Category Archives: Music

Calamity Jane, New Wimbledon Theatre

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Calamity Jane is not a musical which you get the opportunity to see very often, so when my friend announced she was going to be in the new touring show, I jumped at the chance to watch and support. Travelling around the country theatre by theatre, it was only a matter of time before the cast arrived in London and the capital was certainly pleased to have them, packing the New Wimbledon Theatre to the brim.

The narrative is based loosely on the life story of Martha Jane Cannary, the American frontierswoman known for fighting Indians! It has famously been adapted for film, and stage. Recently there has been an economic trend for actor-musician shows where the orchestra are incorporated in onstage performance, and the instruments are played by the talented multi-tasking cast. Nikolai Foster uses this technique to make the show snappier and more powerful, and luckily the cast seems able to flit between acting, playing, singing and dancing with staggering ease. This style of production definitely suits this vintage show. To create the scene authentically, Matthew Wright has designed a set that is simple and rugged evoking the Western character.

Jodie Prenger, known for winning the part of Nancy in Lloyd Webber’s televised search, is a powerhouse. She stomps about the stage, with the perfect twang and a very fluid, natural comic acting style. She is complemented by the cast of versatile performers around her. I was delighted to see my good friend Giovanna Ryan stepping up to the role of Susan, and storming the stage as if she’d been playing the part her entire life. Amazing too to see her full set of musical skills illustrated in the show – she tinkles virtuosically on the piano, plucks away at her bass and beautifully bows the cello. I felt very proud. I also really enjoyed Phoebe Street’s rendition of Katie Brown, the pretty girl who offers some contrast to the rest of the rowdy cast.

It is a joy to see this Sammy Fain musical revival, if you can visit any of the tour venues, I highly recommend a trip to this brilliantly modernised version of an old-fashioned classic.

More information and book tickets to see Calamity Jane here.

Sunny Afternoon, Harold Pinter Theatre

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Musicals documenting and celebrating the lives of prominent musicians and bands are increasingly popular: Jersey Boys, Thriller, Let it Be and now Sunny Afternoon, a show dedicated to the hits of the Kinks.

This punchy show enjoyed a sold-out run at the Hampstead Theatre, and has now transferred to the West End’s Harold Pinter Theatre. Based on the music and lyrics of Ray Davies and a new book by Joe Penhall, the production follows the Kinks rise to stardom. The drama is set against the backdrop of Britain in the 50s and 60s and here we watch the ecstatic highs and thudding lows of this iconic band.

As a child I had a group of talented friends from Muswell Hill who formed a band, so moments of this musical really resonated with me. Four ordinary lads from North London strive for success while also trying to remain true to themselves.

The stage is simply set, with a catwalk through the audience in the stalls. We feel excitingly close to the action, and the loud amplified music pulses through the building, so you can feel and hear it. The four boys have been brilliantly cast: George Macguire is a wild, passionate and aggressive replica of Dave ‘the Rave’ Davies, while John Dagleish presents his older brother as a more thoughtful but headstrong lead, Ray Davies. Adam Sopp (as drummer Mick Avory) and Ned Derrington (as bassist Pete Quaife) provide compelling support to the two feuding brothers.

It is interesting to watch the backstory to a band who have influenced generations. Whether you remember the Kinks decades ago or have been introduced to their sound more recently, it is impossible not to enjoy the cast’s riotous renditions of You Really Got Me, Lola, Waterloo Sunset, and of course Sunny Afternoon.

Continues until May 23 2015, more information and book here.

THOROUGHLY MODERN MISSY: La Traviata, ENO

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The run of consistently excellent productions from the ENO hit a slight bump in the road last week with the opening night of Peter Konwitschny’s La Traviata. Perhaps this more negative reaction is because of the proximity of the opera to the premiere of the outstanding Meistersingers production a few days earlier. The set was very sparse, verging on excessively minimal; a lone chair and some scarlet drapes set the scene for what is usually a lavish and luxurious backdrop appropriate to courtesans and upper class socialites. The chorus, however, was much more engaging. They were busy, buzzing and bustling all over the stage underscoring Konwitschny’s vision of Violetta being the only ‘real person’ and her surrounding company being wired, cavorting ‘city folk’ who are constantly searching for new dramatics. The most creatively choreographed scene was the gambling scene in which the chorus paced back and forth flicking cards in a nonchalant manner – once again reiterating the blasé and indifferent nature of the upper classes of the time. Verdi’s music was as rousing as ever under the baton of Roland Böer with only a few timing snags. The stand out voices were Elizabeth Zharoff, who seemed to come into her own as the opera progressed, and Anthony Michaels- Moore who sang Germont’s role. As with many Traviata performances, the famous ‘Drinking Song’ was performed with great enthusiasm and gusto.

There were moments of awkwardness in the production – most obviously the decision – reminiscent of pantomime – for members of the cast to break the fourth wall by climbing awkwardly over the front row of the audience. As well as this, the translation could have been more artfully done – but perhaps this was just noticeable because of the familiarity of the much-loved Italian libretto.

Though the production was perhaps too modern and slightly undeveloped for such a classic and famously luxurious and musically lush opera, nothing could detract from the beauty of Verdi’s music. Though the ENO have been facing difficulties in recent weeks, their productions are still deserving of the company’s high reputation. La Traviata was less polished than previous productions in recent weeks, but nonetheless is still a showcase of excellent operatic singing talent.

La Traviata continues until 13 March, more information and book here.

Written by Thoroughly Modern Missy, Angelica Bomford.