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Posts Tagged ‘Andrew Rivera’

This was written after Ken Hill’s Stratford East original but before Lloyd-Webber’s show, which sadly scuppered its Broadway intentions and quite possibly changed history. Even so, it’s had over 1000 productions worldwide but, astonishingly, this is its London professional premiere – and Maury (Nine, Grand Hotel & Titanic) Yeston & Arthur (Nine) Kopit’s show is rather good.

Of course, it shares the same source in Gaston Leroux’s book, but we get more of the phantom (Eric!)’s history / back story and the music is a nod to French operetta (somewhat appropriately for its late 19th century Parisian setting) rather than ripped off from an obscure Puccini opera set in the wild west! It’s a whole lot less pompous that Lloyd-Webber’s, with some nice tongue-in-cheek touches (this could be the production rather than the show, of course).

This is a room above a pub in Walthamstow, so there’s no multicoloured masquerade, boats sailing on dry ice lakes or falling chandeliers – indeed,the entire budget is probably less than the other one’s chandelier cleaning bill – but it’s a terrific production. This is largely due, as before at Ye Olde Rose & Crown, to sky-high musical standards plus, on this occasion, excellent casting by Ben Newsome (also responsible for One Touch of Venus here last year plus more recently A Class Act & Sleeping Arrangements at the Landor and Rooms at the Finborough).

Kieran Brown is outstanding as the phantom and Aussie Kira Morsley (her UK professional debut?) is a fantastic Christine, with the perfect voice for the part. I loved Pippa Winslow’s Carlotta and there are other fine performances from Andrew Rivera as her husband, Sean Paul Jenkinson as the count also in love with Christine and Tom Murphy as outgoing theatre manager Carriere. They are all supported by a fine ensemble.

I adored MD Aaron Clingham’s arrangements for piano, woodwind and strings and the idea of atmospheric ‘incidental’ music is a very good one. American Dawn Kalani Cowle (it’s a proper United Nations up there in Walthamstow) does a fine job of staging this in such a small space, with clever use of a red curtain across the whole space.

I thought One Touch of Venus was a turning point for this venue, and I think this proves it. Anyone interested in musical theatre should be heading to Walthamstow right now. No excuses.

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