London, September, 2008
Drew Sarich (Jean Valjean), Richard Woodford (Javert), Allyson Brown (Fantine), Jon Robyns (Marius), Leanne Dobinson (Cosette), Nancy Sullivan (Eponine), David Thaxton (Enjolras), Jimmy Johnstone (Thenardier), Jackie Marks (Mme. Thenardier)
(VOB)
  
Video is blurry from time to time, but generally very nicely filmed. There is no begining of Act II, it starts with Valjean reading Marius’ letter. At the end, there is big (1 hour long) highlights from the another show of 2008, featuring Jonathan Williams (u/s) as Valjean, Earl Carpenter as Javert, Jon Robyns  as Marius, Leanne Dobinson as Cosette, Nancy Sullivan as Éponine, Mark Dugdale (u/s) as Enjolras, Jimmy Johnston as Thénardier, Jackie Marks as Mme Thénardier. The preview images of that part:
  

Singin’ In The Rain also performed, I haven’t come across this yet on youtube, but know from watching it last night that it was a fantastic performance. I think I’m going to have to revisit the production when it opens at the Palace Theatre.

“Often I feel there is something in the night,

beating its dark wings above me”

Three men. Three very different Phantoms. Three dancers. One Christine. One orchestra. One sensational evening.

Andrew Lloyd Webbers version of The Phantom of the Opera is one of the most instantly recognizable scores in musical theatre history, and with so many different layers interwoven into the beautiful and haunting melodies; it is easy to see why we are currently enjoying the 25^th year of this remarkable show. However, it is not just this most recent interpretation of Gaston Leroux’s Le Fantôme de l’Opera which is celebrated in this production, as we are also treated to a selection from a few of the numerous other Phantom productions as well as a wide variety from other shows.

In a very elegant and well constructed evening of musical heaven, Matthew Cammelle, Earl Carpenter and John Owen-Jones take to the stage with the 21 piece Concert Philharmonic proving why they are three of the best leading men that musical theatre has to offer.

And what Phantom can be complete without a Christine? Rebecca Caine, who created the role of Cosette in Les Misérables and starred opposite Michael Crawford with the original cast of Phantom, is absolutely timeless, proving she still has the beauty, the soul, the passion and the voice to hold an audience spellbound.

Matthew Cammelle’s version of “Empty Chairs At Empty Tables” and “Martin Guerre” are two of the finest renditions I’ve ever heard, while John’s “Kiss of the Spider Woman” is simply phenomenal. “Pretty Lady” is a beautiful example early in the first act of how well the three tenors work together, and despite the banter between numbers, their voices beautifully complement each other. For me, Earl has one of the most mesmerizing and powerful voices in musical theatre, and no matter whether he is lamenting the Stars, or complaining that he’s All Alone, never fails to raise my skin to goosebumps.

When?

I am no newcomer to We Will Rock You, Ben Elton’s hit musical set in a dystopian future world without ‘real’ music. This is a world devoid of personality and identity – where the Killer Queen (Ashley J Russell) rules a generic “Mega Corp” with an iron fist, producing all of (the recently renamed) Planet Mall’s music for the clone-like GaGa Girls, themselves a less than subtle dig at what Elton considers to be the conformist youth, perhaps harking back to his own wild days and his subsequent anarchic comic persona. The Killer Queen’s henchman Inspector Khasoggi (Earl Carpenter) is charged with chasing down and destroying any rebels, his number one targets being a group called the Bohemians, led by “Britney Spears” (Leon Lopez), Meat (Jenny Douglas) and the rebels themselves, all comic incarnations of rock and pop stars past and present such as Madonna and Cliff Richard. The show is packed to the brim with pop culture references, such as the future statue of Simon Cowell in Trafalgar Square and plenty of jokes at reality TV’s expense – the irony does not need too much mocking when the programme notes show that two of the show’s stars (Noel Sullivan and Jenny Douglas) themselves found fame through such TV shows. Neither was the irony of the show’s primary theme – individuality – lost on me as we were instructed to clap in unison to the show’s title anthem en masse. I considered showing my own individuality by not clapping along, but the song is just too darn good!

Worked around the ever-perfect music of Queen, Ben Elton’s book is, was and always will be absolutely woeful – the critics had a field day mauling it back in 2002 – and I don’t think even the most loyal fan could argue that the book is this show’s strength. But some 11 years later with the West End production still running, replica productions all over the world, this very successful tour and having recently beaten the likes of Jersey Boys and Les Miserables to the 2010 Olivier Award for the “Most Popular Ever Long Running Show”, as voted for the public, there is no doubt that We Will Rock You is as popular as it has ever been with casual theatregoers. The sold out and buzzing Leeds Grand Theatre audience who clapped, cheered and – at times – joined in ala ‘Rocky Horror’ with the show are testament to the show’s popularity and appeal.

This touring production is, to all intents and purposes, a replica of the original London production with the addition of more video screens and projections to replace some of the set pieces, making the show more ‘tourable’. The cast are comparable in size and quality and, in many ways, the touring production feels tighter than the West End. We Will Rock You follows a very distinct pattern throughout the evening; exposition followed by a song. The exposition is clunking and at times cringeworthy so the show lives or dies on the performance of Queen’s hits – and I am delighted to say the casting is of the very highest order for a tour such as this.

The star turn of the talented and focused cast came from CtS regular Earl Carpenter as Khasoggi. Carpenter was brilliant from the first to the last, his acting was hilarious and he is unashamedly OTT in his performance with a millisecond-perfect sense of timing and wonderful expressions. Sporting a fantastically bouffant blonde rug, Carpenter has shown that when not playing the West End’s première roles such as The Phantom, he can let his hair down and really enjoy himself. Campy, hammy and glorious with it, Carpenter gives the finest performance I have seen from him – no mean feat as I seem to see him in everything. His singing was also a marked improvement on his last outing to the Leeds Grand Theatre in Evita, giving a belting “Seven Seas of Rhye”. Surprise package Noel Sullivan, as our male protagonist Galileo Figaro, (or Gaz), sings beautifully with genuine power and vocal dexterity and is certainly coming good on the promise he showed in the ‘Popstars’ programme. Whilst he did start to tire towards the end of the performance, this only helped to make him more endearing as he was clearly giving everything he had from the off. Alongside him was the equally wonderful Amanda Coutts as Scaramouche (or Scary Bush) who, saddled with a tricky Essex accent, gives a lovely turn, enjoying many of the loudest laughs of the night and singing beautifully to boot. Every moment the two protagonists were on-stage together was a joy, from the brute force of “I Want to Break Free” to the emotion and beauty of “Who Wants to Live Forever”, they were good – I mean cast recording good. Television regular Ian Reddington gives a very strong performance as 1960′s hippy relic Pop, really making the most of his number “These Are the Days of Our Lives”. Although his part is somewhat underwritten, Reddington is very sincere and adds some lovely touches to his characterisation.

