John Wilson Orchestra present MGM Film Musicals @ Royal Festival Hall

Superstar conductor John Wilson returned to the Royal Festival Hall  with his hand-picked orchestraon 5 December, this time with a selection of music from classic MGM film musicals like Singin' in the Rain, An American in Paris and Gigi.

Blown away by last year's celebration of Rogers, Hammerstein and Hart, as well as the JWO's annual prom performances, I booked my ticket way back in February to ensure I was in the middle of the front row. Wilson's star is certainly rising as for the first time he sold out two consecutive nights in London.

Musically, not as good a selection as last year - despite standards like The Lady is a Tramp - but it's always a treat to hear these lavish scores lovingly recreated and played by such a large and talented orchestra. It was a joy to see Anna-Jane Casey perform live too (my first time since Chicago in 2010, although I have enjoyed her prom appearances many times since), along with Matthew Ford.

I was one of only a handful of people under sixty there, and on my way out I overheard a couple talking about what a shame it was that 'the young people' are missing out on such quality music. Like John Wilson, I believe these old Hollywood musicals are timeless classics and hope that as his fame increases he will succeed in making them truly popular once again.

John Wilson and his orchestra will be celebrating the work of Cole Porter at the Royal Albert Hall on 25 November 2014. Book tickets here.

American Psycho - The Musical

When I first heard about the musical adaptation of Bret Easton Ellis' American Psycho back in the spring, I was amazed that someone shared my esoteric tastes. It turns out there are quite a few of us out there who enjoy the combination of singing, dancing and graphic murder, as the show sold out incredibly quickly. Perhaps the main appeal of American Psycho for most was curiosity about just how Duncan Sheik (music and lyrics) and Roberto Aguirre-Sacasa (book) would pull it off, but I'm glad to say that they surpassed all my expectations, creating a wonderfully weird and utterly involving new musical.

Certain things were to be expected from any adaptation of Easton Ellis' 1991 cult classic: synths, neon and designer labels abound, with a mixture of 80s pop and newly written song and dance numbers including Hard Bodies and You Are What You Wear, while the minimalist interior design, video tapes, yellow cabs and pretentious restaurants of Es Delvin's amazing set design submerge us in Patrick's world.

Much less expected was the choice for the lead: former Dr Who star Matt Smith. Opening with a spectacularly ripped Patrick Bateman in nothing but a pair of white designer boxer shorts and the iconic blue face-mask of the movie poster, it is immediately clear that we are going to see a very different side to Smith. His singing is solid in an 'alone in the shower' way and his dancing is clunky, particularly against the rest of the extremely talented cast (Cassandra Compton was especially impressive as Patrick's lovelorn secretary Jean), yet this proved to be inspired casting. Beyond the shock of seeing Smith in a role so far removed from his loveable, quirky Doctor, his slightly awkward performance brings out one of the most interesting angles of Bateman, which is lacking from Christian Bale's handsome and suave portrayal: Patrick really doesn't fit in with his yuppie society, but everyone around him is too self-absorbed to notice.

While American Psycho has repeatedly faced outrage from moralistic critics over the passed 22 years for its shocking depravity, this production by Rupert Goolde features surprisingly little gore. Instead, the focus is on the satirical nature of Easton Ellis' story, bringing out the dark humour with which the writer passed judgement on the world he was entering as a young man, while at the same time delving deeper into Bateman's troubled psyche. The result is an unexpected treat: a show at once thought-provoking, funny, moving, experimental, musically catchy and aesthetically thrilling.

American Psycho runs at the Almeida until 1 Feb 2014. It sold out long ago, but returns may be available on the day: www.almeida.co.uk/event/americanpsycho

Michael Feinstein & Friends: The Great American Songbook

Just when I was starting to worry that now he's caught up in Downtown Abbey I'd never get to see Julian Ovenden sing again, I spot a tweet that he'll be making a special guest appearance in Michael Feinstein's Great American Songbook show at The Palace the next day (Monday 4 November), as part of the London Festival of Cabaret. While I had never heard of Feinstein before, I couldn't resist a live performance of those wonderful old classics.

As a young man, Feinstein - now 57, although you would never guess! - worked for six years with Ira Gershwin, cementing a life-long love of the 'great American songbook', which he has dedicated his entire carer to promoting. 28 studio albums, five Grammy nominations and a Drama Desk Special Award later, Michael has become known as the authority on the songbook, not only performing and recording the classics himself, but archiving and preserving them for everyone.

This packed show last night featured classics from the Gershwins (obviously!), including a medley of audience requests (Embraceable You, Someone To Watch Over Me, They All Laughed...), Irving Berlin, Frank Loesser, Cole Porter, and Feinstein's beloved friend Jerry Herman. Feinstein loves I Won't Send Roses, Herman's hit from Mack & Mabel, so much that he has recorded it five times. The heartbreaking confession of a man who doesn't think he's good enough for the woman he loves was the highlight of the evening (although I couldn't help comparing it to John Barrowman's flawless version).

Feinstein is a real showman, full of anecdotes and jokes: "Frank used to say his wife was the evil of two Loessers". His evident closeness with and incredible respect and admiration for these great songwriters was a joy to watch. Ir seems that the feeling is mutual, at least for Leslie Bricusse, writer of Stop the World I Want to Get Off, who was in the audience last night.

Michael was very flattering to Julian, to the point of performing a mutually complimentary rewrite of Cy Coleman's I'm Nothing Without You from City of Angels with him. Eschewing more famous musical hits, Julian performed a stunningly beautiful Noel Coward medley. He argued that while everyone appreciates Coward's wit, his often overlooked 'melancholia' is where his true songwriting genius lies. Elaine Paige, enjoying her first time at The Palace in a non Andrew Lloyd Webber capacity, performed a gleeful version of Irving Berlin's Blue Skies Irving Berlin, as well as a romantic medley duet with Michael.

Although my friend and I seemed to be the only people under 60 at The Palace, we both left infused with Michael's passion for these timeless classics. Michael, Julian and Elaine all stressed how "they don't make them like they used to any more" and I couldn't agree more.

