Review: SPEND SPEND SPEND @ Royal Exchange, Manchester

 

The cautionary tale of Viv Nicholson is perhaps not so well known these days, her football pools win of £152,319 may not sound a lot, but in 1961 it was the equivalent to £4 million plus in todays money. (The average cost of a house that year was £2,700). A life changing amount, and certainly to a lady who had been brought up in virtual poverty. Viv Nicholson was an outsize personality, with little filter, who approached everything at a hundred miles an hour. It proved the catalyst for a whirlwind life that is defined by excess and tragedy.

The original production of Steve Brown and Justin Greene's musical Spend Spend Spend (taken from Viv's utterance when asked what she was going to do with the money) opened in Leeds in 1998, but in 1999 a new production arrived in the West End and won the Evening Standard Awards for Best Musical the following year. On the 25th anniversary of that London production, comes a new version presented by the Royal Exchange Theatre in Manchester and in memory of composer Steve Brown who sadly passed away in February 2024.

Keith and Viv Nicholson being presented with their winning cheque on behalf of Littlewoods Pools 

by Bruce Forsyth (far right) in 1961

The current production at the Royal Exchange is staged on a large round silver circle (presumably meant to convey a coin?) onto which various pieces of prop furniture are wheeled to convey scenes and locations on Viv's wild journey.  Theatre-in-the-round is an artform all itself, where the audience surround the stage,  and it can be frustrating when a character is giving a major speech with their back to you.  However its the nature of the beast and director Josh Seymour does his best to make sure the action is fast moving. Sometimes its a little over fussy, when simplicity might have worked better in its favour. The ensemble are certainly kept busy but its at the deteriment of the the central characters, two Vivs (older and younger) and Keith. The action starts in Salon Mystique during the 1990s where Viv is working as a hairdresser, decades after her pools win,  and we then go back in time, the story being told and commented on by the older Viv throughout.  We arrive in working class Castleford of the 1940s with Viv's long suffering Mum (Rebecca Thornhill) and alcoholic Dad George (Joe Alessi).  Being brought up in virtual poverty because of George's drinking must have given Viv an early thirst for a better lifestyle and that of course means having money.

 

Viv Nicholson banknote used in the production

 

Rachel Leskovac is a stunning older Viv, just as she was as the younger Viv in the original production, and its a bit of a full circle moment for the show. Her dry commentary as she loses her virginity or goes through several husbands is part of the charm of the evening. She is matched by Rose Galbraith as the younger Viv, clawing her way up from the social pit that she finds herself in and marries the first man to enter her life when she was just 17, thanks to becoming pregnant. Vocally two powerhouses as they unleash the big number in the show 'Who's Gonna Love Me?' with showstopping force. Alec James-Hatton has to find the core of Keith, who died aged 27 in a car crash devestating Viv. There is a lot to go on with Viv as she led a full and often high profile life, but Keith is more of a mystery however James-Hatton finds the gentle warmth of him even during the post-win excessive behaviour by them both. The ensemble come into their own as they form the people of Castleford and Garforth (the posh town where the Nicholsons hope to find likeminded money folk), having costume changes aplenty and giving some jovial performances. We didn't find the sound mix to be that wonderful, but Livi van Warmelo leads a enthusiastic band in delivering Brown and Greene's rich and underated score. As confetti and Viv Nicholson bank notes reign down from above,  there is certainly a lot of glitz and pizzaz used in conveying the Nicholsons mighty win. Whether this 25th anniversary production gets to the heart of Nicholson's morality tale is debatable, its well produced and performed but doesn't quite find the gritty nub of Nicholson's legend.  However the two stellar performances leading the show are more than enough to warrant buying a ticket for this revival.  

Rob & Ian

Viv Nicholson (centre) flanked by Rachel Leskovac (left) and Barbara Dickson (right) at the Evening Standard Awards in London, 2000.

Further Listening: 

It has to be the original London company headed by Barbara Dickson (who won the Olivier Award for Best Actress In A Musical for playing the older Viv)and Rachel Leskovac (who was nominated for the same award) which can be streamed and downloaded via major services. And there is a CD too, but quite a collectors item now.

