50 Favourite Musicals: 15: SHOW BOAT (1927) (Jerome Kern / Oscar Hammerstein II, PG Wodehouse)

The 50 shows that have stood out down the years and, as we get up among the paint cards, the shows that have become the cast recording of my life:

 First performed: 1927, Ziegfeld Theatre, NY

First seen by me: London Palladium, 1991

Productions seen: two

Score: Jerome Kern / Oscar Hammerstein II, P.G. Wodehouse
Book: Oscar Hammerstein II

Plot: The lives and loves of the performers on Capt'n Andy's show boat "The Cotton Blossom" as it sails up and down the Mississippi River span 40 years and the evolving styles of American popular entertainment...

Five memorable numbers: OL' MAN RIVER, CAN'T HELP LOVIN' DAT MAN, MAKE BELIEVE, BILL, LIFE UPON THE WICKED STAGE

You would have thought that the show acknowledged to be the one that first presented a narrative with a fully integrated score and believable characters - not just an evening of skits, songs and production numbers or imported European operetta - would be handled with more respect but no, SHOW BOAT has been revised and rewritten with practically every revival on stage or screen.  Incidentally how interesting that the original SHOW BOAT was produced by Florenz Ziegfeld whose splashy revues were wiped away in the coming years by Musical Comedy productions.  The story stays the same - professional gambler Gaylord Ravanel meets aspiring actress Magnolia Hawks aboard her father's show boat and they marry unhappily ever after - but songs are dropped to be added to the film to be added to the revival to be dropped again etc. etc.  However, no matter what version you see the magic always happens - Edna Ferber's original characters are all sympathetically drawn by Hammerstein and you are never far away from a cracking song whatever the production. 

My first voyage on the SHOW BOAT was James Whale's 1936 film version with the excellent cast of Irene Dunne as Magnolia, Helen Morgan repeating her original stage role as Julie Laverne the Cotton Blossom's leading lady who has to leave when it is revealed that she is half-black, Hattie McDaniel as the boat's cook Queenie and the legendary Paul Robeson as her husband Joe.  Incidentally 'Joe' was written for Robeson but because Ziegfeld's production was delayed he had to withdraw because of other commitments, he played it instead in the original London production.  I first saw it onstage in 1991 when Ian Judge directed an RSC & Opera North co-production at the London Palladium with a memorable cast of Jan Hartley (Magnolia), Bruce Hubbard (Joe), Marilyn Cutts (Julie), David Healy (Cap'n Andy), Karla Burns (Queenie) and Margaret Courtenay (Parthy).  It was a wonderful production that made me realize the show's power.  Then in 2016 Daniel Evans directed an excellent revival for the Sheffield Crucible which later transferred to the New London Theatre for a shamefully short run.  At the Crucible the show had lovely performances from Michael Xavier (Gaylord), Gina Beck (Magnolia), Allan Corduner (Cap'n Andy), Emmanuel Kojo (Joe), Sandra Marvin (Queenie), Danny Collins (Frank) and particularly Rebecca Trehearn's haunting Julie - the character has my two favourite numbers from the show "Can't Help Lovin' Dat Man" and "Bill" (originally written by Kern with PG Wodehouse in 1917).  It was wonderful to experience SHOW BOAT on stage again, and it proved that a historical milestone from 1927 can be as vital, touching and entertaining as ever.

Again I am confronted with there being so many fabulous songs in SHOW BOAT over so many productions... which to choose?  I kept returning to this, a promo for the New London production with Rebecca Trehearn showing why she won the Olivier Award for Best Supporting Actress In A Musical for playing tragic Julie and delivering such a thrilling version of "Bill"...

50 Favourite Musicals: 18: CITY OF ANGELS (1989) (Cy Coleman / David Zippel)

The 50 shows that have stood out down the years and, as we get up among the paint cards, the shows that have become the cast recording of my life:

First performed: 1989, Virginia Theatre, NY

First seen by me: 1993, Prince of Wales Theatre, London

Productions seen: three

Score: Cy Coleman / David Zippel
Book: Larry Gelbart
Plot:  1940s Hollywood: the crime novelist Stine is trying to adapt his novel "City of Angels" for dictatorial film producer Buddy Fiddler but fact and fiction feed off each other and Stine soon discovers his worst critic is his fictional private eye hero Stone...