A Little Night Music In Concert

I was confused by A Little Night Music at first. Not by the plot - a delightfully simple tale of marraige, infidelity and finding a happy ending - but by how and why such a stellar cast were performing together for one night only in Guildford. It was only when I read the programme after that I realised the debt that we as an audience owe to the producer/musical director  Alex Parker (@alexparker91 on Twitter), who is lucky enough to live the theatre-goer's dream: gathering your favourite cast and putting on a classic, under-appreciated show. I know I would do the same given half the chance!

A recent BMus graduate, Alex has achieved a remarkable amount for someone so young, working on a wide range of productions, including, most recently, The Pajama Game. As a result, he has put together an enviable little black book, which he put to excellent use in A Little Night Music. I realise I'm prone to hyperbole when it comes to blogging about musicals, but when I say stellar in this case I really mean it: Janie Dee (Desirée Armfeldt) and Joanna Riding (Countess Charlotte Malcolm) are both double Olivier award winners, Anne O'Byrne (Anne Egerman) recently starred as Christine in the DVD of Love Never Dies, Fra Fee (Henrick Egerman) is fresh from the barricades of the Les Mis film, and the entire cast have a long and impressive list of stage and screen credits to their name. This concert version - no props, no costumes, and scripts still in hand - displayed just why this cast are so successful. Their vocal and acting performances were strong enough to completely envelope us in the production, to make us laugh out loud or marvel at their singing abilities, without any of the usual accompanimients to a musical of this scale.

Of course, the cast are helped by the material they're given to perform, and A Little Night Music certainly lends itself to a concert version. Essentially the story of a handful of characters in one location over one weekend, the show relies on Sondheim's music and lyrics, which at 40 years old, are as fresh and captivating as ever. With the Menier Chocolate Factory version of Merrily We Roll Along finally bringing Sondheim's classic the acclaim it deserves in the West End, and the Chichester production of Sweeney Todd cleaning up at this year's Oliviers, Sondheim's work is once again proving its enduring worth.

My last brush with Sondheim was the new, fully orchestrated version of Sunday in the Park with George staring Julian Ovenden at Theatre du Chatelet, which I had to listen to on the radio (thank you France Culture) as the ticket price and a trip to France was a bit steep even for an obsessive like me. While there are some great songs (like Move On, which you can watch here), they are interspersed with far too much dialogue. I realise Sondheim wanted to make a point about the nature of art, especially after the original production of Merrily had just flopped, but Sunday just left me cold. Thankfully, A Little Night Music couldn't be further from Sunday. It's HILARIOUS, stuffed full of laugh out loud moments. It's also filthy, opening with a song in which Frederick (David Birrell) considers ways to get his wife of 11-months to finally sleep with him, and continuing in a similar fashion. Yet somehow at the same time, there are incredibly moving moments, full of Sondheim's trademark wry observations on human failings in relationships.

As well as the cast, Parker's concert benefitted from a 31 piece on-stage orchestra who really made the most of the score, full of 3/4 time waltzs. Apart from the ubiquituous Send in the Clowns, the songs from A Little Night Music are not well known, but they should be. Every Day A Little Death, the lament of the cheated yet loyal wife, is one of Sondheim's most heartbreaking ballads, while perhaps the most rousing first act closer ever (though Les Mis fans may disagree with me), A Weekend in the Country, is so catchy that it's been stuck in my head on and off for the last three years now, since I first watched the incredible Stephen Sondheim 80th birthday prom in 2010. 

Alex Parker states that his aim is to produce the highest quality short runs and one-off productions that everyone will be talking about for a long time after. He certainly achieved that with A Little Night Music. I can't wait to see what he comes up with next!

Newsies on Broadway

Now is the time to seize the day!  - Newsies.

The last (and first) time I visited New York, my one regret was not having seen a show on Broadway, so when I knew I would have an evening in the Big Apple before heading to Washington for the Latin American Studies Association Conference, I only had one objective, and this song from Smash on repeat in my head: Broadway Here I Come!

One of my main aims was seeing a show that I couldn't see in the West End, as there is a particularly high level of cross-over at the moment. There was certainly a range of shows on offer...

However, one thing I learned about Broadway is that the vast majority of shows are closed on a Monday. That ruled out the spangly new circus version of Pippin, last night's Tony champion Kinky Boots and even the 'so bad it's hilarious' spectacle of Spider Man: Turn off the Dark. Nonetheless, there was one homegrown hit I hadn't had a chance to see in London yet open on a Monday night, Newsies.

The second thing I learned about Broadway is it's WAY more expensive than the West End, and that's saying something given that a stalls seat here will often set you back at least £60. For Newsies, I was offered the choice between $140 for a seat or $30 to stand. Despite having woken up nearly 24 hours earlier and travelled half way across the world, you can guess which option I chose!

My prior knowledge of Newsies was pretty much limited to Kurt mentioning the twirly jumpy dance move that dominates the production in Glee and knowing that it was the show that launched the career of Smash star Jeremy Jordan (singing Santa Fe below). It turns out that the show is a remake of a 1992 Disney film about the newspaper boys whose strike brought down Joseph Pulitzer himself. The original, starring a young Christian Bale, was a box office disaster but became a cult classic.

Newsies prides itself on its Tony-winning choreography, and it certainly is impressive, if repetitive. Those boys are strong and skilled at doing multiple leapy twirly things without getting dizzy! The story is fun, and the historical achievement of the newspaper boys is actually quite inspiring, but the show is almost painfully sweet (it is a Disney production after all). Musically, you could tell straight away it was Alan Menken; although not his best work, it does boast a couple of incredibly catchy tunes (Seize the Day was still rolling around in my head over a week later). My main disappointment, however, was the cast, who were almost entirely Broadway newbies. They could certainly dance, but their voices were weak and often overpowered by the music. While star Corey Cott has the look and charm for newly appointed Union Leader Jack Kelly, having heard Jordan's version, I couldn't help feeling cheated.

