'Tell Me On A Sunday', Glasgow King's Theatre, 22/6/11

Tonight I saw a production of 'Tell Me On A Sunday' which was, of course, written 30 years ago for Marti Webb by Andrew Lloyd Webber and Don Black. Now Claire Sweeney has finally got the chance to perform the role since she had to turn down replacing Denise Van Outen in the 2003 production.

'Tell Me ... ' is one of those shows that is often tailored to individual performers since it is a one woman show about the trial and tribulations of looking for love in New York. When it was first produced as a stage show (as part of 'Song and Dance') the original album was reworked with additional songs and new running order. Marti Webb reprised her role as the nameless 'Girl'.

Throughout the original London run it was tweaked occasionally and when it was filmed for television with Sarah Brightman in the lead role the running order was again different with reworked and more additional songs including 'Unexpected Song' (which, truth be told, was a reworking of the finale number 'When You Want To fall In Love' which was a sung version of 'Variation 5' form the dance part of the show).

When the show moved to Broadway it was re-written again and Americanised by Richard Maltby Jr who supplied new lyrics and directed the show giving it a revised plot and giving the heroine a name; 'Emma'. He also integrated the dance section with the song section by having the second act tell the story of 'Joe' who 'Emma' had fallen in love with in the first act.
When the London revival came around in 2003 it was re-written to suit Denise Van Outen and was reworked as a full length one woman song cycle and to that end new songs were rewritten and the lyrics were updated to reference email, speed dating and the such. In my opinion Denise Van Outen has far too thin a voice to carry such a show and sh certainly lacks any punch in the big belt number such as 'Take That Look Off Your Face'. The changes and additions to this new version of 'Tell Me On A Sunday' added little to the piece and only served to highlight Van Outen's 'comedic' talent and voice (or lack of).

Claire Sweeney you had a lucky break missing that clumsy version of a show!

This new production reworks the score again, re-ordering the songs, cutting most of the newer ones (the pleasant enough 'Haven In the Sky' which served to illustrate the character's journey from Blighty the NYC and the ghastly 'Speed Dating' - this new version restores the idea that the 'Girl' is already in New York) and tweaking lyrics. Director Tamara Harvey aims to show us the struggles of the renamed 'Laura' with only the odd 'appearance' of anyone else onstage for Sweeney to reference.
The first act is a little muddled plot-wise, but this is only when you compare it to act two which is dominated by Laura's relationship with a married man and its consequences.
The creation of the song 'Dreams Never Run on Time', a rewritten 'Somewhere, Someplace, Sometime' from the 2003 production, and final reprise of 'Take That Look Off Your Face' make a satisfying finale to the piece where it sort of fizzled out in the original version.
The musical arrangements (no orchestrator is listed) are quite spot on, with a five piece band of keyboard, drums, wind, cello and double bass (providing some thrilling deep notes) creating a sound that is perfect for this production. The original London production had the full works complete with electric guitars which I'm sure were appropriate at the time, but this more intimate version is one of 'less is more' and I found I didn't miss those original arrangements. The band is clearly visible on a platform above the playing area which consists of a small apartment layout of bed, kitchenette and living area (there is a bathroom offstage as utilised in one scene where one of 'Laura's' boyfriends is taking a shower with steam that just creeps onstage from the wings - effective, I thought) with several windows on the rear wall through which 'Laura' peers at the opening of the show. These areas are used throughout the evening to various effect with the only alteration of set coming when 'Laura' relocates to Beverly Hills where we see her on a sun lounger that comes in from front stage right.

The lighting was quite simple yet perfectly attuned and much could be said of the sound design.
As for Claire Sweeney as 'Laura', well, here we have a character who we must believe in, who we must come to empathise with and, perhaps, even come to love. For the most part Sweeney succeeds although it took a number or two for her to get into the swing of things. Her voice is certainly stronger than Van Outen's but Sweeney does sound more comfortable on the lower notes at which she is quite excellent. She is guilty of a lot of air clawing and reaching out of arms and I feel she is trying too hard (or is directed in such a way) but she especially came into her own in the first act finale, the title song 'Tell Me On A Sunday', where she sang the line 'Take the hurt out of all the pain' with such emotion that you almost felt like the guilty party in the breaking up of this relationship. In the second act, with more of a plot to play with, Sweeney really took us along a journey, despite the quibbles mentioned earlier.
So, although the show started with a little trepidation, it turned out to be quite a fulfilling performance with an excellent band providing the musical support to Sweeney.

To Tour or Not to Tour?