You might also like to check out the book You Don't Know Viv, written by her son Howard Nicholson and published in 2017.

A CHRISTMAS CAROL (UK TOUR) @ Theatre Severn, Shrewsbury

 

If there was an award for the greatest Christmas story of all time (apart from that one about the baby and the stable that started the trend) it has to be Charles Dickens' eternal favourite A Christmas Carol.  First published in 1843 and over the decades a favourite in literature, the big and small screens and radio since that very first edition was debuted. Everybody has a favourite version. Stretching from the classic 1951 movie with Alistair Sim, through versions by the Carry On team to that family favourite The Muppets Christmas Carol. As we no longer do pantomime (after watching hundreds, its lost its magic for us - bah humbug!) it is with great delight we savour this festive season touring version by the Crime and Comedy Theatre Company.

This production puts the focal point on Dickens' original prose, by setting the telling in a vintage radio recording studio and having the actors read their parts. Its sounds a bit odd on paper, but it really works as the world of Scrooge, Crachitt, Jacob Marley and the rest are conjured up in the performances of the cast on stage. This version is adapted (and directed) by Martin Parsons, authentically using the original book as its source material. Just as Charles himself did during those famous performances in the Victorian era. All the while the stage manager (Victoria Richards) is creating all manner of sound effects for us in the corner, a taste of radio plays of yesteryear giving the whole enterprise a wonderfully nostalgic glow.

 

Many people would remember Peter Purves as a presenter from his long stints presenting Blue Peter and Crufts for the BBC to name but two, but Purves started out as an actor (indeed he was one of the original Doctor Who's companions in 46 episodes during the 1960s) and here returns to his calling as Charles Dickens himself, recalling the strange events of Christmas Eve. Purves' relaxed but authorative delivery sets the scene perfectly for the events which follow.

The evening is held together by the charismatic presence of Colin Baker, former Time Lord and vastly experienced stage actor as he ably demonstrates. His Scrooge is a loud curmudgeon, barking at his clerk Bob Crachit whilst spurning any mentions of charity. But Baker's skill isn't just in the stereotypical 'humbug' Scrooge, he portrays the deeply troubled Ebeneezer as the effects of his behaviour are unravelled with great sensitivity and finally the unbridled joy as Scrooge realises he can redeem himself, and make good all the bad deeds he has been guilty of.  It's a mesmerising performance, as Baker savours Dickens rich dialogue. 

                                                        Tom Baker giving his Jacob Marley

A story which wallows in time travel has attracted a second time traveller, the legendary Tom Baker materialises on a screen at the back of the set. His instantly recognisable fruity tones lend themselves easily to Jacob Marley, the ghost of Scrooge's business partner and the portent of doom with the arrival of ghostly spectres. Baker is clearly reading the material as the producers are filming, but he adds his own unique take on Marley and both Baker's manage to play opposite each other thanks to the wonders of technology.

The rest of the cast (Sarah Gain, Gwithian Evans, Francesca Anderson and Owen Frost) divide up the spoils of Dickens roll call of Ghosts, nephews and Crachits. They are each wonderful to watch and listen to,  rounding out the supporting cast through their expansive vocal skills.

 

Going into the theatre we were not sure how effective this format would be, but were immediately won over.  The evening seemed to pass very quickly, so engrossed were we in the unfolding narrative. A little bit of story telling magic has been delivered by all those on stage.

The Crime and Comedy Theatre Company have hit on a winning formula to tell this most famous of tales, and the evening rightly belongs to Colin Baker who holds court and keeps the sold-out audience spellbound throughout.

Rob & Ian

Check out future productions of THE CRIME AND COMEDY THEATRE COMPANY

Review: HERE & NOW (The Steps Musical) @ Alexandra Theatre, Birmingham

 

Warning: Jukebox musical. Approach with caution. After seeing I Should Be So Lucky in Manchester a year ago (last years theatrical low point), we came to Birmingham with reservations.  We love Steps.  We love their songs. But its not enough to make a successful musical. Thankfully the producers of HERE & NOW seemed to have grasped this, and gone the extra mile to ensure that Steps' chart busting catalogue of hits are surrounded by coherent characters and great performances.

