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Posts Tagged ‘Corrine Priest’

I was lucky to be working in the North-West in the summer of 1986 when this show had it’s world premiere. With the music of Howard Goodall’s first show The Hired Man still ringing in my ears, off I went to Oldham Coliseum. The cast were a bunch of then unknowns, many of who went on to become musical theatre royalty – Maria Friedman, Jenna Russell, Clare Burt, Andrew C Wadsworth….. I loved the show and the following year I was on the Olivier Awards panel when it re-opened the Playhouse Theatre in London, substantially re-cast. I was expecting to lead the campaign to nominate it as Best Musical, but it was a different show and for some reason had nothing like the impact it had in Oldham. I’ve never entirely understood why.

It was 24 years before its second London outing, this time at Ye Olde Rose & Crown Theatre (in a room above a pub in Walthamstow), and it proved to be a delightful chamber piece. So here we are another three years on and it’s the third in the Union Theatre’s Howard Goodall Season, with a production whose musical standards may well be the best. It sounds gorgeous.

Set in the the second world war in the WAAF (Women’s Auxiliary Air Force), the ten ‘girlfriends’ are carrying out admin duties, parachute packing and tea making. We have just two airmen representing the RAF and one of them is caught in a love triangle with best friends Amy and Louise (the other one is trying hard to get laid). The former is toff Guy and the latter Welsh boy Gareth (co-incidence). Everything is told in song – there’s next to no dialogue – which often makes it feel more of a song cycle than a musical. The lack of a good book is its flaw (according to Goodall, Richard Curtis no less added to his research notes with ‘a rambling inventive script’) but the music is glorious.

The vocals here really are beautiful, in solos and ensembles with overlapping melodies. You don’t often here ten women’s voices in harmony and it’s a lovely sound, but the mens contributions, equally good vocals, provide some necessary colour and contrast. The accompaniment of two keyboards, winds and double bass under MD Freddie Tapner ( a professional debut!) is also excellent. The singers and players all do full justice to Goodall’s score and they look like they are having the time of their lives. Bronagh Lagan’s simple staging, with inventive movement and choreography by Iona Holland, suits the piece well. Nik Corall’s design focuses more on costumes than set and you know you’re in the forties by the girls hairdos alone!

It’s great to see this year’s Sondheim Student Performer Award winner Corrine Priest, who made an excellent contribution to the society’s ‘God’ revue, making such a terrific impression in the leading role like Amy, and Perry Lambert is an equally impressive the other leading lady Lou. Both of the boys, Tom Sterling and Michael Ress (a real Welshman, thankfully!), have exceptional voices and act brilliantly. There isn’t a weak link in this young, hugely talented cast.

Though I missed the first show because of my travels, this has been a fabulous Howard Goodall season, so I will end by placing my order for 2015…….Dear Sasha & Howard, the London premiere of Two Cities, please. Thank you. Love, Gareth.

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What a delicious hour of musical theatre for Sondheim fans, celebrating the 20th anniversary of the Sondheim Society, who co-produced the show. Based on an idea of the society’s administrator Lynne Chapman, who has been collecting material and ‘incubating’ the show for sixteen years, and staged by London Theatre Workshop at their new base in Fulham, it was both a tribute and a loving parody of the undoubted god of musical theatre.

Presented as a revue, it contained existing songs like Andrew Lippa’s Marshall Levin, Alan Chapman’s Everybody Wants to Be Sondheim and the late Jonathan Larsons homage / riff on Sunday plus excellent new material from Eamonn O’Dwyer, Matt Board and the show’s musical director Alex Parker. It’s set in a rehearsal space where writers, directors and performers step out to give us a song alone, in combination with one or more of the three others or as an ensemble, with terrific accompaniment from MD Alex Parker and excellent staging by Alastair Knights.

Most of all though there are four stunning vocal performances from recent winners and finalists of the society’s annual Student Performer competition. These were faultless star turns from four future stars which completely blew me away. They sang beautifully alone and together they soared. It is rare to see such uniformly fine and faultless performances on any stage and the ovation afforded to Emma Odell, Kris Olsen, Corrine Priest and Jay Worley was richly deserved.

The performance I saw was being recorded, so I hope God gets to see it as he cannot fail to be impressed and moved by this affectionate homage.

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