantom; as has been the case over the past 15 years or so the mask has tended to be shaded and detailed with a large ‘eyebrow’, evidently to create a sense of 3D. However I much prefer the simplicity of the original masks – white with no enhanced features – which are beautiful and add to the air of mystery that the Phantom requires. The mask in this case also looked over-sized for some reason and seemed to dominate the actor’s face at times. That actor being, of course, Ramin Karimloo, who displayed a fine voice and some tremendous acting chops – very much in evidence thanks to the camera close-ups. His Christine, Sierra Boggess, matched him with no effort adding one of the most beautiful voices I’ve ever heard to an acting performance that truly made Christine into a real person, more so than ever before.

The supporting cast was generally excellent, although not necessarily all the best at playing these characters: Meg is a rather sorry character to play and whilst Daisy Maywood performs well she looks a little too old at times to play the innocent dancer.

The managers are performed well with rounded performances that, at least in the live broadcast, highlighted their comedic element.  Opera tenor Wynne Evans lent an excellent voice to Piangi but I felt the direction he was given (to make him look inept) didn’t really help. Wendy Ferguson as a last minute stand for KieraGiry. Hadley Fraser was a more than competent Raoul but the character was altered from that of the original production in that he was directed to be quite a domineering and harsh suitor for Christine. One wonders how she could possibly have fallen for him and this characterization doesn’t gel with the lyrics he sings. The blame lands squarely with the director Laurence Conner who, I’m afraid, is no Hal Prince (the original director); he certainly presents a decent representation of the London production but his individual directorial touches often contradict those of Prince’s original staging – making Raoul and Christine’s relationship, and hers with the Phantom, different so as to tie in with the sequel Love Never Dies simply cannot work with the material that constitutes the original. Whether it was the director's decision or that of the producers the new relationship dynamic is against that set up by Prince and damages the production. Conner’s other touches render the Phantom less mysterious and frightening – we see him too much; from the overture, where we see him playing the organ (was that really necessary?) to his killing of Buquet high above the stage (a lift from the flawed film). Hal Prince always had  surprises strewn throughout the original production and many of these were erased (perhaps because of staging purposes in the Albert Hall – but then this should have been looked at from some other viewpoint) eroding the Phantom’s omnipotent presence and replacing that menace with more physical Phantom moments.

Conner is directing the ‘new’ production which will tour the UK next year (‘new’ despite retaining Bjornson’s costumes) and I do wonder how well he’ll do and which of his choices made here will be carried over?

Anthony Inglis’ musical direction was fluid and superior to when I saw him conduct the London show several years back. The orchestra, at least in the live broadcast, had never sounded better; even the film score paled in comparison.

While there is much I didn’t like in this production it was a fine production and, more or less, a good representation of the theatrical production. If anything it highlighted how good Phantom could be as a well-made movie.

The finale was fitting with several Phantoms of past and present singing (including with original Christine Sarah Brightman, whose voice was mixed better in the re-broadcast, despite the producers still using the pre-recorded vocals at the end of the number which are from 25 years past) and Michael Crawford’s appearance was moving, if a little disappointing for ’Phans’ since he didn’t sing (save that final note of Music of the Night sung by the entire company – indeed his voice is still so distinctive it was very easy to hear him amongst them all). Oddly missing, however, was Richard Stilgoe who co-wrote the book and supplied additional lyrics whilst original director Hal Prince was otherwise occupied in America, although he did see the live broadcast. I do wonder what Prince thought of the changes made to the direction of the show, but I doubt we'll ever know.

So altogether I preferred the live broadcast to the final cut but it is still good to see that this wonderful show has life, energy and the power to move.

I cannot wait to see it in London again (and, yes, I will see the tour – after all curiosity is a fine thing).

'Journey's End', Glasgow Theatre Royal, 9/9/11

Originally seen in a 75th anniversary production in 2004 this production has been resurrected for another UK tour. Glasgow received the play immediately following a brief run in London's West End taking place in the middle of the tour.
I first became aware of this production when it reached Broadway in 2007 (where, despite an all too brief run it picked up the Tony award for 'Best Revival Of A Play') and from then I wished I had seen this particular production. All good things come to those who wait and at the beginning of the year I was made aware of a new UK tour for which I quickly snapped up a ticket.