Choreography photographed by the NY Times

Besides the show, I was interested in seeing the differences between Broadway and the West End. The stereotype seemed to be true: Broadway fans are more vocal in their appreciation, giving huge cheers after every song, while West End audiences have to work harder for far more tempered applause. I was also amused that Annoying Actor Friend's spoof bios are so accurate; everyone really did thank Telsey and quote Bible verses!

Overall, I'm very glad I saw Newsies! if mainly for the experience of a Broadway show, but it certainly didn't seem worth the extortionate amount they charged for full price tickets. I wouldn't rush to see it when it (according to Baz Bamigboye) transfers to the West End in 2014.

The Pajama Game @ Chichester Festival

Chichester Festival has become the place for musical revivals in recent years, with their version of Sweeney Todd, starring Michael Ball and Imelda Staunton, sweeping this year's Olivier Awards, narrowly beating their Kiss Me Kate which also received multiple nominations. Having enjoyed both of these productions in their London transfers, I already knew the quality to expect from a Chichester show, so when I saw that Sir Richard Eyre was directing Hadley Fraser and Joanna Riding in a revival of The Pajama Game, I knew it was time to finally take a trip down to Sussex. 

Richard Adler and Jerry Ross' 1954 classic all-American musical The Pajama Game is a love story with a backdrop of an industrial dispute in an Iowa pyjama factory. Sexy new super-intendant Sid Sorokin instantly falls for ballsy Babe Williams when he moves to Sleep Tite. The only problem is he's management and she's the head of the union's grievance committee, and their timing couldn't be worse, as the union are on the verge of striking for a 7 and 1/2 cent rise. While certain reviewers seem more concerned with the politics than anything else (I'm looking at you, Quentin Letts), The Pajama Game is above all a good, old-fashioned love story, with a huge heart, lots of laughs and enough energy to power the pyjama factory for a year.  My face hurt at the end because I'd been smiling constantly, either because I was swept up in the joy of songs like There Once Was a Man, Once-A-Year Day and Seven and 1/2 Cents, and Stephen Mears' exhilarating choreography, or because I was just so happy to witness up close such sublime performances from the whole cast.

It was an incredible treat to see the two leading performers in action. I've been listening to Joanna Riding for the last decade, in Martin Guerre and The Witches of Eastwick, and have always been impressed by how she can express so much of the story just through her tone of voice. It was really exciting to finally witness the Olivier Award winner's acting and dancing abilities as well as hearing her sing live. As for Hadley Fraser, it wasn't until the Phantom of the Opera 25th Anniversary Concert that I was struck by his wonderful, rich voice (and his looks!). I was meant to see him in Les Misérables as Javert opposite Ramin Karimloo's Val Jean, but unfortunately he was ill that day, so I've been waiting for an opportunity to see him live ever since. His hauntingly beautiful duet with himself on the dictaphone- the classic Hey There (You With the Stars in Your Eyes) - is the highlight of the show.

There is no footage of the show available yet, so in the meantime treat yourself to some of Hadley's own music, which I have been listening to on a loop since I got back from Chichester.

Unsurprisingly, it's extremely difficult to get a ticket but it's worth it if you can to see the production in such a tiny, intimate space. The Evening Standard's review called the production 'unimprovable' and I have to agree. I'm already looking forward to the inevitable West End transfer.

The Pajama Game runs until 8 June at the Minvera Theatre in Chichester. More information and ticket booking is available at www.cft.org.uk/the-pajama-game

Kiss Me Kate @ Old Vic

When I first heard about the new production of Kiss Me Kate at the Old Vic, directed by Trevor Nunn and with a stellar cast, I knew I couldn't miss it. And yet with one thing or another it suddenly came to four days before closing night. Through a real stroke of luck I managed to get a last-minute ticket, and thanks to the Old Vic's fantastic £12 for under 25s ticket offer, I got spectacular value for money.

Cole Porter's classic 1948 backstage comedy is bursting with ridiculously catchy hit songs, from Another Op'ning, Another Show, So In Love and Too Darn Hot. Sam and Bella Spewack's book is also incredibly funny. It's no surprise then that, since winning the first Tony Award for Best Musical in 1949, the show has frequently been revived on Broadway and in the West End, as well as being adapted to film in 1953. In 2003, Great Performances broadcast a London revival production starring Brent Barrett and Rachel York, which had since then been my definitive Kiss Me Kate.

Nunn had his work cut out to put his own stamp on this musical, then, but he certainly succeeded. Starting life as the triumph of the 2012 Chichester Festival season, the new production won critically acclaim above all for its completely reinvented, high energy dance routines from Chichester Festival Theatre's resident choreographer Stephen Mear. The monochrome costumes and set-design for the show-within-a-show Taming of the Shrew sections was a particularly striking choice, marking a clear distinction between the two sides of the show (and looking really classy at the same time). Turning Always True to You in My Fashion into a duet was a bold choice that really worked and brought new meaning from an otherwise overly familiar song. It is the stellar cast, however, who really deserve the credit for the incredible success of this new production. Multi-award winner Hannah Waddingham and Alex Bourne sizzled as Hollywood star Lilli Vannesi/Katherine and her ex-husband, director and verbal sparing partner Fred Graham/Petruchio, showing off both really powerful voices and comic talent, while Adam Garcia (of Coyote Ugly and Got to Dance fame) wowed us with his breathtaking dancingas Bill Calhoun/Lucentio.

According to Nunn, this production has been a very long time coming. It was certainly worth the wait.

A Chorus Line - London Revival

For a long time now, my friend Zoe and I have been saying we should make the most of living in London by going to the West End one night and just asking for day tickets at every theatre we come across until we succeed. On Wednesday, we finally took up the challenge.

The quiet before the storm of tourists at The Book of Mormon

First stop was The Book of Mormon, for their ticket lottery. Two and a half hours before the show starts, you can enter a ballot for up to two front of stalls tickets for £20 each. Unfortunately, at least 100 other people had the same idea (it helps that the Prince of Wales theatre is directly between Piccadilly Circus and Leicester Square and - just like real Mormons - they send Elders out to recruit people). Undeterred, I ran down Regent St to the London Palladium where A Chorus Line is having its first major London revival since it opened here in 1976. I'd been meaning to see the show since it opened in February, and was extremely happy to find front of stalls day tickets for just £19.50 each.

