Tag Archives: singing

THOROUGHLY MODERN MAN: Spinach, King’s Head

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The programme for Spinach promises “thrills, abductions, pills, attraction [and] prescriptions”.  For this (along with the cover art) you might be expecting a raw, gritty piece exploring a dark, seedy underworld of rave culture.

Yet, as a musical, Spinach turns your expectations on their head – not only of what the production entails but what a musical should be.  As soon as the music starts comedy ensues, though distinctly of the black variety.

Kate (Cassandra Compton) and Tom (Ben Gerrard) wake up with amnesia, tied to each other, with no idea where they are or how they got there.  As the plot unfolds, their memories return as they piece together the preceding events – with a little help from Maureen (Claire Greenway) and Darren (Craig Whittaker) who take part in alternative scenes out of the narrative time frame.  The plot is absurd, its twists and turns as unexpected as they are unlikely, but it’s no less enjoyable for it.  After all, musicals often require an element of suspending disbelief.

The musical style does not have the typical musical structure.  Instead, it takes the form of speech-song, like an extended recitative.  This is the source of much amusement (“the repetition of haloumi kebab” in song never gets old), though accompanied solely by piano, the music does become a little repetitive.

In keeping with the speech-song style, the fragmented melodies didn’t allow for long lyrical phrases to show off the voices of the performers.  However, Compton certainly stood out for her vocal ability as the cutesy Kate, whilst the chiselled looks of Gerrard, best known for his work in Hollyoaks, made a suitable partner.  Whittaker’s laddish Darren had plenty of comedy moments with Greenway’s Maureen – Greenway especially shone in hilarious fashion for both her singing and saxophone playing.

The cast as a whole should be commended for their sheer effort in singing constantly for eighty minutes without an interval.  Yet Spinach is moreover impressive simply for confounding expectations – a musical-play filled with comedy and thrills in equal measure.

Continues at The Kings Head Theatre until 7 July, book here.

Written by a Thoroughly Modern Man, Ed Nightingale. Check out Ed’s blog, The Gizzle Review here.

THOROUGHLY MODERN MAN: Top Hat, Aldwych Theatre

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Based on RKO’s motion picture starring Fred Astaire and Ginger Rogers, Top Hat arrives in London’s West End having been adapted for the stage by Matthew White and Howard Jacques.  Irving Berlin’s timeless music and lyrics remain largely unaltered, allowing the show to follow the track beaten out by London’s recent revivals such as Singin’ in the Rain and Crazy For You.  I was pleasantly surprised to discover throughout the evening that this film was the source of many old-time songs, such as ‘Cheek to Cheek’ and ‘Let’s Face the Music and Dance’.

The last show I saw at the Aldwych was a dance spectacle in the form of Dirty Dancing, and it was the dancing that stole the show in this production also, though obviously in a very different style.  I was in awe of the stamina of this singing and dancing cast, particularly that of the protagonists played by Tom Chambers and Summer Strallen.  The story revolves around these two lovebirds; Jerry Travers, the seasoned Broadway singing dancer and Dale Tremont, the sassy socialite who captures the heart of the former.  If I am being completely honest, the singing was not always spot on for my money, but the dancing, which was captivating and graceful throughout, more than made up for it.  All due credit must be ascribed to choreographer Bill Deamer for creating such a visual delight.  Standout comic performances were also given by Vivien Parry, who played the even sassier friend of Dale, and Stephen Boswell, who played Bates, a long-suffering butler who drew roars of laughter from the audience with his line delivery and peculiar costumes.

The staying power of a classic musical, for me, lies in how engaging the plot is.  Unfortunately, for my tastes, this plot swung a little too loosely between the sublime and the ridiculous, and I found it unnecessarily long-winded towards the end.  However, the show is a triumph of classic choreography and ensemble performance, and it certainly ticks all the boxes as far as a family-friendly production is concerned.  If you wish to kick back and reminisce about a golden age of Sunday afternoon films, then this is the show for you.

Opens officially from Wednesday 9 May, book tickets here.

Written by a Thoroughly Modern Man, Mark McCloskey.

Vocal Orchestra, Udderbelly Southbank

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The Vocal Orchestra is a dynamic group of young performers, using extreme vocal technique and beat-boxing to present a spectacular soundtrack. They are currently performing at the Udderbelly on the Southbank, sharing their energy and enthusiasm with the amazed audiences.

The hour long show is a triumph. The group are pitch perfect and secure and confident in all the complex harmonies and percussive cross rhythms. The show comprises renditions of well known tunes, from different genres and different ages (ranging from 18th century string quartets to up to date hip hop numbers), even including a jaw-dropping war soundtrack. All is arranged and created by the talented and internationally renowned Shlomo.

Seven vocalists (Claudia Georgette, Billy Boothroyd, Robin Bailey, Harriet Syndercombe Court, Johannah Jolson, Grace Savage and Ross Green) provide different elements and demonstrate different skills. No-one can deny each and every singer is hugely talented and musical, but it is their charm and confidence that really makes the show work. Grace Savage is particularly impressive as the booming bassline, and Claudia Georgette has a stunningly soothing soprano voice singing the melody for some of the jazzier numbers.

Surely these seven singers are the hippest crew in London… not only can they beatbox and perform any song without a backing track but they look super cool while doing it. I want to be in their gang.

Continues until 27th May, book here.