Shaun Kitchener has had the difficult task of tying together the disparate hits (mostly about love and loss despite the dance beats) and pulling them all together to tell a story. So we find ourselves in an unspecified northern town at the discount store Better Best Bargains. There we find the staff at crossroads in their personal lives. Caz has been ditched by her rat of a husband for 'Cheryl from the chippy' just as the childless couple are on the verge of adopting a child. Vel is wondering how she can end her relationship with long term boyfriend Lesley. Neeta has the hots for co-worker Ben, but she just cannot find the courage to tell him. Whilst Robbie just cannot commit to guys for a serious relationship.  So its all emotional turmoil to one degree or another. Then there is French loving Patricia, the starchy owner of the store, who has her own passionate secret: Honri.  But Honri isn't all he seems, and it turns out that sleezy Max has intentions of purchasing the store and using Caz in the process.  When the store is threatened with closure, Caz and her pals need to take action.  'Cos that would be a 'Tragedy' right?

Love and betrayal are at the heart of many a song and good drama but in this case it's all done in designer Tom Rogers fabulous bright pink and blue store. You know its all going to be camp as Christmas. Leading the cast is the amazing Rebecca Lock as Caz, her big voice soaring as she tackles several heartbreak ballads and brings the roof in with her 'One For Sorrow'.  She is vocally matched by Sharlene Hector as best mate Vel,  another magnificent performance, nailing the comedy and delivering the big notes. We last saw Blake Patrick Anderson in Germany giving his Starlight Express,  but here he plays the commitment shy Robbie with a loveable bounce. His solo 'The Story Of A Heart'' is a winner.  River Medway proves his hysterical turn as mermaid Ariel in Unfortunate earlier in the year was no fluke. Medway's razor sharp comic timing is out in force again as local drag queen Jem, and his solo number 'Chain Reaction' (set in the electrical goods aisle of BBB) takes the camp-ometer up to overload. Hiba Elchilkhe makes the most out of Neeta, a part that is a little under written but again she has the timing and vocal chops to stop the show. The men generally have less showy parts, but manage to hold their own amid the wealth of female talent on display. Gary Milner as love rat Gareth,  Dan Partridge as shop worker Ben and Edward Baker-Duly as hideous businessman Max work hard to show its not complete female domination. Finty Williams is on form too as frosty Patricia, lover of French phrases and with a secret all her own, as she delivers management mirth throughout the show.  This is without doubt a very strong cast and ensemble, delivering the feels and also the high energy big show numbers (check out the 'Half Price Hoedown' to '5,6,7,8') as they belt out the best Steps can offer.

 

Director Rachel Kavanagh keeps the story on track, she sensibly grounds the characters amid the kitsch set and song catalogue. We invest in them, and the cheers from the audience as the characters win through is a testament to the fact the creative team have got it right.  We feared the worst of a jukebox musical, but instead we got something that is fun and infectious. With all five members of Steps (Lisa, Lee, Ian, Claire and Faye) sat a few rows behind us, and causing hysteria when the entered to take their seats, we had pop royalty in the house. They are also theatrical producers of this show, along with iconic music producer Pete Waterman, and they should be pleased that their music is joyously celebrated in this classy production. A step(s) in the right direction for sure.

We predict that 'What The Future Holds' for this show is full houses, dancing in the aisles and we can't wait to go again frankly. It's Steps-tacular.

Rob & Ian

Find out more about the show at the OFFICIAL HERE & NOW WEBSITE

Further listening:  

As there is no cast album at the time of writing, we suggest you dive into 2022's The Platinum Collection for a feast of high energy Steps greatness through the decades. CD, download or stream - you know you'll be dancing whatever the option.

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FOR THE RECORD: Starlight Express

 

 This is an updated version of an article that appeared in my previous blog Doctor Theatre in 2018.