As regular readers will know, I'm fascinated by dance, which is one of the major draws of A Chorus Line. As you would expect from a show about dancers, the dancing is spectacular, so intensely physical it left me in awe of the performers strength and stamina. It was a real joy to see these iconic dance pieces performed by some of the most talented performers in the West End at the moment, including John Partridge (who despite being more commonly known as an Eastenders heart-throb has been staring in musicals since he was just 16) as director-choreographer Zach, Scarlett Strallen as down-on-her-luck but still desperate to dance Cassie, and Leigh Zimmerman, Olivier nominated for her role as the ageing but brazen Sheila.

However, A Chorus Line is more than just dance. Directed by original choreographer Bob Avian, the revival stays true to the unique genius of Michael Bennett's original production. A character piece inspired by interviews with real-life chorus members, the show introduces each of the auditionees for a spot in the chorus of an unnamed musical through a skilful weaving together of speech, song, dance, movement and lighting that results in 15 minute long pieces like 'Hello Twelve, Hello Thirteen, Hello Love' which revolutionised the shape of Broadway productions back in the 70s. The result is a frenetic and constantly engaging show, which slows only for the musically stand out number What I Did For Love, beautifully sung by Victoria Hamilton-Barritt as Diana, before culminating in the show-stopping, and incredibly sparkly, One (Singular Senstation). I left with a huge smile on my face and the urge to dance my way back down Regent St.

A Chorus Line is currently booking at the London Palladium until January 2014. Find out more at http://www.achoruslinelondon.com/

Once - London Opening Night

I don't know you but I want you all the more for that... 

- Falling Slowly, Glen Hansard and Markéta Irglová

Once began life in 2006 as John Carney's small indie film, staring Glen Hansard and Markéta Irglová, made in Dublin for $160,000. It went on to make nearly $21 million at the box office, and win an Oscar for Best Original Song for Falling Slowly. This unprecedented success led to a Broadway musical adaptation by Enda Walsh, which opened at the end of 2011 and won 8 Tony Awards. Now Once comes to London, and I was lucky enough to attend the opening night of previews.

Once is the story of an extremely talented but disillusioned Irish musician who gets a new leash of life after a chance encounter with a Czech piano player. Together they gather an unlikely gang of misfits to make music, while romance bubbles away under the surface. Walsh has rounded out the story in bringing it to the stage and added a large dose of humour, but the feel of the original, a very true and delicate love story without the clichés, has retained all its charm.

The Broadway cast at the 2012 Tony's.

In moving from screen to stage, Once hasn't given in to the trappings of a typical musical, but instead kept the beautiful music by Glen Hansard and Markéta Irglova that was at the heart of the film, becoming the first ever folk musical (that I know of anyway). It's a high energy show, but instead of chorus lines and high kicks the excitement comes from instruments being played live on stage, complete with lots of stomping. Once must have been extremely difficult to cast as everyone must both be able to act and to play typical folk instruments. At the heart of Once is Declan Bennett as the unnamed Guy, a singer-songwriter himself, whose deep and powerful voice is the focal point of the show. It's no surprise that the part has no understudy, without an incredible voice at its center, the show would not work.

Combining the simple, unconventional yet deeply moving story and beautiful music of the original film, with the joy of watching live performances, Once has an incredibly wide appeal and will no doubt enjoy as much success here as it does across the pond. As soon as the first performance finished, the whole crowd jumped up into a well-deserved standing ovation, and it was really touching to see how moved the cast were by this initial response. I predict a similar reaction every night.

To find out more about Once and book tickets, visit www.oncemusical.co.uk

Matilda the Musical

Despite the many accolades and critical acclaim it has garnered, Matilda the Musical had never quite convinced me. I had this niggling doubt that it would just be really silly, a judgement that probably came from Tim Minchin's wild hair more than anything else. It certainly wasn't based on empirical evidence: I'd never even checked out any of the songs from it on YouTube. Luckily for me, my lovely friend Zoe decided to counter my obstinacy with a surprise trip to the show last night (5 Feb). She was right, I loved it.

Of course I loved it, how could I not? For a start, it's a classic heart-warming tale of good triumphing over evil that I, like so many other children, grew up with. Matilda is such an endearing character, it's impossible not to get caught up in her story and wish her well. No-one tells a story like Roald Dahl, from his distinctive language packed with silly sounds to his gift for creating memorable characters like the dastardly Miss Trunchball. This flair for storytelling is a characteristic that lives on in the Matilda of this stage version.

At the same time, it's an actual musical with songs written specifically to tell the story, which, as I've mentioned before, is a rare treat in this age of jukebox musicals. Many songs are really funny, which is unsurprising as that is what Tim Minchin is famous for after all, while others are genuinely moving. The whole score is brimming with influences from musical theatre history, making a musical geek like me happy, especially 'Pathetic' - where Miss Honey urges herself to find some inner strength - which feels like classic Sondheim. I was also captivated by the set design, filled with glowing letters and books that magically turned into a living room one minute, a playground the next. 

Boodles of Olivier Awards

Matilda will make you smile, laugh, cry (at least if you're sentimental like me), and sing showtunes on your way home before settling down with a good book. What more could you want from a night at the theatre?

Matilda the Musical is at Cambridge Theatre, London - and now Broadway too! You can buy tickets for London here.

The John Wilson Orchestra @ Royal Festival Hall

Since their first appearance back in 2009, The John Wilson Orchestra and their celebration of classic musicals has been the highlight of the BBC Proms season for me. Having watched the concerts countless times on TV/YouTube, this week I finally got the chance to see them live at the Royal Festival Hall, as part of their Rodgers, Hart and Hammerstein celebration tour.