The first hour of the production flies by with every superlative running in my mind, but as our protagonists meet the Bohemians towards the end of Act I, something changes in the dynamic and things start to slip dangerously towards pantomime. By the finale, we are being treated to out-and-out pantomime theatrics and audience participation and being asked to cheer and clap. I consider this akin to going to a pantomime and being allowed to participate for the first hour, then being forced to watch the second act as a straight play – the inclusion of pantomime theatrics in an otherwise straight (if silly) musical is bound to alienate certain theatregoers. Many numbers feel plonked in, especially in the second act, yet some are so beautifully judged and well implemented that is like they are from a different author. Act II opens with some crudely inserted songs; “Fat Bottomed Girls” is simply sung by the Killer Queen to the audience and stops the narrative drive dead, but Another One Bites the Dust by the same character performed against a backdrop of video game violence is one of the strongest numbers in the show and beautifully realised in particular by choreographer Arlene Phillips.

If I were to sit here and treat this as a review of a bona-fide book musical, the review would seem somewhat critical, which would be unfair as I had an absolute blast – despite all the problems. Taken as a light jukebox musical or music-heavy pantomime, We Will Rock You provides a superb night out for all the family and is a show that everybody can enjoy. The unanimous standing ovation is testament to how popular and well-received this show continues to be wherever it goes.

We Will Rock You plays at the Leeds Grand Theatre until 26th November 2011.

- Harry Zing
Chewingthescenery.com

“Tonight I’m gonna have myself a real good time“

The Bristol Hippodrome is a beautiful and generally well kept typical late Victorian theatre, and has one of the largest stages outside of London. Incidentally, the enormous dome in the roof of the stalls can actually be opened to the sky! It hasn’t been opened for several years now, but it’s always the first thing I look up at, and never fails to impress me, no matter how many times I visit.

We Will Rock You is the story of a futuristic planet Earth, controlled by the corporation Globalsoft, where any music apart from Computer Recorded Auto-tuned Pop (you can figure out the abbreviation yourself!) is banned. The Bohemians provide the last hope, a group of rebels who worship ancient musical texts from the time of the Rhapsody, aiming to bring down Globalsoft with real music.

“No need to think, no need to feel, when only cyberspace is real”

The stage set is immense, with lots of props and scene changes that glide in and out effortlessly (or so it appears to the audience, I’m sure there are occasions where it has not been so effortless!), and there are four massive led screens which enhances our vision of a really vivid futuristic world. The lighting is absolutely spectacular throughout the entire show, and the use of lasers to form cages is a particular favorite of mine.  The show itself is infused with comedy, producing a relatively lighthearted, easy to watch production and I couldn’t help grinning stupidly seeing the music we all know so well come to life in front of our eyes. The energy from the cast is incredibly infectious, and many of the audience could be seen dancing, foot tapping or head bopping in their seats!

This musical is particularly relevant in today’s technologically obsessed world, a time of Smartphones, iPads, Twitter and Facebook. Maybe I am being slightly hypocritical, after all this is an online blog, but it did make me think….will we end up missing out on some of life’s other pleasures? If Apple continues their world domination, perhaps this futuristic world is not quite as far fetched as it may have seemed 10 years ago…

“Open up your mind and let me step inside, rest your weary head and let your heart decide”

Having already seen Noel Sullivan as Danny in Grease last year, I knew that he had developed considerably as a singer and actor from his time with Hear’ say. However it was slightly off-putting that he hadn’t appeared to have changed his clothes, with the only notable difference being the absence of the T Birds logo on the back of his leather jacket! Nevertheless, he plays the lovable goofball Galileo very well, and his facial expressions tell a story by themselves.

Also in a similar role (albeit slightly…well a lot, camper), I last saw Earl Carpenter as the vengeful Javert in the touring production of Les Misérables. With one of the most elegant and commanding speaking voices akin to Alan Rickman and Benedict Cumberbatch, he excels in the role of Khashoggi. Anyone familiar with Earl will know that he has a very funny sense of humor, and it is an absolute delight to see it coming across in this production.

Also worth a mention, are Jenny Douglas, who delivers surprisingly powerful vocals in a very wild and feisty performance of Meat, the brilliant Amanda Coutts who injects frequent moments of comedy as Scaramouche, and Ashley Russell who totally owns the stage as the dominatrix Killer Queen.

The encore section of the production is rather long, on a par with the Joseph Megamix, only much less cheesy. I would have preferred to have more of the narrative story before its rather abrupt transition into the encore; however that is only a very tiny niggle in an otherwise sensational production.

In short, if you are looking for a wonderfully choreographed, feel good, energetic show with great music, then catch We Will Rock You on tour. However, it’s probably best to avoid if you don’t like Queen.

“Recommended at the price

Insatiable in appetite

Wanna try?

You wanna try.”

The novel Les Miserables is an epic book written by French Novelist Victor Hugo in 1862 consisting of a whopping 1,500 pages.  Fine – as long as you have an attention span of a saint and a rainy afternoon to kill  !  Otherwise many try to avoid it. The show was  born in France in 1980 playing at a 3 month long arena version at the Palais De Sports in Paris and was based on the novel. Although its story line is very deep and meaningful in terms of musical theatre plots it hardly scratches the surface of the book. In 1983 it was snatched up by Trevor Nunn, John Caird and Herbert Kretzmer who planned to turn it into an improved theatre production of the French 1980 version.

In 1985 the musical interpretation  premiered at the Barbican Centre for the first time before opening to the press on October 8th 1985.  It starred  the west end legend Colm Wilkinson as felon turned saint Jean-Valjean. It was bombared with negative reviews and labelled ‘The Glums’…not exactly a positive start. Ever since then it has been running in the West End and is the longest running musical of all time having been seen by millions of people.

The 25th Anniversary touring production….