Five memorable numbers: WITH EVERY BREATH I TAKE, LOST AND FOUND, YOU CAN ALWAYS COUNT ON ME, FUNNY,  IT NEEDS WORK

By the time Michael Blakemore's production of the musical CITY OF ANGELS opened in the West End in 1993. after playing two years on Broadway, I was word perfect with Cy Coleman and David Zippel's score having bought the Original Cast Recording cd soon after it was released.  I immediately loved Coleman's mix of lush film noir music and snappy 1940s big-band jazz along with David Zippel's cynical and tart lyrics.  Blakemore's marvelously detailed production deftly handled the intricacies of Larry Gelbart's book, seamlessly moving from the black and white fictional world of private detective Stone who is hired by the glamorous Mrs Kingsley to find her wayward step-daughter, and the Technicolor world of 1940s Hollywood where we see the film script being written by the increasingly disenchanted screenwriter Stine.  A wonderful cast was headed by Roger Allam and the late Martin Smith as Stone and Stine, Henry Goodman stealing scenes as the egotistical producer Buddy Fiddler, and an array of fine West End actresses playing double roles : delicious Susannah Fellows as the seductive Alaura Kingsley and as Fiddler's actress wife Carla, Fiona Hendley as Stone's long-lost lover Bobbi and Stone's estranged wife Gabby, Haydn Gwynne as Stone's trusty secretary Oolie as well as Fiddler's secretary Donna, and Sarah Jane Hassell as the very-much alive missing step-daughter Mallory and the starlet Avril.  CITY OF ANGELS was seen as going toe-to-toe with Lloyd Webber's SUNSET BOULEVARD which opened a few months afterward which was, of course, also a film noir tale of the Los Angeles film world.  Sadly, despite it being a better show with better reviews, CITY OF ANGELS closed after eight months - it's closure started again the eternal debate about how do you get audiences in to a totally new show which requires a little work from them intellectually, opposed to a show that they know from a previous film.  There was some sort of revenge however when CITY OF ANGELS won the Olivier Award for Best Musical over SUNSET BOULEVARD.

You cannot keep a good show down though: I saw a Guildhall Drama School production 15 years later and then in 2014, it finally received another West End production at the Donmar in a production which suffered from the underwhelming performances of the three male leads and director Josie Rourke's sometimes sluggish pacing.  The show however was wonderfully designed and lit and starred a fine bunch of broads - Katherine Kelly (Alaura / Carla), Rosalie Craig (Bobbi / Gabby), Samantha Barks (Mallory / Avril) and the wonderful Rebecca Trehearn (Oolie / Donna) who stopped the show with the glorious "You Can Always Count On Me".   The show can be accused of having characters that are hard to like and it can be said that Gelbart's second act gets bogged down in the collision of plot lines (both onscreen and off) but owing to Coleman and Zippel's wonderful score it's a show I would love to see again.  And again.

I have chosen the following press-reel video for the original Broadway production of CITY OF ANGELS as it features two favourite songs, powerfully performed, "Lost And Found" and "You Can Always Count On Me" but it also serves to give you a flavour of Coleman and Zippel's standout score.

The 10th Annual Chrissie Awards - the red carpet awaits...

Time to dig out that old Balenciaga and the dinner jacket with the shiny lapels (and backside) - it's only the 10th Annual Chrissies... the award that all the West End wants...

BEST DRAMA (Original/Revival)

 

RICHARD III - William Shakespeare (Almeida)

Nominees:

THE DEEP BLUE SEA - Rattigan (Lyttelton) / ELLEN TERRY WITH EILEEN ATKINS - Atkins/Shakespeare (Sam Wanamaker) / KENNY MILLER - Poulson (Arcola) / THE PLOUGH AND THE STARS - O'Casey (Lyttelton)

BEST MUSICAL (Original/Revival)

SHOW BOAT - Jerome Kern / Oscar Hammerstein II (Sheffield & New London)

Nominees:

RAGTIME - Flaherty / Ahrens / McNally (Charing Cross Theatre) / SHE LOVES ME - Bock / Harnick / Masteroff (Menier) / THE THREEPENNY OPERA - Brecht / Weill / Stephens (Olivier) / TITANIC - Yeston (Charing Cross Road)