I always thought it was a little absurd the amount of times John Wilson's name is mentioned in Proms coverage: "And now John Wilson and his John Wilson Orchestra present a selection of songs chosen by John Wilson and arranged by John Wilson...", but to give the man his due, he knows how to put on a bloody good show. While most children were probably out playing, John sat in watching old Hollywood musicals, which may have done nothing for his street-cred at the time, but has now granted him enormous success. As the scores for classic films from the likes of Rodgers and Hammerstein were lost, and the theatre version just a shadow of the huge, orchestral soundtracks, John painstakingly recreated them by ear. The result is lavish, soaring scores which remind you that they don't make music like they used to. 

John's little black book must be an incredible document too. He's the man responsible for proving to the world (beyond Family Guy viewers) that Seth MacFarlane can actually sing, and is adept at bringing together the finest talent, from musicians to singers, for his performances. Each member of his orchestra is hand-picked, and we were truly spoiled with Sir Thomas Allen, Kim Criswell, Julian Ovenden and Annalene Beechey as soloists. Kim has an incredible talent for acting every word she sings, bringing to life the characters behind the songs. While it was odd seeing Julian and Annalene as lovers, having always thought of them as brother and sister in Marguerite, they complimented each other beautifully. I particularly enjoyed a brief glimpse of Julian's jazzy side - revealed on the album If You Stay - during The Most Beautiful Girl in the World. Sir Thomas proved why he is a star with a Some Enchanted Evening that brought the house down.

Thanks to being an eager beaver and booking back around April, I had a seat right in the middle of the front row, and because the Royal Festival Hall is lovely and generous, offering half-price tickets to students, that prime location didn't break the bank. All in all, a spectacular evening. My only complaint is that I couldn't dance along like an idiot as I would if watching at home!

Finding Neverland - A New Musical @ Leicester Curve

Second star to the right, and straight on til morning, Neverland is waiting for you...

Genuinely new musicals - as opposed to revivals and jukebox musicals - are a rare treat these days, and rarer still is it to find one that unites such a talented cast and creative team. Finding Neverland, in previews at Leicester Curve from 22 September to 18 October, is just that - a musical so new, it's not even finished yet.

Harvey Weinstein is making his first foray into theatreland with a stage adaptation of the film his company, Miramax, produced in 2004, staring Johnny Depp as depressed play-write J.M. Barrie and Kate Winslet as the beguiling widow Sylvia Llewelyn Davies, the real life Wendy to his Peter Pan. The reviews (see The Guardian and The Telegraph for instance) all say more or less the same thing: while the cast are commendable, and the £7million staging is impressive, the story has gotten lost somewhere along its journey to the stage and the score isn't particularly stirring. While I loved the film, to be honest, I wasn't expecting too much from Finding Neverland beyond the pleasure of seeing Julian Ovenden again, so I was pleasantly surprised by the show.

This photo from The Telegraph highlights just how energetic Julian Ovenden is in Finding Neverland

I have to agree that Scott Frankel's music isn't particularly memorable, but it's not bad either, and works better in the context of the performance than in YouTube clips like the ones below. It also seemed that director Rob Ashford threw everything possible at the stage - from a real St Bernard to a giant pirate ship - to win over the audience, which was great fun but did appear to be covering the cracks in the story and the score. The ending, which in the film is so heartbreaking, had no power at all, perhaps in an attempt to make the show more family friendly.

I don't really care though, because I had a wonderful time at Finding Neverland. Julian - on stage for almost all of the two and a half hour long production - proves just how versatile he is, wowing the audience not only with his voice, but unwavering energy, swashbuckling, Scottish dancing, and being led in a tango by Captain Hook. Rosalie Craig, too, displayed an impressive voice, creating a very sympathetic Sylvia, while strong support came from Liz Robertson as her mother, Clare Foster as Barrie's wife, Mary and Oliver Boot as Hook/an unappreciative theatre critic. It's always a pleasure to watch such a talented cast, even if they aren't working with the most exciting material. 

Finding Neverland also benefited from musical direction by David Charles Abell, the man behind the baton at the opening of any good musical (you'd recognise him from the Les Misérables 10th and 25th anniversary concerts among many others). I was extremely excited to see him right in front of me, singing along enthusiastically throughout the show. I told him afterwards how I was a huge fan - I think he was surprised that anyone was a fan of conductors! Anyway, as well as being very polite, he told me that the production was evolving every day and would surely change significantly again before its eventual London opening. Given the money and powerful names behind Finding Neverland, I have no doubt that the  critics concerns will be addressed and the production will thrive in London.

After David, I put my fan-girl skills to even better use, spotting Julian just as he was about to escape from the theatre, and grabbed him for a hug and a photo. He was really lovely and I spent the rest of the day grinning idiotically. I'm so uncool. 

After all that effort on stage, Julian clearly needed a nap!

When Finding Neverland makes its inevitable transfer to London, I'll be there, hoping that the show will have found its spark along the way, just as J.M. Barrie did.

Knowledge By Degrees - A KCL Student Musical

Another university, another round of student productions to review, starting with Knowledge By Degrees (@KBDMusical), a new musical written by Wendy Dickinson and directed by Claire Harbourne. Interestingly, it's not a Student Musical Society that is putting it on but MedSoc (who apparently do a lot of musicals). I must admit I was a little dubious before I went, but I was genuinely impressed by the production - both the performances and the show itself.

The story follows four house-mates - Ben (Cameron Carr), Helen (Cat Palethorpe), Emma (Emily Bates) and James (Rowan Williams) - through their final year at a fictional university, from 'champagne teas' to tears and tantrums. Ben thinks he's God's gift to women, but a total disappointment to his parents. Helen is in love with him and flying off the rails. To counterbalance, there's bubbly Emma and loveable nerd James. When I first heard about the story, I questioned whether I would care about these self-obsessed students, but actually I got really caught up in the storyline. It's a bit of an emotional roller-coaster and made me very grateful for the sane, well-adjusted house-mates I had in my final year! At the same time, it's packed full of laugh out loud moments, and things that you never thought would work, like a sung idealism versus realism philosophical debate.