The play itself was a powerhouse of a production with the writing being both funny, dramatic and, in turns, sombre and emotional. Perhaps more than one would usually expect from a play set in a dugout during the first world war?
Surprisingly, the play moved at a swift pace belying its 2 hour 40 minutes running time. I was taken aback at how well the play flowed, and how quickly, whilst the action onstage was never rushed or drawn out.

The direction of David Grindley was pretty much flawless allowing the text to do most of the work whilst allowing moments of silence and off-stage action to punctuate proceedings.
Set and costume design were as authentic as I'd like to see, the former being especially claustrophobic, utilising only a small percentage of the vast stage where the lighting was rightly dim and gloomy, surely to some discomfort to patrons toward the rear of the auditorium.
Sound design was used to such great effect that when the final, off-stage, action begins the sound is all you need to complete the picture. Indeed the sound became so intense as to shake the theatre and actively involve the audience as part of the finale. Such theatrical flourishes are what help make this outstanding production such a great success. It pulls no punches and isn't twee with the subject matter at hand.
The final tableau which also serves as the curtain call is quite, subtly, stunning whilst also refraining from being quite so in-your-face.

The cast were outstanding with not a weak link amongst them. Glasgow was the premier venue for two of the lead actors who showed no sign of this fact; '"Uncle Osbourne' played by Simon Dutton was the reasoned centre of the piece played with such finesse by an actor who reminded me of a subtler, superior Simon Callow while Nick Hendrix as 'Stanhope' was as assured and at ease with the role as other, longer serving, cast members were with theirs. The 'Raleigh' of Graham Butler and 'Trotter' of Christian Patterson were excellent in bringing the school-boy naivety and hardened humour, respectively, to the production. Simon Harrison as 'Hibbert' also perfectly essayed the fear and panic such condition produced. As I've said the entire cast was outstanding and served perfectly. The whole experience was one in which the audience was part of the journey, drawn in on many levels and left in awe at the experiences endured (mostly off-stage, too) by those on the stage. It is credit to the entire production that the emotional whammy that the play delivers at its climax is as powerful as it is - in lesser hands it could have been melodramatic and clumsy.
I urge you, if you have the chance, to see this production which is an almost perfect theatrical experience and certainly one of the most powerful I've experienced.
I shall remember this production for many a year!

(Sadly no production pictures of the updated tour cast have been released so the pictures here show the original 2011 UK Tour/West End cast, all but two of whom continue with the tour.)

UPDATE (9/10/11):
Here are some new production shots featuring the new touring cast:





Forthcoming: 'Journey's End' review

I want to take my time over this one.
Having seen the play this past Friday I want to do it justice as it really was an outstanding piece of theatrical magic.
In the way that 'Love Never Dies' was emotionally overwhelming, 'Journey's End' was as powerful and moving in a more stately way. If that makes sense?

So in the next day I shall write about it in depth ...

'Legally Blonde', Theatre Royal, Glasgow, 27/8/11

Whilst 'Love Never Dies' sadly did, I enjoyed my evening watching the touring production of 'Legally Blonde' which is certainly a fun night out. The plot is well known and the show moves at a fair ol' pace and though its score isn't the most original out there it certainly boasts the odd catchy tune with funny, if obvious, lyrics.

The show itself is a stripped down version of the London production, meaning that some of the more elaborate set pieces are dispensed with and others simplified. Although I did miss the 'Delta Nu' sorority house, it really made little difference apart from making the show start a litter slower (the quick set/costume changes in the original production, e.g. from outside to inside the house, help give the impression that the show is racing along from the outset).
The company excelled and exuded incredible energy.
Most were younger than the typical London cast which is, perhaps, more appropriate since the show is set around Harvard University.
Veteran Dave Willetts was authoritve of stature and voice as 'Callaghan' whilst Faye Brookes sparkled as 'Elle' clearly relishing each oppurtunity given to the character. Iwan Lewis was a charming, sure-voiced and handsome 'Emmett' and the creation of his relationship with 'Elle' was pitched well.