At the end of 2009 it was announced that a 25th anniversary interpretation of the show was to be created. It seemed impossible that this masterpiece could ever be improved upon…I was so wrong. The main aim  was to take the traditional version of the show out of its ‘black box’ this they did magnificently injecting colour into the production with beautiful new costumes. Who to cast..? this was the question. It was announced in the summer of 2009 that the tour would be headed by well respected west end performers John-Owen Jones and Earl Carpenter who are a dab hand at theatre having not only starred in the West End production of Les Mis but The Phantom of  The Opera too. The next performer to head the tour was a surprise….. Gareth Gates, the then 25 year old from Bradford who came second in the 2001/2002 series of pop idol having lost out to Will Young, his infamous audition is well remembered…a young, nervous 17 year old with a debilitating stammer who could barely say his own name…but when he sang he sounded like an angel. Since then he has produced 3 albums however he decided to turn to musical theatre in 2008. He proudly took the lead role of Joseph in ‘Joseph and the Amazing Technicolour Dreamcoat’ at the Adelphi theatre in February 2009 wowing audiences and having women scream at him as except from a loincloth he was practically naked revealing a very impressive six pack. The cast had been rehearsing for only 6 weeks before the les mis  tour opened and from the pictures posted to Facebook it looked like the rehearsals were intense.

Before the show began, I was sitting in the auditorium 10 rows back nervously waiting with anticipation to see what magic this new interpretation may behold. My heart skipped a beat as the powerful overture boomed throughout the auditorium, myself and other audience members began to cheer as the curtains opened reveling the haggard convicts rowing ‘The Orion’ their convict ship, this had never been done as the show normally begins in a prison in Toulon in 1815 which I think is rather dull. The chorus of voices were absolutely sensational and the opening song was sung with so much passion and power.

The show follows felon turned saint Jean Valjean who is given a second chance by the kind bishop of Digne . Valjean repays his kindness by stealing his valuble silver candle sticks and running away. When he is arrested and brought back to the house by two police officers the kind- hearted bishop lies on Valjeans behalf stating that he gave him the silver. Once the officers have gone the bishop states that he has ‘bought Valjeans soul for god’ and he must use the precious silver to become an honest man. Valjean becomes the owner of a factory and changes the lives of others including saving one.

The  new cast …..

The role of Jean- Valjean was played by the magnificent John-Owen Jones who first played the role at the age of 26..the youngest actor ever to play the part. His voice is mind blowing with sensational Welsh tones. Jones’s vocal range is phoenominal, he somehow manages to age his voice along with his character as the show progresses. His interpretation of the bitter and twisted Valjean is second to none…how people can say that the original Colm Wilkinson is unbeatable is a statement which will always baffle me, however each to their own! His heart is softened throughout the show firstly by the guilt he feels for the first time after being forgiven and secondly after accidental mistakes.

Owen-Jones was strongly supported by Earl Carpenter who played the battle axe inspector of police Javert who lets religion rule his heart leading to his eventual downfall as he is obsessed with finding Jean-Valjean who escaped his parole and is now on the run “The Confrontation” was a mind-blowingly powerful duet between the two of them which was recieved with yet more cheers from the excited audience .

Fantine was superbly played by Portugese jazz singer Madalena Alberto her  version of ‘I dreamed a dream’ moved me and the majority of the audience to tears. Susan Boyle’s performance of the song on Britains Got Talent in 2009 didn’t even come close. Her portrayal of the unfortunate Fantine who has been crulley let down by her lover and left with a child Cosette who she cannot afford to keep was heartbreaking. I don’t think there was a dry eye in the theatre in her final scene as her desperation and dispear was made quite clear through her clever acting.

The show is often labelled as a ‘morbid’ one however some fun was injected into the production by Geordies Ashley Artus and Lynne Wilmot who were ingeniously cast as the repulsive Thenardier& Madame Thenardier . There was an obvious spark between the two of them making a perfect evil double act. I remember laughing out loud during a scene at their inn during the song “Master of the House” where Thenardier stole the shoes of a ‘blind’ customer swapping them with his own battered ones! Their crimes worsen throughout the show…one leading to a vital discovery at the penultimate scene.

Gareth Gates made the role of Marius his own, portraying his character Marius , a love struck university law student turned revolutionary as slightly nerdish yet sweet. His acting was fantastic..his 6 months training at RADA (Royal Acadamy of Dramatic Arts) certainly paid off . He somehow brought an elegance to the character. Gates’s voice has matured dramatically particularly over the last two years- he still looks ridiculously young!  His solo Empty Chairs at Empty tables. which he delivered with power and passionate emotion was heart wrenching yet  magical when the ghosts of the dead revolutionaries carried lit tea lights onto the stage and blew them out at the end of the song to symbolise their death. He sang beautifully with co stars Katie Hall who played a young, pretty Cosette with quite a shrill yet impressive voice and Rosalind James who played the rough and feisty Eponine Thenardier who gave the role a bluesy edge with her amazing R&B voice. A little Fall of Rain was heart breaking… the duet between Eponine and Marius when Eponine is dying. I don’t think there was a dry eye in the theatre as it was so dramatic and moving.

Jon Robyns who is well known for playing Marius in the West End production and Rod & Princeton in Avenue Q ,  joined the cast as the bold barricade leader Enjolras, sporting a shoulder length blonde wavy wig which he pulled off surprisingly well. Other critiques stated that his voice was too weak for the part however, I was very impressed. He certainly gave Oliver Thornton an run for his money who I saw play the role giving an ‘airy fairy’ performance  in the 2004 London production. The whole ensemble were strong vocally, the final song was phoenominal  leading to an encore and a full audience standing ovation on both times that I saw the production.

Another dramatic change to the show were the beautiful costumes designed by Adrienne Nefetou which were almost regency style and more colourful than the dull black, brown and grey tones lifting this new production out of the ‘black box’ which the show usually is. As the show was a tour it was slightly more limited in terms of props, for example there was no revolving stage or suspended bridges which the Original London production has to offer. Instead there were amazing CGI 3D holographic projections added which gave this new production a cinematic feel. The sewer scene in particular completley took my breath away when John Owen Jones emerged from the projection carrying Gareth Gates after he had been injured after the epic final battle scene!