The casting was particularly strong. There were a few line fluffs (I'll blame opening night nerves), but the main cast convincingly brought their roles to life and the singing was faultless from all four leads. Many times throughout the show I found myself taken aback by their range and power. It was a shame, however, that the music was a bit too loud, so sometimes I couldn't make out the (surely witty and intelligent) lyrics. The most impressive part of the production, though, was without doubt the music. From the strong overture to the ridiculously catchy 'What You Tweet Defines Who You Are' (which I am still singing over 24 hours later), the moving 'I Dreamed That I Had Died Tonight' to the rousing 'This Is It', Dickinson displays a remarkable talent for musical theatre composition, and I look forward to hearing what she does next.

The final performance of Knowledge By Degrees is at the Greenwood Theatre (near London Bridge) at 7pm on 28 September 2012. Tickets are £10/£5 for students.

Sweeney Todd feat. Michael Ball & Imelda Staunton

Attend the tale of Sweeney Todd. His skin was pale and his eye was odd. He shaved the faces of gentlemenwho never thereafter were heard of again. He trod a path that few have trod, did Sweeney Todd - The Demon Barber of Fleet Street.

The idea of Michael Ball as evil is a rather strange one. He's more of a cuddly, jovial type, or a love-sick fool. Yet somehow his encarnation of Sweeney Todd really works. Made up almost beyond recognition, he exudes malice in this latest version of Stephen Sondheim's 1979 musical, directed by Jonathan Kent at the Adelphi. However, this seems much more of an acting piece for him than a chance to show off his famous vocal range, as the songs don't really stretch him much (although at the end of one song he did hold the note for what felt like five minutes).

As his partner in crime, Mrs Lovett, Imelda Staunton displays the ample wit that has made her a national treasure. She has one of the most expressive faces I've ever seen and didn't even need to do much to have the audience giggling. Sweeney's arch-nemesis, Judge Turpin, played by John Bowe (of Prime Suspect fame), was suitably malevolent. The scene of his self-flagellation was particularly disturbing. 

Moving away from the nasty characters, Lucy May Barker as the innocent Johanna was not quite sweet enough for me, while Luke Brady, as her young lover Anthony, was so earnest it hurt, but sang delightfully. Rounding off the cast, musical veteran Peter Polycarpou was perfectly slimy as Beadle Bamford.

The cast then was, on the whole, a real treat. Nonetheless, I was underwhelmed by Sweeney Todd. I had seen Tim Burton's film (and Tomorrow, La Scala! a rather dark TV drama about a production of Sweeney Todd being staged in a prison), but had somehow forgotten quite how dark and depressing it is. Not that dark doesn't have a place in musicals, but a show so unrelentingly bleak can't help but bring you down. Of course there are laugh out loud moments, particularly from Mrs Lovett and her meat pies, but they were pushed out of my head as the corpses began to stack up. As for the songs, they are certainly catchy - at least bits of them - but rather mundane. Not the kind of music that fills the theatre and gives you goosebumps. Nonetheless, the chorus which narrates the story is dramatic and menacing, and Not While I'm Around (sung by the young Toby to Mrs Lovett) has a simple beauty.

Aesthetically, I think Burton's signature gothic vision suits the story better than the realist setting of this production, which adds to the gloomy feel of the whole show.

In short, it is certainly worth seeing Sweeney Todd for the stellar performances - especially the rare chance to witness a very different side to Michael Ball - but don't expect it to be an uplifting experience.

Marguerite and French collaboration

Having spent the best part of today researching for an essay on the French far right, including reading about Vichy collaboration (I highly recommend Jim Shield's very readable introduction The Extreme Right in France), I keep thinking about how I first came to learn about the events of that time. It wasn't from a textbook, but from a musical: Marguerite.

I was drawn to Marguerite for many reasons:

•  As Ruthie Henshall went to my school (long before me of course!), we were inculcated into following her career from a young age, so I couldn't miss such a vehicle for her.
• Julian Ovenden, as Marguerite's love interest Armand, has, in my opinion, the best voice on the West End stage.
•  It's written by Alain Boublil and Claude-Michel Schönberg, the incredibly talented team behind Les Misérables, Miss Saigon and Martin Guerre, all of which I absolutely love.

All of the above in part explain why it's now one of my favourite - and certainly most listened to - musicals, but the real reason I can't get enough of it is because its such a powerful history lesson.  

On one level, Marguerite is another version of Alexandre Dumas' La Dame aux camélias, a story retold again and again, from La Traviata to Moulin Rouge: a courtesan falls for a romantic young  man who gives her a second chance for love and freedom, but must give him up to save his life, and a tragic ending ensues. But a Boublil and Schönberg musical is never just a romance, and just as Miss Saigon brought aspects of the Vietnam war that had been swept under the carpet to the stage, so Marguerite does not shy away from perhaps the most difficult part of French history.

The musical starts in 1940. Marguerite is French and her keeper, Otto, a leader of the German occupation. Their relationship mirrors that of France and Germany: "Great Germany, supreme in power, and France in beauty, side by side". At the same time Marguerite's naive, frivolous relationship with her young suitor Armand juxtaposes the plight of Armand's sister Annette and her Jewish fiancé Lucien, who must live in constant fear as the French are going well beyond the demands of the Nazi occupiers in rounding up, deporting and torturing Jews. 

Marguerite certainly doesn't pull any punches when it comes to the portrayal of the French bourgeoisie. Sure of Germany's eventual victory, they are shown profiteering, handing over Jews, and praising the German's for 'cleaning up France'. Then as soon as it's clear the Allies are going to win, they happily change sides and start searching for scapegoats. Having only ever learnt about the brave, French Resistance before, it was fascinating to see how people exploited the myth of Resistance for their own self preservation (of course lots of people did genuinely resist, but the real numbers are tiny compared to those who say they did).

  
Perhaps most shocking is the way Marguerite was treated. While she herself actually helps the resistance, she is an obvious target, a visible 'traitor' as everyone has seen her with a German man. She is subjected to a public humiliation and head-shaving to forever mark her as a collaborator, a practice sadly common at a time when everyone was trying to prove their innocence by piling blame onto an easy target.

Musicals are too often dismissed as light and fluffy - and some of them most certainly are - but Marguerite is undoubtedly a musical for grown-ups. Beyond the wonderful music and story-telling that Boublil and Schönberg are famous for, Marguerite is a fascinating insight into a period that too many people would rather ignore.

