In a special, one-night-only concert, Andrew Lloyd Webber, Don Black and Christopher Hampton’s musical Sunset Boulevard will be staged at London’s Royal Albert Hall on 3 December 2021.
As the world returns to a new normal, there aren’t many better ways to spend an evening than enjoying a glorious musical in the beautiful setting of Opera Holland Park. Quick Fantastic has returned to the space to present Wonderful Town, the half-forgotten 30s musical which brims with exhilarating jazz and witty comedy.
A trio of cast recording reviews covers musicals Amélie The Musical, Cases and After You – each one a winner in its own way.
Following the success of its recent five-star production of Sunset Boulevard – at Home, Curve has announced plans to also stream The Color Purple online between 16 February and 7 March 2021, in association with Birmingham Hippodrome.
After You is a brief but well constructed story about musical theatre’s favourite theme – love – but is less the straightforward tale of boy meets girl who live happily ever after. It is more a two-hander that plays with convention.
Janie Dee’s brief residency at Live At Zedel was a chance to glimpse a performance of understated excellence. A two-time Olivier winner – and just nominated for a third – Dee drew her inspiration from across the spectrum of song in an enchanting yet eclectic set.
The Union Theatre’s founder Sasha Regan, who is a wonderful facilitator and supporter of young talent and vital to a growing industry, doesn’t have to play by the normal rules
Christmas came early to the West End on Sunday night, for just like Max Bialystock, Mel Brooks’ legendary king of Broadway, Alex Parker has done it again with his own Kings Of Broadway. Though where Bialystock famously flopped, yet again this remarkable conductor cum impresario succeeded spectacularly in mounting a one-night only extravaganza of the work of Jule Styne, Stephen Sondheim and Jerry Herman. Either Parker has amassed a multitude of favours to call in, or, and this is far more likely, he has simply earned the respect of an army of talented professionals including a 30-piece(!) orchestra and a cast of stellar proportions, to put on a concert that proved to be as polished as it was entertaining.
Les Miserables has long impressed me, not just for having such a stirring libretto, but also for the cheekily economic creativity of Alain Boublil and Claude-Michel Schoenberg that was able to hang quite so many different songs on just a handful of (oft repeated) melodies! Herbert Kretzmer deserves handsome credit for the lyrics. Kretzmer has compressed Victor Hugo’s panoramic vision of 19th century France into 3 hours of sung-through genius, with a wit and nuance perfectly tailored to the modern idiom.
St James Studio, London
Making a rare appearance in front of the microphone, Paul Baker’s show A Baker’s Dozen was a polished one-nighter that packed out the St James Studio.
In a set lasting little more than an hour, Baker’s magnificent tenor danced over numbers familiar and new in a set-list that was to prove pleasingly heavy on Newley numbers – reminding us that this fabulous British songwriter deserves greater exposure.
Quick to flex his magnificent belt with Streisand’s Being Good Isn’t Good Enough, Baker was soon into the first of his Taboo tributes with Stranger In This World – preceded by a touching if painful recollection of being bullied as a kid – and that his next number was a Quentin Crisp tribute, blending Sting’s An Englishman In New York, with Taboo’s Freak / Ode To Attention Seekers stayed on message in an inspired combo.
Fondly reflecting on Philip Henderson’s The Far Pavilions, the composer was in the audience to see Baker deliver a soaring take on Brighter By Far that had been re-arranged for the St James occasion.
As his selection went on to include Makin’ Whoopee, one wished for Baker to make an album of the American Songbook. The man displays a polished understanding of both lyric and presence, par excellence.
Performing solo throughout, there was one exception when director Frances Ruffelle (who had only recently been directed herself by Baker) joined him on stage for Nice from Lucky Stiff, a duet that reprised their 1997 pairing from the Ahrens and Flaherty show.
Maintaining a standard of nothing short of excellent, a medley of Newley greats treated the crowd to Once In A Lifetime, The Candy Man and What Kind of Fool Am I, with Baker also un-earthing Newley’s Pagliacci-esque The Man Who Makes You Laugh. As the singer sat at an onstage make-up table, donning the pierrot’s white slap and garishly rouged lips, the song’s irony was chilling.
Accompanied throughout by Alex Parker’s quintet, the music was perfectly weighted. Parker’s understanding of the subtleties of musical direction is unmatched for one so young – and under his command the evening’s musical ambience effortlessly ranged from cocktail lounge intimacy to big band bravado.
Wrapping his set with Taboo’s Petrified, a song that Baker has made his own, a few muffled sobs from the St James crowd evidenced the sensitivity of the moment.
This show is off to New York’s 54 Below later this month and Manhattan is in for a treat. The gig offers moments that are at times reflective, spectacular but most of all and for various reasons, simply spine-tingling. When he returns from the USA, A Bakers Dozen demands a longer London run.
Missed Paul in London? You can catch him at New York’s 54 Below on 19th May.