One of the bonuses of musical theatre is that we are often treated to more than one recording of a particular show, indeed often several international versions in a variety of languages around the world.  Andrew Lloyd Webber’s global popularity means that his shows have more than their fair share of availability with cast recordings worldwide. None more so than Starlight Express, the ground breaking musical where the cast perform entirely on roller skates. Richard Stilgoe's infernally clever and witty lyrics are just one of the reasons this show has cast its spell over audiences for some 40 years. In this article I am going to take a look at the recordings that have been issued over the years, their merits and how they differ. I have discounted the cheap cash-in recordings that can be found online, this article concentrates on official cast recordings affiliated to productions running around the world. Clicking on the covers takes you to the DISCOGS music website where the albums are available to buy from sellers internationally. So lets literally get our skates on and start with...  

 

ORIGINAL LONDON CAST RECORDING 1984

 

Running time: 100 minutes  Language: English

 

This double album (in the days of vinyl of course) is something of a mash up.  The show was recorded over three performances in April 1984 at the Apollo Victoria Theatre where Starlight Express had opened the month before.  It was then taken and given studio polish, adding overdubs and additional instrumentation. The 26 tracks make up the majority of the show, and cross referencing the track listing with the original programme show that the omitted tracks are ‘Hitching And Switching’ (later replaced with ‘Coda Of Freight’),  Heats Two and Three of the races and the Race Uphill Final.  Additionally the versions of ‘AC/DC’ and ‘Only He (Has The Power To Move Me)’ are the single versions and not the show versions whilst ‘He Whistled At Me’ has had extra studio polish (perhaps being primed for a single?) The recording is also the first and last to feature ‘Belle The Sleeping Car’ performed marvellously by P.P. Arnold, subsequently omitted from future productions, similarly Michael Staniforth’s ‘C.B.’ would also be a unique feature of this first recording. The album features a glittering array of West End talent with Jeff Shankley giving his rich baritone to the Elvis inspired diesel engine Greaseball and Stephanie Lawrence lending her light vocal touch to Pearl. Ray Shell gives perhaps the best vocal of all the recordings of young steam engine Rusty, whilst Lon Satton as Poppa has the blues running through his bones, and sets a template for the role which performers try to emulate to this day. He is simply divine. Add in the aforementioned 1960s pop diva P.P. Arnold, Les Miserables sensation Frances Ruffelle, a pre-Red Dwarf Danny-John Jules and Rentaghost’s mesmeric Michael Staniforth and you have yourself the core of a cast that is going to be hard to beat on any subsequent recording. This recording was re-mastered and re-released in 2005.  10/10 

 

 

 U.S. CONCEPT ALBUM 1987

 

Running time: 49 minutes  Language: English 

 

The arrival of Starlight Express on Broadway didn’t bring the expected American cast album, instead Andrew Lloyd Webber favoured a re-working of songs by producer Phil Ramone in order to produce a stand alone pop album. Ramone drafted in a number of successful artists in order to give a make-over to highlights of the score.  Just thirteen songs make up this collection led by Detroit soul singer El Debarge with the main theme from the show “Starlight Express”, a new version which incorporates a verse melody from the original version of “Only He”.  The album features two versions of the song “Engine Of Love”, one by Peter Hewlett and the CD debut of the original 1977 single by Earl Jordan which was Lloyd Webber’s first attempt at a song based on the railroad theme and featuring lyrics by Peter Reeves. It became the main melody of "He Whistled At Me" in the show. For the most part, through no fault of the artists,  the album lacks the sparkle of its predecessor. Taken out of their musical setting the album struggles to find any emotional resonance although Josie Aiello and Peter Hewlett perform a reasonable “Only You” duet whilst another duet between Hewlett and Richie Havens of “I Am The Starlight” is the nearest to a show version we get.  Havens also draws out the gospel in “Light At The End Of The Tunnel”.  But by and large this album fails to sell the delights of the show,  Harold Faltermeyer’s “The Race Is On” a prime example of a watered down offering. 
5/10

 

 JAPANESE AND AUSTRALIAN TOUR 1987

 

Running Time: 51 minutes  Language:  English

 