Stage door

Another positive point was the lovely cast who were willing to sign autographs for fans as they walked out the stage door. It added to the excitement at the end of the show waiting to see who would emerge from the stage door. I was lucky enough to meet John Owen Jones, Earl Carpenter, Lynne Wilmot, Ashley Artus, Jon Robyns and my favourite cast member.. the lovely Gareth Gates. I still cannot get over how ridiculously young he looks. He is so tall and has the most beautiful brown eyes that I have ever seen. It was such a privalage to meet him as I am a massive fan. Unlike most celebrities he is always willing to spend time with his fans and have a picture taken with them. This I am very grateful for. The cast signed my poster and my mum and I left absolutely beaming after such a memorable day.

By Sophie Bowns

*EDIT* – In March 2012 I posted this follow-up piece: please check it out for more random musings!

When?: Sunday 3rd October 2011
Where?: An undisclosed cinema complex, somewhere in the Yorkshire region
Who?: Ramin Karimloo, Sierra Boggess, Hadley Fraser, Wendy Ferguson, Barry James, Gareth Snook, Liz Robertson, Wynne “Go Compare” Evans, Sergei Polunin, Daisy Maywood, Nick Holder, Earl Carpenter, Philip Griffiths, Simon Green, Stephen John Davis, Garðar Thór Cortes, Heather Jackson, Ellen Jackson, Rosemary Ashe, et al.

Regular readers will know I was less than overwhelmed when this concert was announced. Having sensibly turned down the frankly criminal £525.00 price tag for two full price seats, I decided to settle on a £15 ticket for the cinecast of the event at the local cinema. I am glad I went – but even more glad I didn’t pay the ridiculous price quoted. Whilst enjoyable, the evening was essentially a standard performance from the West End production with a mediocre, larger-than-normal cast. Sacrifices were seemingly made to the effects budget having ‘splashed the cash’ on the likes of the Go Compare man and Swedish singing ‘sensation’ Peter Jöback (more on him later); the chandelier does not fall, certainly one of the most memorable moments in the show for most people, and copious use of rather grainy projections failed to set the scene as effectively as the late Maria Bjornson managed twenty-five years ago with her majestic, gloriously tangible designs in the original production.

The evening opened with a montage from Love Never Dies, Andrew Lloyd Webber’s latest flop musical (review here). The trailer looked, in fairness, extremely impressive with brand new sets, effects and a new cast. It promised Love Never Dies coming soon to DVD, Bluray and, interestingly, cinema. Perhaps with a new book, new cast, new lyrics, new title, and complete redesign right down to the lighting, Love Never Dies just might work one day. This trailer was followed by the usual EPK stuff and clips from existing Phantom documentaries, hyping the show as Cameron Mackintosh put it; “One of the most important things, ever”. Let’s not lose perspective then, Cameron.

There is no denying that the design team did a fairly impressive job of transforming the Royal Albert Hall into the Opera Populaire. The huge static sets look impressive and the chandelier, although stationary, does look quite spectacular when finally unfurled after the lengthy opening auction scene. Anthony Inglis leads the superb orchestra from the tiered set with gusto. Beneath them on the backdrop are projection screens as seen in the Les Miserablés 25th Anniversary Tour, also directed by Lawrence Connor, who is also to direct the new UK touring production next year. Undoubtedly, the tour will use similar projections as seen in this concert, if Connor’s previous productions are anything to go by. Projections provide a cheap, reasonably effective alternative to carrying actual set and Lloyd Webber is known to be a fan of them.

Now, on to the cast and performances*; firstly Ramin Karimloo as The Phantom, a performer I’ve seen numerous times in various musicals. He is certainly considered the ‘golden boy’ of musical theatre by bosses, but his casting was a controversial choice in the fan community. Karimloo has a strong association with the show, having played Raoul and both alternated and played the Phantom for a long spell in the West End. Indeed, it was his favourite show growing up in Canada and the reason he wanted to become an actor. But many felt his was uninspiring casting; he received mixed reviews from fans and critics during his London tenure, and made some rather regrettable, even controversial remarks during his run. In addition to this, the producers were essentially asking five times the cost of a top-price ticket in the West End production, to see exactly the same actor play the lead role on a different stage.

Karimloo is fine, if unspectacular as The Phantom. He has toned down the ‘rock edge’ he has tried to give the character since he first started in the show considerably, and it pays off. Karimloo is a wild card when it comes to vocals; unpredictable and at times unreliable, I’m not sure even he knows what will happen when he goes for the big notes. When they come off, however, they are spectacular and show exactly why he is so highly rated in the industry. Karimloo has a tendency to go flat when sliding up to higher notes which, when high-belting as he loves to do, can be painful on the ears. The first half of his ‘Music of the Night’ was shambolic. He appeared to be getting caught up in the moment and trying perhaps a little too hard, putting too much emphasis on Every. Single. Word. and perhaps not enough focus on staying on key. He didn’t falter, however, on the challenging ‘soar’ and ‘be’ notes, but even these weren’t a patch on other, stronger Phantoms who have played the role. His acting is good; he generally masks his Canadian accent aside from the occasional twang at the ends of phrases. His Phantom was generally quite warm and likable on the night (despite the murders, kidnapping and, if Love Never Dies is to be believed, unprotected sex with a girl half his age) and his Final Lair scene, the benchmark by which Phantoms are rated by fans, was generally good and at times even a little moving.

Hadley Fraser, wearing far too much eye-liner, played Raoul as a spoilt 30-something public schoolboy. Stiff and wooden, Fraser strikes me as a better choice for Javert in Les Miserablés, the role he is currently playing in the West End, than as a character who is meant to be charming and attractive to Christine. Fraser sounds strikingly like the late Steve Barton and I liked that he was an older man, as Barton was, rather than the very young men who play the role in the West End. He sang well, but it was hard not to focus on the eye-liner which, amusingly, kept getting topped up throughout the performance. By the curtain call, Raoul resembled a panda.

