July 2005

So, once more to London, where this time a different mood prevails. Arriving just four days after the second ‘terrorist’ attack in as many weeks, despite all appearing normal, you can notice that an undercurrent of unease exists. The previously anonymous sirens wailing by, for a moment at least, herald some possibly greater significance. The middle-eastern guy getting on the bus gets a glance that lingers just those few beats longer. Even the decision of whether to take the bus or tube (or walk) seems itself a weightier question than normal. Such things will pass with time, I suspect, should we be fortunate to escape further incidents - the human mind has a remarkable capacity for healing.

Billy Elliott - Victoria Palace
One of the hot tickets for the season and even booking fairly early, I had difficulty getting a good seat. I’ll start by saying I’m not a great fan of the film (as a North-Easterner myself I probably shouldn’t say this); I thought it was ok, but nothing special. The prospect of a musical version was therefore not particularly enticing. The Elton John penned songs are ‘ok’ without being particularly memorable, ditto the lyrics, story, humour, drama, cast - everything really. There are, however, two stars of the show - the breathtaking dancing and the mesmeric performance of the lead (James Lomas on this occasion). Dancing is not normally my thing, but this energetic, emotive, rhythmic and at times beautiful performance of dance makes the show all that it is. The cast album is apparently due out later this summer - shame you won’t be able to see the dancing.

Phantom of the Opera - Her Majesty’s
It’s always nice to revisit an old favourite - particularly after the release of the much-awaited film (now out on DVD). It appears that (as with Chicago) the film has regenerated interest in the show rather than have any negative effect and I gathered there were many first-timers in the audience. On the strength of this visit, the phantom will be with us for a while yet - even achieving a standing ovation on this occasion. Though I did feel this was a little generous, it was a very good performance. Earl Carpenter’s phantom is much more menacing, more dramatic, more crazed, more poignant, more hurt and angrier than the last incarnation. He’s a little questionable on the top notes and does tend to over-annunciate, but these are small blemishes on a performance which gets to the very essence of the phantom’s tortured soul. The supporting cast does well too - none worthy of particular praise, but none letting the side down either.

Guys & Dolls - Piccadilly Theatre
When you’re singing/humming the tunes to a show before you even get into the theatre, you’re just hoping they don’t make a dog’s breakfast out of it. As the advertising board outside infers, this show would likely feature in the ‘top ten’ of many people. From this production, it’s not difficult to see why. Littered with classics from start to finish, it’s a rush to fit them all in - and the pace is a little too relentless, particularly in the first half. To pick further, the largely plain, black set feels rather dour for the vibrant liveliness of the songs and performances. The set and breakneck speed to one side however, this is a truly marvellous show - thoroughly deserving of the standing ovation at its conclusion. Jane Krakowski is particularly excellent as Miss Adelaide. Her performance, and the brilliant rendition of ‘Sit Down You’re Rockin’ the Boat’ (led by Martin Ellis as Nicely Nicely Johnson and sadly deprived of an encore), are both worth the ticket price on their own. Ewan McGregor also has his shining moment in ‘Luck be a Lady’ - which stands out from his capable but otherwise unexceptional performance. The rest of the cast support well and the ensemble singing and dancing is a wonder. I don’t think this beats the production at the National a few years ago, but it’s not far away. Excellent.

Death of a Salesman - Lyric Theatre
I heard two separate sets of people leaving the theatre saying ‘that’s the best play I’ve ever seen’ - or words to that effect. I know what they mean. Though I wouldn’t go that far, I can’t think of any drama I’ve seen that has been so powerful, gripping and tragic for quite some time. Brian Dennehy gives an outstanding performance as the salesman of the title and Douglas Henshall is also compelling (as his son Biff) as we watch their past and present gradually collide to reach resolution for them both. A useful, simple set and stark lighting facilitates without distracting and supports the bleak mood of the piece. A powerful production of a brilliant play - and another well-deserved standing ovation.

Mary Poppins - Prince Edward
Genius. I was going to leave it at that, but it’s not very descriptive (though very true). I could also say ‘Practically Perfect’ (like one of the songs in the show) but I suspect that’s not very original. For adult and child alike this is a marvellous, faultless show - with wonderful sets, dancing around the proscenium, flying through the auditorium, a great cast (led by a superb Laura Michelle Kelly) and a fantastic score. From start to finish it’s difficult to avoid grinning from ear-to-ear and just try leaving without one of the tunes in your head... I found the film too, well, too Disney - sugary, sweet - but nothing of the sort here, very neatly balanced to appeal to children and adults alike (particularly through the efforts of Jenny Galloway as the deadpan Mrs Brill - the housekeeper/cook), this should, and deserves to last a very long time. I, for one, shall be returning.

