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Posts Tagged ‘Alison Jiear’

The film on which this is based was a post-Grease vehicle for Olivia Newton-John. It was a premiere league turkey and won the inaugural Razzle Award; in fact, it inspired them. Twenty-seven years later someone had the idea of this stage musical adaptation. Bonkers? Well, obviously not as it was a Broadway hit, clocking up more than 500 performances. It’s taken eight years to get to London and it turns out to be a preposterous story and as camp as a decade of Christmases, but with its tongue firmly in its cheek it proves to be rather irresistible.

A Venice Beach artist has created a chalk picture of the muses. These immortals arrive from Mount Olympus with the chief muse transforming into a mortal Aussie woman, who sets out to help him. They go about persuading a local property developer to let them open Xanadu, a club which was built but never opened, as a roller disco. Bonkers. The music by ELO’s Jeff Lynne and John Farrar is typical 70’s pop disco with numbers like Evil Woman, Physical and the title track hits at the time. Douglas Carter Beane’s book cheekily sends up anything and everything, including the show itself. It’s hard not to succumb to its crazy charms, particularly in a full house cheering and whooping as if its a cult show they’ve seen many times before.

Nathan M Wright’s choreography is a hoot, featuring roller skating of course, including one duet between the chief muse on skates and the artist in a phone box! Morgan Large’s design is a riot of colour and includes more glitter, and glitter balls, than you’ve probably seen in one place before. Paul Warwick Griffin’s staging uses every opportunity to get a laugh. It really is rather hard to resist.

Samuel Edwards is terrific, in particularly fine voice, as naive artist Sonny. Carly Anderson’s Aussie accent is (intentionally) all over the place, which results in an awful lot of laughs and she milks the role for all it’s worth. There’s great support from the other six muses (two played by men!), but it’s a particular joy to see Alison Jiear as evil muse Melpomene in a stage musical once more.

I have a sneaky feeling this is going to become a Rocky Horror-type cult – we certainly haven’t seen the last of it.

 

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Contemporary Music

Surely Richard Thompson hasn’t ever had a band as good as his current trio? His Royal Festival Hall show was the second time I’d seen them in 2.5 years and they’ve got even better. They were such a tight unit and RT was on fire playing guitar. There were so many highlights, but an acoustic Meet Me On The Ledge and a cover of Hey Joe stood out for me. His daughter Kami and her partner did such a lovely 40-minutes in support you had to forgive the nepotism!

Cynthia Erivo‘s late-night ‘bon voyage’ concert (she’s off to Broadway!) at the Hippodrome was a real treat, with a host of great guests that I wasn’t expecting, including Richard Fleeshman (terrific pianist too!) Robert Dean Wilson, Alison Jiear and Eva Noblezada. The vocals were occasionally too unrestrained, but that’s easily forgiven because of the show’s many highs and the emotion of the occasion. Let’s hope they don’t keep her there!

Opera

The Royal Opera’s Orphee et Eurydice felt more like a staged concert, with the orchestra and choir on stage and no set as such. Hofesh Schecter’s dancers were mostly underutilised, but somehow it proved satisfying overall. Gluck’s music was played and sung beautifully and it was this that mattered most, carrying the evening.

Classical Music

The Bernstein Prom was one of the hottest tickets this year and I failed to get an extra single despite trying almost daily. It turned out to be a real highlight too, a lovely combination of stage and screen works with the emphasis on songs from shows. The John Wilson Orchestra sounded great and the soloists were terrific, with Scarlett Strallen bringing the house down with Glitter & Be Gay. Some say the Proms are dumbing down with populist stuff like this, but that’s tosh – Bernstein is a 20th century titan and his stage and screen works are more than worthy of treatment in this way.

Dance

Lest We Forget was a triumph for English National Ballet; three works marking the centenary of the start of the First World War by three great modern choreographers – Liam Scarlett, Russell Maliphant and Akram Khan.  I feel lucky to have seen the early revival. They were extraordinarily diverse pieces, but all were stunning in both visual imagery and emotional power. One of the most perfect evenings of dance I’ve ever experienced.

I haven’t seen Les Ballets de Trocadero de Monte Carlo for many years and I’d forgotten what fun this all-male company is. The parody of classical ballet is brilliant, but what I realised this time is how skilled they really are as ballet dancers. A hoot.

I gave the Hofesh Shechter Company a second chance as I wasn’t sure after Political Mother, but the barbarians trilogy didn’t convince me I’m afraid. The visual imagery was often striking, but the lack of a cohesive narrative meant that it didn’t sustain its 90 minute running time.

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