The star of the three leads was undoubtedly the American soprano Sierra Boggess, co-star of Love Never Dies and original Christine in the Las Vegas production. Boggess has an excellent – dare I say – world class voice and oozes quality whenever she is on stage singing. Note, I say singing – Boggess is a far, far better singer than she is an actress. It is therefore unsurprising that she has most the best moments of the night; her ‘Think of Me’ was beautiful with such clarity and beauty to her voice, her ‘The Point of No Return’ was dripping with innuendo and tension but one song stole the show – indeed, the lengthy applause even stopped the show – her performance of “Wishing You Were Somehow Here Again” was the performance of the night by a country mile and is probably worth the price of the DVD alone (if you can’t find it on Youtube). Having seen Boggess in The Little Mermaid on Broadway and now Phantom, her versatility is remarkable. In the former, she is does a perfect ‘Disney voice’ whilst still making the role her own (we won’t talk about her acting), but in Phantom she will rightly take all of the plaudits coming to her for her performance. Even in the cinema, she was the one who people actually clapped and came out praising the highest. Boggess sings in an operatic style, with the exaggerated vowels and quality from her highest to her lowest notes Boggess is a household name in the making.

Elsewhere in the cast I noticed an awful lot of scenery being consumed by excitable actors. Every line spoken by Gareth Snook and Liz Robertson’s incredible eyebrow acting spring to mind for all the wrong reasons. Wynne “Go Compare” Evans as Piangi is fine apart from a one dodgy moment in the opening ‘Hannibal’ scene, where something strange happened. I think  the direction called for him to deliberately flub a high note for comedic effect, which he did, but nobody laughed. I cringed. Barry James has a campy, creepy charm as Firmin and wins a few laughs. Special praise must be given to Phantom veteran Wendy Ferguson as Carlotta, covering the American soprano Kiera Duffy, who pulled out at the last minute due to a ‘throat infection’. Originally in the ensemble, Ferguson performed on quite short notice and did a sterling job. The cast was full of familiar faces and names, Phantoms, Raouls and Christines past and present made up the ‘company of companies’, as with the Les Mis celebration.

It was simply too hard to shake that nagging feeling that they could have done so much more with just a little more ambition shown. That 25 year old ‘player piano’ which mysteriously plays all by itself in the Don Juan Triumphant rehearsal scene has looked ridiculous from day one. It is hard not to laugh as the actors all try to look shocked/scared by an item bought from ‘Player Pianos Inc’. Very supernatural. In fact, why is that scene there at all? After Boggess’ very beautiful and sincere ‘Twisted Every Way’, she storms out with a sincere ‘I can’t!’. Ten seconds later, she slinks back on in the next scene and happily sings her part at the rehearsal. There is no explanation as to what changed her mind in those ten seconds, I can only assume that the rather dim Christine simply forgot that it was the ‘Phantom’s opera’ and was led there by Raoul dangling something shiny in front of her. Then there is the following scene which features ‘The Point of No Return’, beautifully sung by Boggess in particular. The idea is that Christine knows it is the Phantom under that robe, but plays along in order to ensnare him in Raoul’s clever trap. A trap which they discussed loudly INSIDE the theatre. A trap which the Phantom knows about, as he taunts Raoul to ‘seal his fate’. Yet, when Christine puts her cheek against the Phantom’s and feels his mask, she reacts in horror and tries to escape – acting as if she has just discovered that the man who has lost 10st, gained six inches in height and developed a Canadian twang isn’t in fact the Go Compare man after all. Shock!

Then, there is the title track conundrum. The use of click track recordings in the show is one of musical theatre’s worst kept secrets; a necessity due to technical limitations. While the real Christine and Phantom are backstage scrambling up ladders, they can’t sing at the same time, so a recording is played. This makes perfect sense to preserve the quality of the singing. In this performance, a recording was played despite the fact that none of these technical limitations were in place to begin with, why not have the actors sing the song live? Then, as the Phantom leads Christine off the boat in his lair, a sudden shift in the sound quality (plus the fact that Boggess’s throat wasn’t vibrating – or even moving at all) tells me that the final section of the title track was again click-tracked. The original reason for this being done was to save the poor actress playing Christine’s voice from singing very high and difficult notes eight shows a week. Why then was Boggess unable to sing those high notes just once, in a once-in-a-lifetime anniversary performance that people had paid in excess of £250.00 a seat for? These are just little things which could have been fixed with just a moment’s thought and effort. I understand they wanted to document the West End production, but the West End production isn’t perfect. This, as with other more recent productions, was an excellent opportunity to ‘correct’ a few of the more stupid aspects, but one which has not been taken.

There were also technical problems on the night with microphone balance, particularly in the opening scenes and then again in the after-show performance. In the ‘Hannibal’ scene, the main dialogue was drowned out by the ‘incidental’ acting of poor old Gareth Snook, who could be heard gurning and chuntering away at twice of the volume of Lefèvre who gamely battled on, making the opening dialogue in that scene inaudible to cinema-goers. Later in the ‘Track Down This Murderer’ scene before the Final Lair, the singing was unbalanced and woefully out of time with the music – possibly due to the technical aspects of the stereo mix being produced, or possibly because they were singing out of time with each other.

The show naturally closed to a standing ovation as the cast took their curtain call, before the inevitable speeches and performance from former cast members that is the norm in events such as this. First out was Andrew Lloyd Webber, looking even more awkward and uncomfortable than ever. He introduced some of the surviving original creative team then, as they were half way through taking their choreographed bows, he introduced members of the original company to a rapturous reception almost causing a nasty collision between John Savident and Andrew Bridge, who was mid-bow, leading Cameron Mackintosh to come wading in and use his showbiz nous to rectify the situation.

A choral arrangement of ‘The Music of the Night’ was then performed by Colm Wilkinson (original Canadian cast), John Owen Jones (current London cast), the incredible Anthony Warlow, whose appearance was a complete surprise and one of the highlights of the night and finally Swedish pop singer and musical theatre star Peter Jöback, who I have since learned is to join the London production from March 2012 as The Phantom. The arrangement was quite nice, although the singing was a shambles, some holding notes, others dropping short – the lack of rehearsal was plain to see and it made the performance forgettable. Well, forgettable that is except for Jöback’s ‘contribution’. His high, nasal whiney voice had Cameron Mackintosh and, in particular, Andrew Lloyd Webber looking particularly worried, considering how far he looked from being ready for his six month stint in the show. His voice was comically inappropriate; a few around us in the cinema actually laughed when he sang his parts. Nasal, weedy and with a very effeminate demeanour, Jöback’s Phantom is certainly going to be memorable.