BEST BALLET/OPERA

THE RED SHOES - Matthew Bourne (Sadler's Wells)

Nominees:

LA FILLE MAL GARDÉE - Ashton (Covent Garden) / TOSCA - Puccini (London Coliseum) / LA TRAVIATA - Verdi (Covent Garden) / THE WINTER'S TALE - Wheeldon (Covent Garden)

BEST ACTOR (Drama)

  RALPH FIENNES - Richard III (Almeida)

Nominees:

O-T FAGBENLE (Ma Rainey's Black Bottom) / DAVID MORRISSEY (Hangman) / LUCIAN MSAMATI (Amadeus) / LUCIAN MSAMANTI (Ma Rainey's Black Bottom)

BEST ACTRESS (Drama)

HELEN McCRORY - The Deep Blue Sea (Lyttelton)

Nominees:

EILEEN ATKINS (Ellen Terry with Eileen Atkins) / SHARON D. CLARKE (Ma Rainey's Black Bottom) / LISA DWAN (No's Knife) / GLENDA JACKSON (King Lear)

BEST ACTOR (Musical)

RORY KINNEAR - The Threepenny Opera (Olivier)

Nominees:

PAUL AYRES (Kinky Boots) / EUAN GARRETT (Billy Elliot) / HARRY HEPPLE (Into The Woods) / MICHAEL XAVIER (Show Boat)

BEST ACTRESS (Musical)

  SCARLETT STRALLEN - She Loves Me (Menier)

Nominees:

ANITA LOUISE COMBE (Ragtime) / LAURA PITT-PULFORD (Side Show) / JENNA RUSSELL (Grey Gardens) / SHERIDAN SMITH (Funny Girl)

BEST SUPPORTING ACTOR (Drama)

STEVE PEMBERTON - Dead Funny (Savoy)

Nominees:

FINBAR LYNCH (Richard III) / ANDY NYMAN (Hangman) / DOMINIC ROWAN (The Tempest) / PETER SULLIVAN (The Deep Blue Sea)

BEST SUPPORTING ACTRESS (Drama)

VANESSA REDGRAVE - Richard III (Almeida)

Nominees:

LINDA BASSETT (Escaped Alone) / SUSAN ENGEL (Richard III) / BRONWYN JAMES (Hangmen) / GRÁINNE KEENAN (The Plough and The Stars)

BEST SUPPORTING ACTOR (Musical)

ADAM J. BERNARD - Dreamgirls (Savoy)

Nominees:

ALLAN CORDUNER (Show Boat) / NICK HOLDER (The Threepenny Opera) / EMMANUEL KOJO (Show Boat) / MALCOLM SINCLAIR (Show Boat)

BEST SUPPORTING ACTRESS (Musical)

REBECCA TREHEARN - Show Boat (Sheffield & New London)

Nominees:

SHEILA HANCOCK (Grey Gardens) / KATHERINE KINGSLEY (She Loves Me) / SANDRA MARVIN (Show Boat) / JENNIFER SAAYENG (Ragtime)

BEST BALLET/OPERA MALE

DANIEL COLLINS - Jekyll & Hyde (Old Vic)

Nominees:

BENNET GARTSIDE (The Winter's Tale) / STEVEN McRAE (La Fille Mal Gardee) / EDWARD WATSON (Strapless) / THOMAS WHITEHEAD (The Invitation)

 

 BEST BALLET/OPERA FEMALE

CORDELIA BRAITHWAITE - The Red Shoes (Sadler's Wells)

 

Nominees:

KERI ALKEMA (Tosca) / MARIANELA NUNEZ (Giselle) / MARIANELA NUNEZ (The Winter's Tale) / NATALIA OSIPOVA (La Fille Mal Gardee)

BEST DIRECTOR

RUPERT GOOLD - Richard III (Almeida)

Nominees:

MATTHEW BOURNE (The Red Shoes) / CARRIE CRACKNELL (The Deep Blue Sea) / CASEY NICOLAW (Dreamgirls) / MATTHEW WHITE (She Loves Me)