Back on sturdier ground the massive arena tour that played Australia and Japan in 1987 is very much a record of that particular production. With some lyrical changes from the original, it was recorded initially at a live performance in Tokyo and then studio polished in London. It features the only English cast recording of the original pop single “Engine Of Love” as part of the show. It is a highlights album featuring fifteen tracks (although track 13 combines "I Am The Starlight" and Race Music for some reason). Nikki Beisher’s “Make Up My Heart” is a stand out whilst Troy A. Burgess gives a spirited “Pumping Iron”. Bobby Collins and Richie Pitts, whilst not quite hitting the heights of Satton  and Shell, manage to connect with the emotional aspects of  “I Am The Starlight” (or the Starlight Sequence as it is later referred to). Overall a strong showing of cast and musical arrangements serving as a taster for Antipodean and Japanese audiences. The album was released in Japan by Pony Canyon and Australia by EMI,  hence the differing covers above. 7/10

 

 

 BOCHUM CAST CONCEPT ALBUM 1988

Running time: 55 minutes  Language: German

The legendary Bochum production in Germany was initally represented by an album that is a hybrid of cast album and pop album. The original Bochum cast are let loose on the songs and had the Broadway production gone for this approach the U.S. album might have had the panache that this album still has in spades.  Produced and arranged by Jürgen Fritz,  the arrangements don’t veer too far from the source material but just enough to keep your toes a-tappin’ throughout. For the first time we hear the mother and son bedtime dialogue at the start of the show then Paul Kribbe’s opening “Rolling Stock” sets the tone nicely. “Liebesexpress” mixes things up even more by being in German but with a backing of “Nobody can do it like a steam train” English refrain.  We get the equivalent of the “C.B.” track from the English recording here called “Ganz Allein” (All Alone) nicely performed by Hans Johanson. Natalie Howard’s “G.E.K.U.P.P.E.L.T.” is just one of many stand out tracks, channelling her inner Tammy Wynette to bring a touch of C & W class to proceedings. The one nod towards a fully fledged concept album is “Du Allein” (All Alone / Only He) which sees Irish Eurovision king Johnny Logan pair up with German chanteuse and actress Ute Lemper, replacing the German cast members for this one track. All told it is a strong presentation of fourteen of the shows best known numbers.  8/10

 

BOCHUM LIVE CAST ALBUM 1989

 

Running time: 114 minutes  Language: German

As if to rectify the demand for an album which accurately reflected the show version, just twelve months after the pop album from the original cast, the first replacement cast were given a chance to shine on a live album featuring the entire show. Recorded live then mixed and tweaked (with some possible overdubbing) in Holland,  this is as close to the live experience on audio as it is possible to get.  The second act opens with an Entr’acte followed by "Hymn To Victory" thus losing "The Rap" opening that had been present on the only other full show recording, the 1984 original.  By this stage in the shows development, there have been a few tweaks to the original songs (including ‘Make Up My Heart’ written for the Broadway debut) but it follows fairly faithfully the original song order. David Michael Johnson delivers his Electra for the second time on record, the first being in the Australia / Japan recording. The energy of the show literally leaps out of the speakers and is pretty much a text book example of how to do a live show album.  The German people certainly liked it because to date it has sold well in excess of 400,000 copies. 10/10

 

 

GIRLS' ROLLING STOCK 1990

Duration: 3m17s   Language: English

Something of a curiosity and released in conjunction with the remounting of the Australian / Japan arena tour in Tokyo, four cast members of Starlight Express perform a song called "The Train" (nothing to do with the show) but also offer up "Girls' Rolling Stock", the Act 2 reprise which I think has disappeared from both London and Bochum versions of the show. Cast members performing the song are C. Jay Ranger, Caran Cardelle, Debbie Wake and Nikki Belsher.  5/10

BOCHUM HIGHLIGHTS ALBUM 1991

 