Finally, Sarah Brightman and the boys sang the title track live (until the final parts which were again click tracked) and the show came to a close and Michael Crawford took a bow but didn’t sing. I have attended numerous ‘anniversary’ and special performances, including this show’s 21st anniversary performance at Her Majesty’s Theatre and find in this case, Sierra Boggess aside, there was little difference in quality in terms of the performances.  A ‘lamentable mess’? Definitely not. Worth a visit? Not at those prices in a million years. Buying the DVD? I think a trip to see Peter Jöback in March might be a more worthwhile investment – at least it will guarantee a few laughs.

- Harry Zing
Chewingthescenery.com

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Notes

*Unlike the Les Mis cinecast, no cast list was made available on arrival.

When?:

Foreword:

This is an update of my previous review of this tour from October 2010; the production has seen a major cast change since then and it is this aspect that I have focused on. You can find the original review in full here detailing a lot more about the production itself.

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Having loved my previous visit to this Evita, a return was inevitable; there have been many changes to the cast and I was eager to see if the high standard of this touring show had been upheld. The answer is yes – and no. And yes.

Joining the cast as Juan Peron is West End veteran Earl Carpenter, fresh from several years playing the title role in The Phantom of the Opera and a stint as Javert in Les Misérables in both the West End production and the highly acclaimed 25th Anniversary Tour. Whilst Carpenter acts and sings well, he is perhaps less of an obvious choice for Peron than his predecessor, lacking a little of the physical presence needed for the role. He has some lovely moments however; his emotional revelation of Eva’s terminal illness is beautifully acted. Carpenter is at his best as Peron during these more subtle moments. I have seen Carpenter several times in both Phantom and Les Mis and these delicate, heart-wrenching moments seem to be his forté – he never fails to move.

Sasha Ransley as the Mistress gives an excellent performance of ‘Another Suitcase in Another Hall’, there is only so much anybody could do with this one-song role but Ransley does it well with a delicate bell-like soprano. The new ensemble are on the young side compared to the more experienced looking 2010 cast, this was most noticeable in the military numbers ‘Peron’s Latest Flame’ and ‘The Art of the Possible’. One feels that a couple more experienced heads could tighten up some of the loose ends in the ensemble.

Mark Powell as Che was perhaps a touch less impressive this time around, considering how much I enjoyed his performance last time. Powell took a while in the last outing to find his stride, but when he did he was outstanding. This time, however, he never quite made it and despite having some nice moments failed to hit it out of the park as Che.

I went with ridiculously high expectations after being wowed by Abigail Jaye’s Eva, and I am happy to report that, if anything, she has gotten even better. Jaye, on the night, was again the stand out performer by a long way and her energy levels and work rate were second to none. ‘I’d be Surprisingly Good for You’, ‘Rainbow High’ and ‘You Must Love Me’ were particularly sensational.

I simply love her interpretation of Evita; unlike the others I have seen in the role, I feel Jaye accurately portrays how I believe Eva Peron would have had to have been to manage what she did in her short life. Jaye’s interpretation is meticulously well thought through and her expressions and mannerisms are so expressive as to what Eva is thinking and feeling at any given point; this is an actors performance which happens to be beautifully sung with an operatic quality.

I run out of superlatives describing Jaye’s abilities, so I will end by saying her performance as Evita is one not to be missed and is the primary reason to see this tour.

Evita runs at the Leeds Grand Theatre until Saturday 16th of July 2011 before embarking on the next leg of its European tour.

- Harry Zing
Chewingthescenery.com

Available from Dress Circle

Act One- Songs From The Musicals of Alexander Bermange is the only album to have new recordings of a large number of musical theatre performers. 26 leading ladies and men from West End musicals have come together to record songs from all of Alexander’s musicals.  Here are my thoughts on the album.

Walking On The Sun- Jon Robyns- A pleasant start to the album. Jon has a lovely voice and makes sure every word is clearly understood.

How You Imagine It To Be- Susan McFadden- Really impressed with this number and Susan’s voice. Her voice is powerful and expressive and the song perfectly suits that.

Anyone But You- Jenna Lee James and Dean Collinson- Jenna and Dean’s voices sound brilliant together.

Trail of the Heart- Ricardo Afonso, Cassie Compton and Sabrina Aloueche-  A great track with all three performers having a moment to shine. I’m particulary fond of Cassie’s voice.

I Want To Reach The Stars- Jon Lee- Jon performs this well, although I don’t think it is a stand out song on the album, I think it could grow on me. Alexander Bermange’s lyrics are beautiful.

My Prince- Lara Pulver- A wonderfully performed song by Lara Pulver. She tells the story of the song so well and brings an element of comedy to it.

If This Could Be Better- Linzi Hateley-A very pretty song stunningly performed by Linzi.

More Than A Memory- Oliver Tompsett-  I like this song, great lyrics and music once again and it suits Oliver’s voice well.

The Threshold Of Her Heart- Dean Chisnell and Sabrina Aloueche- Beautiful duet from Dean and Sabrina. Sabrina’s voice sounds captivating.

You Can Read My Heart- Daniel Boys- Really nice to hear Daniel sing a more upbeat song. He has been known as Ballad Boys! He sings this song wonderfully.

Just For One Moment In Time- Summer Strallen- Yet another gorgeous song. Summer’s voice sounds great.

Higher Than A Shooting Star- Mark Evans and Susan McFadden- Love this song. Mark Evans’ voice reminds me of Oliver Tompsett’s, I had to check it wasn’t Oli again. Susan’s vocals again stands out for me, makes me very excited to see her as Elle in Legally Blonde.

I’ve Grown To Learn- James Gillan-I like this song, it reminds me in some ways of Stiles & Drewe who I am particularly fond of! James performs it well.

The Magic’s With Me Tonight- Joanna Ampil- Brilliant catchy song with fantastic vocals from Joanna.

I Only Wish For You- Shona Lindsay, Ramin Karimloo and Dianne Pilkington- Love this trio’s rendition of this song. Their voices blend well with one another. A very strong stand out song of the album.

The Land Of Gold- Earl Carpenter- Not a stand out song for me, although it is well sung, I don’t find it as impressive as the other tracks on the album. It could grow on me though in time.

Where’s The Love?- Janie Dee- I think this is another ‘pretty’ song. I hate overly using that word, but it’s perfect for summing up this song. Janie’s vocals are very gentle in this number and it really works.

Enchanted- Ben James-Ellis and Alexia Khadime- I wasn’t expecting Ben and Alexia’s voices to sound so good together, but they really do. Recently I have become quite a fan of Alexia!