The laughs were played well by a cast more than comfortable with their roles but as comedy relief, within a comedy, Liz McClarnon was excellent as 'Paulette'. Though she may appear a tad young in the role that minor fact is quickly overlooked by just how good she is. She is funny, witty and sings much better than you expect her to. It's a good thing too because she was threatened to be upstaged by a camp employee of the beauty salon who made the most of his hips whilst onstage. 'Paulette's' love interest 'Kyle' was also well played by Lewis Griffiths and the two actors played well, and funnily, off each other.

Neil Toon as 'Warner', the catalyst for 'Elle's' foray into law was a considered performance and it was easy to see how 'Emmett' could eclipse him in 'Elle's' affections.
A good, funny, energetic cast together with a neat script and plunky score leads to a great night out.
Indeed, I think there are many a cast member in this production who would be a benefit to the London production.

I can't

In recent months I have been attempting to deal with and come to terms with my fibromyalgia. I have not been having much success.
Believe it or not I am a fiercely independent soul who loathes to be at the mercy of anyone else. Hence my frustration and deep dissatisfaction with my current situation.
When I was younger I had dreams and desires and whilst I was never in a hurry to fulfil them I now find that I am, and will be, unable to fulfil them in the future.
The limitations of this chronic condition is made apparent to me each day when the simplest, everyday, task can be an Everest-like hurdle to overcome. I won't ask for help. Call it pride, call it whatever, but I cannot bring myself to admit defeat.
The truly torturous thing about this condition is when I am reminded of what I have wanted to do, what I was once able to do, and what I can probably never do again.
These days it is more a matter of learning to live again within the limitations of my body and mind.
And that feels like death to me.

'Love Never Dies', 20/8/11, Adelphi Theatre

I was never enamoured with the idea of a sequel to 'The Phantom Of The Opera' but when the album of 'Love Never Dies' emerged I was entranced by the score. It had its clunky moments but it certainly included some of the best material Andrew Lloyd Webber had written in years.
The evolution of the musical is well recorded and it had been revised several times over its opening year with the final version being quite different to the original album complete with revised book, lyrics and song order.

Though I never saw the opening version it is clear, just by listening to the album and comparing it to the final version, that the revisions were almost all for the better (I say 'almost' because they cut a short phrase that Christine sings following her confrontation with the Phantom which I always thought stunning. Its extraction from the score does not affect the whole though.) with the music certainly flowing better with more references made to the original 'Phantom' show.
The entire cast was sensational with Tim Walton playing 'Raoul' as a well rounded, and tragic, figure whose inner demons are destroying his life. Ramin Karimloo's 'Phantom' is powerful and, at times, pathetic, with a soaring voice. Karimloo's performance is well judged, emotional and precise with the addition of certain gestures and movements an echo of the first incarnation of the 'Phantom' as seen in the original show.

Haley Flaherty as 'Meg' is both childlike and world-weary presenting another precisely pitched performance. the same can be said of Liz Robertson as 'Madame Giry'.

Celia Graham plays 'Christine' with such grace and ease that she is almost otherworldly, as she should be. She presents a matured mother with an underlying echo of the naive child seen in the original show. Her voice is clear and beautiful, her diction sharp, yet, as her climactic aria arrives, she proves she has even more to give. Graham's is a well paced and polished performance and her vocals climax at the perfect moment when she delivers the title song; here 'Christine' rediscovers herself and her voice soars as never before enthralling the audience and mesmerising all.
The chemistry the primary trio has is also palpable and throughout the show there are moments which are so well presented by the cast that it is almost overpowering to behold.

The emotional power of this show was such that from the opening song sung by Karimloo's haunted 'Phantom' I was on the verge of tears. Throughout the remainder of the show there were many moments where the hairs on my entire body were on end until, finally, as Graham performed 'Love Never Dies' coupled with its simple, effective staging, the tears began to flow right through to the incredible finale.