Running Time: 56 minutes  Language: German

Within the space of four years, we have a third album from the Bochum production. Offering eighteen newly recorded tracks.  None seem to veer from the show versions and in itself, this is another excellent release showcasing the talent gathered in Bochum.  For the second time Stevie Woods gives his Papa, this time paired with Colin Munro as Rusty. Steve Casey also has a second outing as Greaseball. Original London cast member Kofi Missah returns to the show on record, this time playing the major role of Electra, a great job he makes of it too. Claudia Bradley is Pearl and she and Munro nail their love duet.  9/10 

 

 

THE NEW STARLIGHT EXPRESS 1992

Running time: 69 minutes  Language: English

Perhaps fearing the show was starting to show its age and lose its appeal to younger audiences,  Lloyd Webber and Richard Stilgoe set about revamping the score some eight years after it opened, adding and subtracting numbers and re-vamping the arrangements. “Entry Of The National Trains” precedes “Rolling Stock” whilst Rusty has a new song “Crazy”. The biggest change is that Rusty and Pearl's ballad “Only You / Only He” has gone and in comes a replacement song with lyrics by Lloyd Webber’s collaborator on Tell Me On A Sunday and Sunset Boulevard, Don Black. The song “Next Time We Fall In Love” is a pretty generic song, its one you either love or you don’t and I personally fall into the latter category.  I think the original is a better fit for the show. Parts of the melody later get an airing as "Somewhere, Someplace, Sometime" - a song added to Tell Me On A Sunday. Then there is the Megamix, having introduced the concept into the 1991 Joseph revival at the Palladium, its a chance to reprise all the best numbers and get audiences on their feet and dancing along. Although technically a highlights album,  this does feature a large portion of the show.  The talent on display is as always with Starlight exemplary. Having been denied a cast album at the time, the original Broadway Pearl, Reva Rice, is given a chance to shine on this latest recording and her duet with Greg Ellis of the new song is very pleasurable listening.  John Partridge makes a charismatic Electra and Maynard Williams provides one of the best Greaseball’s to be heard on disc. Caron Cardelle having previously recorded a version of “Girls’ Rolling Stock” for the 1990 Japanese tour is here promoted to Dinah, and her “U.N.C.O.U.P.L.E.D.” is a fine rendition. Lon Satton still holds court as Papa and as on the original recording, his contributions are always wonderful to listen to.  9/10

 

MEXICO HIGHLIGHTS ALBUM 1997 (unreleased)

 

Running Time: 61 minutes  Language: Spanish

Something of a curiosity, this is a studio recording featuring songs from the Mexico City run. There was apparently some problem with the rights to the show and the production closed prematurely and thus this cast album in waiting was permanently shelved. Although it does not have the production values of some of the earlier recordings (maybe because it is an unfinished album), it is however an interesting look at a Spanish translation which underwent some changes. “Rolling Stock” becomes “The Power Of The Rails” in Spanish for example. 7/10

 

BOCHUM NEW SONGS EP 2003

 

Running Time: 19 minutes Language: German

Perhaps feeling a little left out by not releasing a recording for twelve years, the Bochum production suddenly entered the fray again with a five track EP entitled New Songs showcasing the changes to the production since the last offering. We get Jamie Golding showcasing “Crazy” and “Starlight Express”, then dueting with Danni Kearsley-Wooller on “Allein Im Licht Sterne” (a version of “Next Time You Fall In Love”).  A Megamix is followed by “Starlight Express Boy Band Version”.  Basically Jamie Golding and all his Rusty covers in the show are united in a Westlife style version of the song, it’s rather nice actually.  7/10

 