Rat Pack - Savoy Theatre
Well what a joy - jazz/swing classics from the masters themselves - Frank Sinatra, Sammy Davis Junior and Dean Martin. The ‘impressions’ vary from song to song and among the triumvirate, but this doesn’t matter too much. You’re soon drawn to the threesome and into the conceit of a performance at the Sands Hotel in Las Vegas. The clear-cut jokes fall a little flat and you really just want them to keep singing, but they just about get away with it. Top-notch songs and some well-judged comic camaraderie make an entertaining two-and-a-half hours.

Dancing In The Streets - Cambridge Theatre
I actually saw this on tour after I had booked the ticket for London, courtesy of some free tickets a local theatre had passed me. They’ve changed the show a little - the narrator gives less of a history of Motown as the show progresses and instead involved the audience more - less educational, perhaps, but no less entertaining. And involved they do become - it was difficult to tell if there was a standing ovation at the end as most had been standing for the last twenty-five minutes of the show - dancing in the aisles, if not the streets. Many excellent performances here and there are some less-well-known songs alongside the classics. Very, very lively and a cracking night out.

Genius of Ray Charles - Theatre Royal, Haymarket
Expertly performed review of (some of) Ray Charles’ best-known numbers, interspersed with one-two line epithets about the man and his music. This is a party on Ray’s music - well designed, presented, danced and sung and certainly any fan of the music will enjoy this. It reminded me - in presentational style - of Smokey Joe’s Café, but I think this is an even better show - with the band prominently on stage, plenty of room for dancing and a little acting thrown in, this is raucous and heart-pumpingly energetic cabaret. Very entertaining and ending with yet another standing ovation.

Les Miserables - Queens Theatre
At the smaller Queens Theatre (rather than the Palace), the show is much more intimate and involving, but loses none of its strengths. Another excellent cast perform this long-runner, as has been the case for nigh-on two decades. John Owen Jones suits the Valjean role better than the phantom, which he was playing until fairly recently, and Cornell John compares well as Javert (though he did waver a little on a few notes). Another stand-out was Amanda Jane Callaghan as Eponine and Hayden Tee as Marius; powerful clear voices both. It also occurs to me that Les Mis has moved into the 21st Century by having two coloured actors in leading roles (Javert and Enjrolas). Normally this wouldn’t merit comment, but I can’t remember there having been any in the many casts I’ve seen over the years - odd, that. Anyway, guess what - a standing ovation.

The BIG Life - Apollo Theatre A last-minute addition to the schedule. Lively, bouncy, fun music, in the style known as ‘ska’, makes this entertaining stuff and puts a big smile on the face. But the show is lifted by the laughs - particularly with a Jamaican ‘mother’ figure (Tameka Empson) perched in one of the boxes (rather like Statler and Waldorf from the Muppet Show) filling in over the scene changes and splitting the audience’s sides with laughter in the process, commenting on the scene just gone and lots more besides. The actors on stage also bring out the humour of life as an immigrant in ’50s London, but there are barbed allusions to the not-so-funny side of it all as well. Overall, for the fun and the frolics, a really different and enjoyable evening’s entertainment.

Before I round up, there is a gripe I want to get off my chest. Despite “strictly prohibited” announcements about recordings, pictures and mobile phones, there were still mobiles ringing and people taking pictures mid-stream. Why is it so difficult to switch off your phone? And what’s unclear about ‘strictly prohibited’ - in any case, why take small, dark pictures of a show - splash out on a programme and enjoy the performance rather than looking at it through a two-inch screen.

I’m not sure whether it’s just that the shows are exceptionally good this year (which they are), or if we’re throwing off some of our famous reserve, or if there’s something special about this summer, but standing ovations were liberally doled out among the performances above. This after many, many years of steadfastly-seated applause. Whatever the reason, it’s good to note that London’s West End continues to be full to the brim with shows that can touch, move, enliven, amuse and amaze. What a great city.

END

David Heppell
david.heppell@eidosnet.co.uk