Connie Fisher interview

Going through my old shows recently, I realised that I never posted my interview with Connie Fisher from November last year. I caught up with her just before a recording of the comedy panel show What's The Story? for BBC Wales. We talked about what makes Wales special musical and she was also very candid about her health problems and future ambitions.



I look forward to seeing her in Wonderful Town at the Wales Millennium Centre in the summer.

Malaysian Society presents Festival of Diversity IX

If you’re like me, you probably know little about Malaysian culture. Well, the Festival of Diversity is the Malaysian Society’s annual chance to change that with a song and dance spectacular - this year, Pahlawan the Musical. For the first time ever the event is taking place at St David’s Hall, giving the society an opportunity to reach a much wider audience.

I say Malaysian culture, but actually Malaysia is a multicultural country, composed primarily of Malays, Chinese and Indians, and all three are represented in the show, both in terms of the cast and the routines. It was a desire to raise awareness of this unique cultural mixture that inspired the first Festival of Diversity nine years ago, as André Lim, former President of Malaysian Society, told me. He explained that back then it was little more than a talent show, a sort of Malaysia’s Got Talent, but over the years it grew into a play and then into its current musical format. It is one of the three key events that Malaysian Society runs throughout the year. While Festival of Diversity focuses on culture, the Cardiff European Games bring together Malaysian students from across Europe for sporting competitions, and an annual Leadership Conference focuses more on business, politics and economics. Through these events, as well as day-to-day activities like mentoring new students, the Malaysian Society works to create a community of Malaysian students, not just within Cardiff, but all over Britain and beyond. The musical is a particular draw for Malaysian students from far and wide; law student Linnie Ooi explains that she came down from Aberystwyth for the show last year and this year has friends visiting from all over Britain for the event.

The main event of the night, Pahlawan the Musical, reinvented the age old folk tale of Hang Tuah, a warrior from the 15th century Malaccan Sultanate, torn between love and loyalty. He has become a hero fighting pirates with his brother, but when the Sultan sends him on mission to procure the beautiful Princess Tun Teja’s hand in marriage, Tuah’s life is turned upside down. This story is told through both drama and song, but I was surprised to find that the songs were not traditional Malaysian pieces, or even new works in that style, but mainly adaptations of songs from popular West End musicals like Wicked and Miss Saigon, and pop hits from Michael Jackson to Coldplay (with two Malaysian pieces thrown in). Nonetheless, I am reliably informed that the incidental music was very typical Malaysian fare and the overwhelming feel of the show, from the brightly coloured traditional outfits to the martial arts fight scenes, was undeniably Malaysian. Moreover, the electrifying dance scenes, a highlight of the show, showed off the diverse styles of the different cultures that make up Malaysia.

On the whole, the cast gave very strong performances considering they are all amateurs. Vingesh Raja as Tuah gave a solid, heart-felt performance (although he did lose himself during the songs in a charmingly overblown way that reminded me of when I sing along to musicals in my bedroom when no-one is watching!). As his brother Jebat, Leon Lee put in a particularly strong performance while Elizabeth Wong as Tun Teja displayed a surprisingly good voice. Comedy relief came in bucket loads from Sivaram Prasad who hammed up the role of Sultan Mahmud, turning him into a perfect pantomime villain. Equally funny and charming was Amanda Chong as the vivacious lady’s maid Suria, whose rendition of I Can Hear the Bells was the best vocal performance of the musical. All in all, despite a tragic ending to the show, my overall impression of it was very cheesy but very fun, I think because the enthusiasm of the cast and their joy in performing was infectious.

However, the musical was not all the Malaysian Society had on offer tonight, but rather sandwiched between two other exciting, energetic performances. The first was from special guests Festival Drums all the way from the University of Liverpool. This was a perfect start to the show, impressively choreographed playing of traditional drums, and I was especially pleased to see that the drummers included a wide range of people, not just Malaysians, showing that the event really is trying to be inclusive. Then after the musical came the Dikir Barat, which seemed to be moment everyone had been waiting for judging by the cheers when it was announced. This traditional seated dance, involving lots of clapping, and accompanying upbeat songs, was a real highlight. It was incredible to see about a hundred Malaysian Society members dancing as one and with so much energy, while the crowd sang, clapped and cheered along.

By the end of the night, I have certainly learnt a lot more about Malaysian culture. I can now recognise traditional music, dress and dance styles, have learnt a key story from Malaysian folklore and even have a few recipes to try out from the programme. But more than that, I feel like I have really learnt something about the spirit of Malaysia. One of the aims of the show was to celebrate “a people, proud, diverse and united despite the apparent differences in creed and colour” and in this aim Festival of Diversity most definitely succeeded. From not just the performers but the audience, the overwhelming passion for their homeland and strength of their community was obvious and inspiring. Directors Stephanie Wong and Aqil Ariffin, as well as the enormous team of performers and crew, deserve a huge congratulations for putting such a successful night together and bringing a little bit of Malaysia to Cardiff. 

Les Misérables feat. Ramin Karimloo 27/1/12

On Friday night I had the immense pleasure of going to see Les Misérables. It was the third time I'd seen it live, as well as one school production and watching both the 10th and 25th Anniversary productions more times than I could count. I know every word of the three hours, plus some that have been cut since the Original Cast Album. But that's nothing rare; I saw one woman proudly proclaim on Twitter having seen the show tens of times in the last few months. In 26 years it's been seen by more than ten million people all over the world. So what it is the secret to its enduring popularity?

Musically, the songs are at turns rousing, romantic and heartbreaking, both catchy and repeated enough to remain stuck in your head for days after, but other shows can boast the same (not many other shows, granted). The lyrics aren't great really compared to other shows (although they work so much better in French), but it's what those lyrics express that I think is at the heart of the show's success: the genius of Victor Hugo's epic novel with its incredibly engaging characters and at its heart the message of unwavering faith in a brighter tomorrow and the redemptive power of lover. As a wise person on The Story of Musicals   said, when the whole cast turn to you at the end and ask you to join in creating a better world you can't help but feel uplifted.