I was just perusing the theatre news for the UK when I noticed that the cast has been announced for the UK tour of 'Sister Act' the musical (it does not advise who will be directing or designing the show or whether it is a replication of the London or New York production) and it occurred to me that there are many actors who do not like to be in touring versions of a show, as if it might be seen to be beneath them.
Now I appreciate that some older actors may want to stick close to home as much as possible but I'm starting to think that the audience is picking up on the fact and that they are beginning to see touring versions as a lesser product.
Legally Blonde will also be touring and they've yet to announce their cast and I wonder what level of 'star casting' they will have (if any).
I am not saying that any show needs to have big names as I certainly believe that the show should be the star so long as it's written, produced and performed well then that's good enough for me. Of course, it's nice to see someone well known if you're a fan of that person, but it is not essential.
What I worry about is that some theatre goers are only attracted to the cast that may be performing and care very little about the show they intend to see. They may, of course, enjoy what they see but they would not have gone in the first place if not attracted by the cast. It is a trend I am not too enamoured of. Many West End shows now rely on the pull of 'star power' which is a shame as many of these are excellent show in their own right. Phantom' and 'Les Mis' (both long runners) are now exceptions rather than the rule, but continue their success due to their legacy and fandom that they've built up over the years
It is a shame that this trend has evolved and that more well know actors want the prestige of only working in the West End. Touring once was a way of spreading your name around the country, building up followers. Repertory was a means of learning the craft. These days, with television, reality shows and perhaps even drama schools there are different ways to make your name. And to this end the West End seems more appetising (and financially rewarding) and easier to achieve. Bit it has also created a snobbish attitude in some (not all) performers.
A Shame.

Notice

I am thinking of over-hauling this blog some time in the near future so bear with.
Not that anyone really gives two figs ...

NOTICE: If you notice this notice you will notice that this notice is not worth noticing. Notice that?

'Could We Start Again, Please?' Dana Gillespie and Richard Barnes

I should have posted this last week but it totally slipped my mind.
Here's another, simpler, video.

Dana Gillespie as 'Mary', Richard Barnes as 'Peter' and the Original London Cast of 'Jesus Christ Superstar'.

A Warning ...

Don't you find that the darkness is far more alluring the the light?

I've often faced the shadows, have even teetered on their edges, but so far I have resisted.

Sometimes I think it may be fun just to step out of the light once in a while ...

An Update. Of Sorts ...

I haven't blogged in a while and that is primarily because I have had little to blog about and I have also been dealing with a medical issue or two which is not necessarily what people wish to read about. Suffice to say that, as you should know, I have the condition fibromyalgia which affects my life in various ways; and never in a good way.

Anyway ...
As my readers will know I have an enduring passion for theatre and music which inevitably produces a love of musical theatre. Now I don't like everything and I much prefer intelligent works over dross (and there is much of that out there!). Likewise I enjoy productions that push boundaries, that take a risk and have something to say. That is not to say that I don't enjoy works that are unashamed entertainment but I am not a big fan of some of the older musicals. By modern standards they are tame, dated and, to my mind, often unexciting.

I am always exploring new works and discovering older, under-appreciated, ones and to that end I just want to make everyone aware of the ill-fated musical version of Stephen King's 'Carrie'.

There are various websites that describe in detail the torrid history of the production which has various flaws against it but also numerous things that make it stand out. Perhaps it was ahead of its time in what it was trying to achieve effect-wise but it certainly has, at its heart, a tragic story which deserves telling upon the stage.
The writers of the stage show are currently reworking it with hopes for a future staging. And I hope that happens as the musical, even in its flawed state, has much to recommend it from some of the musical composition, to some of its original staging and of course the tragedy of Carrie herself.

Originally co-produced by the Royal Shakespeare Company (which received much flak for doing so) the central story must have appealed to artistic director Terry Hands as much as a great Shakespeare or Greek tragedy would. In many ways it is an age old story retold in a modern way.

So I hope the musical, which has achieved cult status, is able to be reworked and revived in a successful staging that it so deserves.

It's Happened At Last

Sharman Prince is now on Twitter:
@SharmanPrince

'Aliens', GFT, 29/4/11

Last night I attended a screening of 'Aliens' at the GFT, the first time that I had seen the film on the big screen.
Before the screening members of the UKCM (United Kingdom Colonial Marines) patrolled the building in full Colonial Marine armour. Quite lucky really as there was also a xenomorph in attendance who scared the odd person.
Fun was in the air as we all piled into the auditorium which was packed ...

The Film began, but with no sound, prompting jeers from some audience members and a mass clapping in objection which led to the jibe 'in space no one can hear you clap' from one viewer.
The sound was quickly restored but later on their would be several interruptions of the film in the first half of the movie. Fortunately the attending audience was in high spirits, cheering when the film returned.

Again I noted detail in the picture that I'd not noticed in home viewings and the sound design was also somethign that came across as far more impressive than ever before.
Viewing such a film with an audience is always a treat as the collective feeds into the sense of dread and expectation that the movie breeds. I would notice my heart begin  to race in the tenser moments and the battle sequences were truly something to witness.
There is, of course, the famous line that 'Ripley' spits as she faces the alien Queen, 'Get Away from her, you Bitch!' which has to be one of the most triumphant lines in cinema history. This line was greeted by cheers from the crowd as the finale began proper ...

So despite the problems with the print (or the staff?) this was another thrilling adventure to the cinema which has reinforced my belief that some things really are better when seen on the big screen, with an appreciative audience. Like live theatre it is that collective experience which informs the pleasure of the viewing, and whilst one can appreciate and enjoy a movie in the privacy of one's own home, that pleasure is enhanced within the appropriate environment and with like-minded people.

I only hope it's not too long before I get to experience this all over again ...