Feeds:
Posts
Comments

Posts Tagged ‘Henry Brennan’

I don’t think London has seen this early Michael John LaChiusa musical since it’s UK premiere at the Bridewell Theatre eighteen years ago. It was the first of the five very diverse shows of his I’ve seen, the latest being Queen of the Mist earlier this year, now transferred to the Charing Cross Theatre.

More song cycle than musical, it’s based on Arthur Schnitzler’s La Ronde and consists of ten scenes, or sexual liaisons, each in a different decade of the 20th century (LaChiusa’s innovation) from 1900 to 1999, though not chronologically. One of each pair of characters (‘the nurse’, the writer’ etc) moves from one scene to the next, where they are in a new pairing, in a new decade, so we meet each generic character twice, with ‘the whore’ from the first scene turning up in the last to take us full circle.

Paul Callan’s production is staged in costume but ‘without decor’, so the pressure is on the material, and it doesn’t really come up to the mark. The eclectic score seeks to reflect the period of each scene but in truth the songs aren’t really that memorable. That in turn puts pressure on the performers and its to their credit that much of the time they make it shine more brightly, particularly in the way better second half. Henry Brennan’s trio play the score well, but you do miss some of the lyrics and sung dialogue without amplification.

I liked the idea but it didn’t really go anywhere, and the material wasn’t good enough to make up for that, so more of a curiosity than a satisfying show, I’m afraid.

Read Full Post »

This WWI set musical was commissioned by National Youth Music Theatre and when I saw the London premiere of their production just over two years ago (https://garethjames.wordpress.com/2016/08/30/brass-nymt-at-hackney-empire) it had a cast twice the size, an 18-piece band doing what a solo pianist does here, in a theatre with a capacity twenty times the Union Theatre. Despite that, this very timely professional premiere packs as much, if not more, of an emotional punch.

It moves between Leeds and the Somme as a brass band enlist together and their loved ones at home manufacture the munitions they need. At the front we glimpse the horrors and hopelessness as one dies, an underage recruit is executed for desertion, two men supress their desire for one another and the troops are sent to their death on ‘the big push’ by officers knowing full well what their fate was likely to be. Back home, the girls health deteriorates as their bosses expose them to risk in the munitions factory, and they form their own brass band as a tribute to their men. Relationships are lived through letters.

Benjamin Till’s excellent score is quintessentially British, with folk and choral influences, very melodic. Sasha Regan’s staging has great pace and energy, handling moving moments sensitively, not least the chilling ending to the first half, though I did think some of the soldier’s choreography was a touch quirky. A couple of large tables help to created the trenches and the factory in a simple and uncluttered set. The talented young cast serve the play well; I particularly liked Sam Kipling and Emma Harrold as brother and sister Alf and Eliza, and Samantha Richards feisty Titty, whose brother Morrie is beautifully played by Lawrence Smith, a fine trumpeter too. Henry Brennan does a terrific job playing the whole score on piano.

A lovely, heartfelt musical that again proves British musical theatre is alive and thriving, and a fitting tribute during the centenary of the events and times it represents.

Read Full Post »