 BOCHUM LIVE CAST ALBUM 2015

Running Time: 125 minutes  Language: German

Recorded in June 2013, but released in 2015 (amid rumours of Lloyd Webber not being happy with some of the recordings) this is again a hybrid.  Taken from an initial live recording, this has been heavily overdubbed and remixed so that truthfully it cannot be considered a true live album.  That is not to say that it isn’t a great listen, because it is. The arrangements have been worked with a techno vibe in places in an effort to give some of the songs a more contemporary soundscape. This is most evident in the race sequences but can be heard elsewhere. Among the changes to show are the inclusion of material re-worked for the 2013 UK Tour.  “A Whole Lotta Locomotion” with lyrics by composer David Yazbek has been translated as “Nie Genug” (Never Enough) and is a much more strident dance floor song,  not the light poppy vibe of “A Lotta Locomotion” which it replaced.  Der Rap is a curious mixture of the original and re-vamped versions, perhaps the most surprising change though is the inclusion of a song by Lloyd Webber’s son Alistair originally with English lyrics by Nick Coler called “I Do”.  Here it is “Fur Immer” (Forever), and is a nice slice of Europop, and a better fit for the show than “Next Time We Fall In Love” for this fan boy’s tastes. Georgina Hagen and Marcel Brauneis make the most of the new song, delivering a great track (and later encore reprise). It may not be a truly live album but it is the complete show as it stood that year and as such provides another major slice of Starlight action. Its boppy, its poppy and you'll want to listen to it more than once.  It also has the distinction of being the recording with the longest running time of all those thus far released.  9/10

 

 

ICH BIN ICH 2023

Running time: 11 minutes  Language: German / English

To celebrate the 35th anniversary of the Bochum production,  a three track promotional CD was issued (available as a download too) of a new song written for the show "Ich Bin Ich".  Its English version "I Got Me" was also included, along with a dance mix of "I Got Me".  The English lyrics are penned by Lauren Aquelina with the German translation by Wolfgang Adelberg. The song replaces "A Lotta Locomotion" / "A Whole Lot Of Locomotion" in previous iterations of the show.  Bochum cast members Emilie du Leslay,  Rose Ouellette, Sydnie Christmas and Dieuwke Tonissen perform on the recording. 8/10

 

REVIVAL LONDON CAST ALBUM 2024

Running time: 65 minutes  Language: English

Finally on the 40th anniversary of the original production, and 30 years since the previous London cast album, the 2024 revival production is given its own recording and in keeping with tradition, the track listing is unique. No cast recording of Starlight Express has thus far replicated any previous version. Such is the nature of the ever evolving score and characters. The production running at the Troubadour, Wembley Park has wowed audiences since June 2024, but how do the cast fare on record?  The 21 tracks mirror the New Starlight Express recording of 1992, it is a 'Highlights' album with the major musical passages included. For the first time on record we have a female Greaseball (Al Knott)  and Momma (Jade Marvin). The production on the album whilst generally sound does occasionally give the vocals too much prominence,  a better balance might have been preferable. A case in point "Rolling Stock" makes Al Knott appear very shouty and you wonder why the vocals haven't been mixed into the soundscape to a better effect. Perhaps in the world of computer game music, for whose attention this has to compete among the younger audience, that is how things are done. "I Got Me" has now had a lyric makeover as "I Am Me", and we get the extended single version of the futuristic engine "Hydrogen" with its brain washing refrain "Its not a matter of if, its a matter of when..." (music by Andrew, lyrics by Richard Stilgoe's son, Joe) which as far as I know isn't the version used in the show. If there is one criticism of this album, its that it lacks a bit of subtlety. Its very in your face, the characters are not quite so endearing as in previous versions, the nuance diluted. We finally get an English recording of "I Do" sung by Jeevan Braich and Kanya Montecillo, and a good job they make of it. And of course a revised Megamix closes the album. All in all fans of the 2024 show will love it, but longer term admirers will perhaps yearn for a few touches from the past. Starlight Express is still an evolving piece, enticing in a new generation of theatre fans. For them certainly this album will be a streaming hit. 7/10

 

So there  you have it, Starlight Express on record... until now. With Bochum nearing its 40th anniversary and the London version about to be launched worldwide,  I am sure its not the last we will be hearing of the engines and carriages and their desire to win the Railroad Championship.  Race time minus one minute.... 

Rob Cope

Review: GHOST THE MUSICAL (UK Tour) @ Regent, Stoke

 

 

Movies into musicals is now a genre in its own right,  some would say that like the jukebox musical, it is killing creativity. However, these adaptations are instantly sellable. In a world where we need to know what we are getting before we invest,  they are massive sellers to the public at large.  It must have been a bit of a no brainer when in 2011 the first production of Ghost The Musical hit the stage.  The 1990 movie starring Patrick Swayze, Demi Moore and an Oscar winning Whoopi Goldberg has proved one of the most popular of all time. A true weepie about the enduring power of love and loss.  So no pressure there than for the creative team of Bruce Joel Rubin (book and lyrics),  The Eurythmics' Dave Stewart and Glen Ballard (music and lyrics).  