Can’t Get Enough- Sally Ann Triplett- I think Sally Ann Triplett is a great performer. This song is catchy and well performed.

If No-One Loves You- Oliver Thornton- I think this is a great end to an album of stunning lyrics and beautiful music. Oliver’s voice sounds fantastic.

The day begins, and now let's see, what this new world will do for me.

This piece of paper in my hand, it makes me cursed throughout the land. It is the Law!

Tell his Reverence your story, let us see if he's impressed!

God has raised you out of darkness, I have bought your soul for God.

Why did I allow this man to touch my soul and teach me love?

Take an eye for an eye, turn your heart into stone! This is all I have lived for, this is all I have known! Is there another way to go?

Related Posts:   Gavroche   My Les Mis    Please Sir, I Want Some More    To The Barricade!   Ramin Karimloo   Grantaire   Enjolras & Grantaire   Thénardier Waltz    Gavroche: Liar!     Bring Him Home   Enjolras   Les Mis: The Originals

Simply put, I cannot rave enough about this production – I’m at a loss as to where to even start with the review, there’s so much I would like to discuss! I had been chasing all across the UK for an invite to come and see this anniversary production (and had been doing so for over a year!) before I had a last-minute chance come up yesterday, and I am so so chuft to have finally seen it (and yes, I did get sniffly during bits of it heh!) – the wait was well worth it, and it was made even more special by getting to see it at the Barbican, where the magic all began on October 8th 1985 – exactly two months after I was born!

First off, I feel that I should put this review and production in context – considering it as is, i.e. a (just about Off) West End show, this production is totally awesome, however when taken as intended, as a piece of touring theatre, this is absolutely phenomenal. There are simply no other words for it!

Coming from Manchester originally, I’ve sat through more than my share of touring productions, and whilst they’re usually fair-to-good, they’re not even close to being comparable with the quality of this production. The money, care and attention that has been devoted to this production only serve to do the brand proud and this actually now excites me for the precedent and legacy that this hopefully establishes for other touring productions, who should see that if you get it right, you can charge those premium prices out in the regions, and really provide a top quality show to the masses!

Let’s move on to the casting for this 25th Anniversary production, and I have to hand it to casting director, James Orange, it was absolutely spot on! Flicking through the program, it transpires that nearly everyone in the cast was incredibly stage experienced, and there’s actually not one of the many principles who I’ve not already seen in at least one other show it would seem.

I’m very much inclined to agree with the New York Post who said that the casting of John Owen-Jones was second only to Colm Wilkinson, Owen-Jones was absolutely phenomenal in the role. West End stalwart Earl Carpenter’s portrayal of Javert gave me several of the vocal highlights of the night (check out his version of Stars below – I can’t rave about it enough, WOW!) and he was perfect in the role, and I’d also like to call out Rosalind James who played Eponine, as she really moved me with her hair-tingling rendition of ‘On My Own’).

I have to say, that I had a few early issues with Fantine, played by Madalena Alberto, and I somehow managed to sit through I Dreamed A Dream without feeling a shred of emotion… which was absolutely unforgivable in my opinion! Perhaps I was comparing it too much to Ruthie’s vocal, however I really didn’t get the feeling that Fantine was on the edge, had realised that she’d lost everything and had started to become so bitterly jaded. Acting wise, she was great, and in the following scene, I felt all those emotions, it’s just a pity that they didn’t seem to connect through the vocal. I should add that this isn’t any kind of criticism of the actress (after all, I am just a blogger!), however for such a high-profile song, I just think that it needs to be absolutely perfect and credible as I feel that a lot of values surrounding the whole production rest on it, and of course this may well influence the perception of others who are perhaps less-well-acquainted with the Les Mis story, and ultimately how they may judge it.

My friend, Brett, and I both agreed on the above point, and we also had a few other minor likeability issues with other characters in Act One (we’re looking at the Thénardiers here!), but these were all swiftly ironed out by Act Two and in the end, the other characters that we’d initially questioned, we found we ultimately loved a lot!

Of course, this production also has a certain (and yummy!) Gareth Gates in it! Whilst he’s vocally no Michael Ball, we found that in Act Two he really got into his stride with the acting and was actually rather good in the role. His portrayal did leave us with perhaps a more naive and ‘innocent’ Marius as opposed to the confident cocksure Michael Ball portrayal, however I think that this really worked with this production and helped make his character a little more likable!

Much has been made of the staging of this 25th Anniversary production, and rightly so, for it is a thing of magnificent beauty! The use of the video technology, props and all of the flats is simply remarkable and not something seen on the touring theatre circuit on this scale before. Certain moments of the production (e.g. Javert’s Soliloquy) really lend themselves to the use of this technology and the attention to detail was fantastic!

Hats off also go to Peter White and his orchestra, for it was absolutely divine to hear a full orchestra in the pit for this show (the decline of the use of which is my biggest bug-bear about the West End at the moment). I found it especially awesome when the horns kept coming in during the opening bars of At The End Of The Day, I actually got goosebumps and shivered – my favourite bit of the entire score.

Perhaps the only real ‘let-down’ for me (aside from I Dreamed A Dream) was how the end of Act One was staged – I felt that there could have been a more visually arresting display to close the act on, however this is only a very minor niggle, and certainly doesn’t impact on my over-all enjoyment of this production.

A quick note now about the Barbican itself, if I may indulge slightly, for I have never been to this venue before. I loved it! The swooshy doors at the wings of the auditorium were fantastic (I want some!), and the seating at the theatre was perfectly placed from what I could tell / experienced. We were sat in the centre at the back of the stalls, next to the tech desk, and we had a perfect view over everything. I liked that when I went to buy some water during the interval, the shopkeep asked if I would like it at room temperature or cold – I’ve never had a choice before! (FYI, cold!).

Speaking of the interval, those huge jaw like safety curtains are very scary. Also, when I went to use the bathroom during the interval, I came across something that I have *NEVER* seen happen before – all of the men that were in there using the facilities *ahem* (and there must have been about 30) were all whistling along in time to Master Of The House – heh!! Amazing! (and yes, of course I joined in, heh!).

The audience, incidentally, were the most well-behaved that I’ve ever seen an audience be – nobody got up to go to the loo halfway through the Act, there was little coughing, and no sweet paper rustling – everybody was sat captivated completely by the action on the stage, and the thunderous standing ovation that the cast received at the curtain call was, without doubt, the loudest and most enthusiastic that I have ever heard in any theatre that I’ve been in – wow!