The design is impressive, although a little stark at times, whilst the lighting and sound are quite perfect. The orchestra, conducted by David Steadman, sounded incredible and served the score perfectly.
It is a shame indeed that this show has had too brief a run as it does indeed deserve further intention but I am so happy that I managed to catch it before it closed, especially given that the finale was revised slightly only a few days before given the 'Phantom' the chance to recount what he wrote and what 'Christine' sang, reinforcing the emotional climax more powerfully.

This musical is probably the most emotionally engaging event I have ever witnessed and though the plot is more a sequel to the 2004 film rather than the 1986 musical the emotional journey is worth the ride alone.
Sad though the closing is, I can, at least, look forward to the future DVD release of the Australian production of 'Love Never Dies' which boasts totally different direction and design (which truly looks amazing). Nevertheless, witnessing the cast that I did, I am haunted by the London production and feel that it will be one of those theatrical experiences that will live with me for ever.

'Chess The Musical', Aberystwyth Arts Centre, 13/8/11

I've said quite a bit about 'Chess' in previous posts but I'll admit I was excited to see a new production of probably my favourite musical.
I was aware that this production was vastly different to that that recently toured the UK and before I set foot into the auditorium I expected a leaner, darker production. I wasn't too far off the mark.

Director and choreographer Anthony Williams clearly aimed for clarity in his production and he largely succeeds. Whilst not all his choices were to my liking, nor his choreography exceptional, he has created a production that was more dramatic and emotionally honest than the UK tour.

Williams has adapted the book and includes new dialogue which I found surplus to requirements. Whilst they tend to reinforce the narrative they don't serve to drive the plot forward any more than the already existing text although the ad-libs by Tim Rogers as 'Freddie' are the most successful of the additions.

Rogers is part of a superb cast which also features Tom Solomon as 'Anatoly' and both male leads handle themselves assuredly although Rogers tends to outshine Solomon with his charisma (I had previously seen Rogers as 'The Man' in 'Whislte Down The Wind' but here I realised that he's not as tall as he seems, adding to his charm).

Stephen McCarthy is perfect as 'Walter' handling the greasy TV exec with ease. As his political opposite James Dinsmore plays 'Molokov' with a knowing glance and a higher vocal range than normally attributed to the part.

Leighton Rafferty's 'Arbiter' is at once cool, charismatic and unmovable and he is blessed with a strong, commanding presence and voice.

Lori Haley Fox plays 'Svetlana' and gives the character dignity and class and blesses her with a wonderful voice shown off in her solo 'Heaven Help My Heart', normally a song for 'Florence', which the audience lapped up.

As 'Florence' Julie Stark has the weight of the show on her shoulders but she carries it with such ease it's a joy to watch. Stark can sing gently and belt like the best of them. Hers was a performance that was pitched perfectly. 'Nobody's Side' and 'Someone Else's Story' were stirring moments; the former a powerhouse number, punched out effortlessly, whilst the latter was delivered gently but with assurance.

And both ladies sing 'I Know Him So Well' to such near-perfection that I have rarely heard it sung better.

The (primarily young) Ensemble also handles themselves well adding to the blend of wonderful voices this production is blessed with. Kudos to the casting; the cast fit wonderfully together and their voices blend together excellently.

There was something a little incongruous with the costume but the set design of sliding panels which meet to form chess piece silhouettes was elegant and simple. Projections were also used sparingly and to good effect with footage of 'Florence' and 'Freddie' during happier times being a brilliant and moving juxtaposition to the song 'Someone Else's Story'.

Musical direction is by Michael Morwood who also arranged the score for the six piece band and whilst I do miss the full orchestra the simpler arrangements do not detract from the music which is otherwise handled with skill by Morwood.

'Chess' is not a short musical and Williams should have worked on scene transitions a bit more to shorten the duration but this is only a peeve of mine and does not detract from the enjoyment of the show.

Aberystwyth Arts Centre has created an excellent production of a difficult show and they are blessed with a great cast, so if you get a chance do go and see it!