This production by the late great Bill Kenwright has been touring the UK for a few years now on and off,  audiences still though flock back to the show, proving that you can't keep a good show down.

In case there is anyone out there who is not aware of the plot, banker Sam Wheat is killed by a mugger in New York in front of is fiance Molly Jenson. But Sam is trapped between worlds, unable to communicate with anyone other than his fellow ghosts who haunt the streets and subways of NYC.  However, a meeting with a reluctant psychic Oda Mae Brown sees Sam able to communitcate from the other side. As he and Oda Mae soon discover,  his death is more than just a tragic circumstance,  it is part of a deeper plot by his best friend Carl to defraud the bank at which they work of millions, and which puts Molly's life in danger.

The characters are so clearly defined in the movie by Swayze, Moore and Goldberg that it is no easy task to persuade audiences that other actors are now in charge. However,  this production is blessed with the talents of formidable leads. Rebekah Lowings returns to the roll of Molly, and is a double threat.  She can convey the yearning grief which consumes us all when it comes to the loss of a loved one and sing like an angel at the same time.  She has several solo ballad moments,  and of these 'Will You' is probably the highlight. She is lucky to play opposite the tall and rugged Josh St. Clair taking on Swayze's role of Sam Wheat. Again, this guy can sing, and his duets with Lowings portray the chemistry between Molly and Sam which are the very centre of the show. The comic tour de force of Jacqui Dubois brings Oda Mae to life, giving us a smattering of Whoopi whilst also making the character her own. Oda Mae has been conning people with her fake pyschic powers for years and isn't too thrilled to find she has a real connection to Sam. She may be a Medium but in other repects Dubois possesses big attitude, big voice and gets most of the big laughs.  She has the audience on her side from the moment she steps out and performs 'Are You A Believer?' to a gullable widow.

Perhaps the most difficult role in the piece is Carl Brunner, Sam's banking friend and colleague who is the villain of the piece. James Mateo-Salt skilfully manages to convey the increasing panic and desperation of Carl as he is threatened with the exposure of his banking fraud by Sam from beyond the grave. Completing the major characters are Jules Brown as the killer hoodlem Willie Lopez,  Garry Lee as the manic Subway Ghost and comedy legend Les Dennis who steps into the duel roles of Hospital Ghost and banking boss Lionel Ferguson with ease. Each of them bring another layer to this morality tale.

Director Bob Thomson makes sure the characters don't veer too far from the familiar,  with Mark Bailey's set and Nick Richings lighting playing a large part in convincing us Sam is no longer an earthly presence with clever tricks and illusions in place of the movie's special effects.  The score by Stewart, Ballard and Rubin contains serviceable songs,  none which linger much past the exit door, but are certainly pleasant listens. 'Here Right Now' might be perhaps the one song which people will go out humming.  However, the one jewel is of course the arrival of 'Unchained Melody' in several forms during the evening. The Righteous Brothers 1965 classic is a focal point of the movie and remains so in the stage version.  Did we have a tear when Sam finally ascends to the other side?  You bet we did!

Ghost, movie and musical,  allows us to buy into the notion that our loved ones are still with us, and will be waiting for us. Something we'd all like to believe. This production is tastefully produced, gives us the feels and earned itself a standing ovation at the end of the show. For two hours at least, we did believe. Amen to that!

Rob & Ian

2024 and 2025 tour details can be found at the BILL KENWRIGHT WEBSITE

 

Further listening:

It can only be the original West End cast recording, the only English language version available, recorded in 2011 and featuring Richard Fleeshman, Caissie Levy and Sharon D. Clarke as Oda Mae Brown. Two German language cast albums (2017 & 2022) have also been released.  Purchase options for all versions can be found by clicking on the cover below.