The one production that I’d now really like to see would be the O2 25th Anniversary Gala performance on 3rd October (alas, I’ve been told there’s no way I’ll be able to get invited to see that, gah) – which looks to be absolutely epic! If you’ve got tickets to this, I am very jealous!

All in all, I will hands down say that seeing Les Misérables at the Barbican has been the theatrical highlight of 2010 – I cannot praise this production highly enough and would urge everyone to go and see it if presented with the opportunity!

The Les Misérables 25th Anniversary tour will end on October 2nd at the Barbican after a near-year long tour of the UK, so this really is your last chance to see it! GO!

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As an aside, earlier on, I posted a (hopefully!) fun little SMS exchange that I had with my pal Brett after seeing this, feel free to check it out

SPOTIFY USERS: You may be interested in the 25th Anniversary Cast Recording

It’s good to report then that it’s in fine shape and some aspects of the new production have improved upon the original, most notably the scene in the sewers of Paris and the death of Javert. I found the longish prologue a bit clunky, but from the moment the opening music of act one began, the tingling and tension of the muscles returned and by the interval we were cheering the wonderfully uplifting first act finale.

The new staging of directors Laurence Connor & James Powell, with set design by Matt Kinley, does work well – it seems much zippier without feeling rushed or without losing any narrative. I was very impressed by Earl Carpenter’s Javert, Gareth Gates (yes!) Maruis, Jon Robyns’ Enjolras the Thenadier’s of Ashley Artus and Lynne Wilmot. There was much to admire about the acting performance of Valjean’s understudy Christopher Jacobson, though his vocal’s were a bit hit-and-miss in the upper register. Rosalind James as Eponine let herself down by wandering into pop diva mode occasionally and I’m afraid I found Fantine Madalena Alberto’s voice highly unattractive. I don’t know which kids were playing little Costette and Gavroche, but whoever they were they were terrific. The chorus sounded great and the new orchestrations are so much better than the synth-heavy budget version now at the Queens Theatre.

I do wonder if Cameron Mackintosh been around at the beginning of the 20th century, whether Puccini would have had similar long runs with Madam Butterfly and La Boheme, for this is the musical territory this show occupies. When they write the history of 20th Century musical theatre, this will most certainly be in the top ten, in the top five of dramatic musicals and maybe even…..

The press release is as below.

I am a little dubious about the suitability of the casting of – the ever hot -  Gareth Gates (pics via link) as Marius… that said, I am sure that he is eager to break the mould and try something serious for a change, and good luck to him, especially if it gets the kids interested in this type of musical! I think that the rest of the cast announced thus far looks very strong.

They’ve not yet announced the casting of Fantine, and though I’m sure that they won’t, part of me dreads that they may try to get Susan Boyle for this… erk!

Cameron Mackintosh is delighted to announce that John Owen Jones will star as ‘Jean Valjean’, Earl Carpenter as ‘Javert’ and Gareth Gates as ‘Marius’ in the exciting new 25th anniversary production of the World’s Longest Running Musical “LES MISÉRABLES,”. The production will have spectacular new designs inspired by the paintings of Victor Hugo and will embark on a major international tour commencing in the UK at the WALES MILLENNIUM CENTRE CARDIFF on 11 December 2009 where it recently went on sale, breaking all box office records in the theatre’s history! Current tour schedule attached.

Broadway and West End star John Owen Jones was recently hailed by the New York Post as the best Jean Valjean since Colm Wilkinson. As well as starring in “Les Misérables” in both the West End and on Broadway he has also appeared as ‘The Phantom’ in “The Phantom of the Opera” at Her Majesty’s Theatre. Earl Carpenter who is currently playing ‘Javert’ in the West End production of “Les Misérables” has also starred as ‘The Phantom’ in West End as well as the starring role of ‘Darryl Van Horne’ in “The Witches of Eastwick” at the Prince of Wales Theatre. Gareth Gates needs no introduction. A multi million selling popstar who still has the 2nd best selling single this decade. More recently he has played the title role of ‘Joseph’ in “Joseph and the Amazing Technicolor Dreamcoat” at the West End’s Adelphi Theatre and was a semi finalist in ‘Dancing on Ice’ 2008.

The magnificent score of “LES MISÉRABLES” includes the songs, ‘I Dreamed a Dream’ (currently the world’s most popular song!), ‘On My Own’, ‘Stars’, ‘Bring Him Home’, ‘Do You Hear the People Sing’, ‘One Day More’, ‘Empty Chairs at Empty Tables’, ‘Master Of The House’ and many more.

“LES MISÉRABLES” originally opened in London at the Barbican Theatre on 8 October 1985, transferred to the Palace Theatre on 4 December 1985 and moved to its current home at the Queen’s Theatre on 3 April 2004 where it continues to play to packed houses. When “LES MISÉRABLES” celebrated its 21st London birthday on 8 October 2006, it became the World’s Longest Running Musical, surpassing the record previously held by “Cats” in London’s West End.

Seen by over 56 million people worldwide in 42 countries and in 21 languages, “LES MISÉRABLES” is undisputedly one of the world’s most popular musicals ever written, with new productions continually opening around the globe. There have been 34 cast recordings of “LES MISÉRABLES”, including the multi-platinum London cast recording and the Grammy Award-winning Broadway cast and complete symphonic albums. The video of the 10th Anniversary Royal Albert Hall Gala Concert has sold nearly two million copies worldwide, making it one of the best-selling musical videos ever in the UK. There are over 2,000 productions of the Les Misérables School’s Edition scheduled or being performed by over 100,000 school children in the UK, US and Australia, making it the most successful musical ever produced in schools.

Cameron Mackintosh’s production of “LES MISÉRABLES” is written by Alain Boublil and Claude-Michel Schönberg and is based on the novel by Victor Hugo. It has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and original French text by Alain Boublil and Jean-Marc Natel and additional material by James Fenton. The original London production of “LES MISÉRABLES” was adapted and directed by Trevor Nunn and John Caird.

This new production will be directed by Laurence Connor and James Powell and designed by Matt Kinley inspired by the works of Victor Hugo and John Napier. Original costumes by Andreane Neofitou, lighting by Paule Constable and sound by Mick Potter.

Further information (including dates and venues) can be found on the official production website.