Les Misérables has always had a special place in my heart. Although I remember seeing other shows when I was very young (Oliver and Grease come to mind), I first saw Les Mis on my 13th birthday and it was the show that sparked the huge passion for musical theatre I've felt ever since. So on Friday night I was smiling through every moment, but not just for the music and the story. The cast were just incredible, the best cast I've seen live, especially Ramin Karimloo as Jean Valjean (current cast in the video above).

I first saw Ramin as Raoul in The Phantom of the Opera on my 16th birthday. At the time I fell for his beautiful voice and equally beautiful looks. Chris in Miss Saigon followed, and then Enjolras in the 25th Anniversary Les Mis last year, which is when I was really blown away by the power of his voice. At his tour late last year I got to enjoy more of that voice (although at the time I was annoyed that other people had to sing too and I couldn't have two hours of him uninterrupted) but it wasn't til the 25th Anniversary of Phantom when I really noticed what a wonderful actor he is. His Phantom just gets to me, no matter how many times I watch it. His acting is so subtle - a rare thing for musical theatre - and always seems so right. The moment at the end of Phantom when he's waiting for Christine to decide between him and Raoul and the tiny movements of one hand express so much emotion is one of the most powerful I've ever seen. So when I heard he was going to star as Valjean I couldn't contain my excitement. While Alfie Boe has an undeniably powerful voice and Colm Wilkinson (in his own words) has the voice of an angel, for me Ramin was perfect as Valjean, an unbeatable combination of beautifully textured voice and genuinely moving acting.

In short, if you haven't seen Les Mis yet, or even if you have, go to see it now while you can. The music and the story will always be engaging but a cast this strong is a rare treat.

Thinking about Orientalism through musicals - from Joseph to Miss Saigon

With my last exam tomorrow (whoo!) about literary theory, I'm continuing with my mission of making everything somehow related to musicals (it makes revision that little bit more fun). It all started when I saw Joseph and the Amazing Technicolor Dreamcoat at the New Theatre in October. I had been studying Orientalism and thought that Joseph is an incredible recent example of Orientalism in action.

What is Orientalism? A good introduction is Edward Said's 1978 Orientalism which sparked the academic debate on what was once considered an unproblematic discipline of knowledge about anything that can be considered 'East' - from China to India to Egypt. Said's core argument is that what was presented as knowledge - whether in an academic texts, travelogues or just the background of works of fiction - presents a certain image of the East to justify colonial expansion and the suppression of the colonised, as well as a way of making Westerners feel superior. Many theorists have criticised Said for his essentialist, binary dialect between East and West, his completely ignoring women and his focus on high culture (among other things) but the general idea of Orientalism has become widely accepted and expanded on by many theorists.

So what has this got to do with Joseph? Well I was struck by the way a very stereotypical version of Arabs was played for laughs (I know it's a silly show for kids but still). There's a part of Orientalism where Said talks about American student putting teatowels on their heads and comedy moustaches and saying they were Arabs. I know it's common and not necessarily meant to cause offence, but Said would argue that this just perpetuates negative conceptions of Arab people, particularly as the characters also fit the stereotypes of violent, slovenly, greedy (although redeemed at the end by a very 'Western' Joseph). The women don't fare much better, either veiled or bellydancing, recreating the dual stereotype of Eastern women as either slaves to their men or exotic sexual objects happy to fulfil any man's desire. In short, I don't think Said would much approve.

 

However, this got me thinking - particularly when reading Rana Kabbani's Imperial Fictions which focuses more on the dual subjugation of Eastern women as both Orientals and as women - about other musicals that maybe counteract this Orientalist attitude, until it hit me: Miss Saigon.

So the poster may look like just another exotification of the Orient and its women, but on closer analysis, it seems to me that Miss Saigon counteracts much of what Kabbani criticises. Firstly, one of the biggest complaints about Orientalist work in relation to women is that it reduces them to nothing more than sexual objects, a homogenised blob of boobs with no identity. Just think of Ingres' Le Bain Turc:

Through the American soldiers in Miss Saigon this view of Eastern women is again apparent - they are objects that the men can buy and use. However, the musical itself opposes the views of its G.I.s. Through the show we get to know not just the protagonist Kim but, Mimi and the other girls, they have names, personalities, backstories. More importantly,  as Kabbani maintains, in Orientalist works, no-one ever questioned the availability of these women - it was a well-known 'fact' that they were incredibly sexual and lived only for pleasure. Miss Saigon paints a very different picture. Kim is a shy virgin with no interest in eroticism, who is forced into lap-dancing and prostitution because all her family are dead and she has no other way to provide for herself. The Orientalist view of Eastern women as sexually available has created a market for her to work in, whereas as 'just an intellectually inferior Eastern woman' she would have trouble finding work elsewhere. Even Mimi, who seems more overtly sexual, does not enjoy her sexual encounters with the soldiers but must do it for a better life. 

Moreover, the typical Orientalist view of Eastern women (and the patriarchal view of women in general), is of passive, even lazy, characters. That's why Kim is such an amazing character. She shows remarkable strength - both emotional and physical - to survive despite all obstacles and provide the best possible life for her child. 

It would seem however, that my view is not a particularly popular one. Read this for example from David Schlossman's Actors and activists: politics, performance, and exchange among social worlds. Miss Saigon is criticised - among many other things - for Westerners talking for Orientals who can't talk for themselves - another of Said's key tenants of Orientalism. I, however, believe there is a difference between wanting to tell a story because you believe it to be interesting and emotionally powerful, and telling a story to keep people subjugated, and for me at least, Miss Saigon is in the first category. Following that logic, you would never be able to tell a story that wasn't about your direct experience. In addition, the story is criticised for Kim needing to be rescued by her white man. Again, I believe Kim proves herself in the period when she must live without Chris, and that there is a difference between being needed to be saved and wanting to be with the person you love (whatever their ethnicity).

Maybe I'm just a hopeless romantic, maybe I'm seduced by the beauty of the music and the heartbreaking love story at its centre... I'm not saying it's perfect, but at least it's trying.