BEST DESIGNER

  LEZ BROTHERSTON - The Red Shoes (Sadler's Wells)

 Nominees:

HILDEGARD BECHTLER (Richard III) / BOB CROWLEY (La Traviata) / BOB CROWLEY (The Winter's Tale) / PAUL FARNSWORTH (She Loves Me)

BEST LIGHTING

 PAULE CONSTABLE - The Red Shoes (Sadler's Wells)

Nominees:

JON CLARKE (Richard III) / JEAN KALMAN (La Traviata) / NATASHA KATZ (The Winter's Tale) / HUGH VANSTONE (Dreamgirls)

BEST CHOREOGRAPHY (Musical)

CASEY NICHOLAW - Dreamgirls (Savoy)

Nominees:

CRESSIDA CARRÉ (Titanic) / PETER DARLING (Billy Elliot) / ALISTAIR DAVID (Show Boat) / REBECCA HOWELL (She Loves Me)

BEST CHOREOGRAPHY (Ballet)

CHRISTOPHER WHEELDON - The Winter's Tale (Sadler's Wells)

Nominees:

FREDERICK ASHTON (La Fille Mal Gardée) / MATTHEW BOURNE (The Red Shoes) / KENNETH McMILLAN (Anastasia) / PETER WRIGHT (Giselle)

SHOW BOAT - Another visit now it is docked in London!

When I had to decide what show should be my birthday night event it was an easy choice - a return visit to Daniel Evans' revival of the game-changing 1927 musical SHOW BOAT, which has now slowly steamed into dock at the New London Theatre.

Finally!  A production has appeared at the New London Theatre that I want to see.  Since I became a 'proper' theatre fan in 1982 - apart from the transfer from the National Theatre of WAR HORSE - the New London Theatre has been home to a run of shows that I would walk a mile in tight shoes to avoid, but now I could visit safe in the knowledge that I wouldn't be seeing a dud.  To be honest the New London reminds me of any number of regional theatres I have been in - definitely a cross between Chichester and Sheffield with a similar 1970s feel of carpet and concrete.  Nice big bar area though!

We saw and loved SHOW BOAT back in January in it's Sheffield home but now it is gracing the West End with it's glorious score by Jerome Kern and Oscar Hammerstein II and Evans' elegant production that guides you through the plot's decades.  In the journey from Sheffield to London, the production has lost it's two male leads but this has not sunk the ship, in fact it has made it a smoother journey.

In Sheffield Michael Xavier played Gaylord, the raffish gambler who falls for heroine Magnolia, while Allan Corduner was the affable Cap'n Andy, owner of the Cotton Blossom Showboat but these they have been replaced by Broadway import Chris Peluso and the always-dependable Malcolm Sinclair respectively.

Xavier was better than the role to be honest - it gave him very little chance to shine as it is quite a strait-jacketed role but it suited Chris Peluso but dear God... all through the show, through whatever decade, the tab at the back of his boots stuck out from under his trouser hems - It was profoundly irritating!  No such problems with Malcolm Sinclair who was a total delight as the hen-pecked but tender-hearted owner of the Cotton Blossom.

The strength of Evans' production is in the casting of the three central female roles: a majestic triumvirate of Gina Beck's sweet-natured Magnolia, Rebecca Trehearn's tragic Julie and Sandra Marvin's imperious Queenie with Trehearne coming out on top of them all thanks to having the two best songs in the score: "Can't Help Lovin' Dat Man" and "Bill".

Lucy Briers has grown in the role of Parthy Ann Hawks, the battle-axe of the Cotton Blossom and the good news is that Emmanuel Kojo is still toting barges and lifting bales as he belts out a passionate and emotive "Old Man River".  I was particularly happy to see again the bendy dancing of Danny Collins as Frank Schultz who turns choreographer Alistair David's routines into something quite thrilling.

It was a huge delight to see this production again to enjoy Lez Brotherston's spare but evocative designs, David's physical choreography and Evans' direction that spills out into the auditorium at times.

SHOW BOAT was the show that in 1927 proved that a musical could be more than just a string of numbers and comedy scenes, it could actually tell a through story with characters you care for while also dealing with serious themes.  If you have never seen it now is your chance to - and if you have, then see it again!

SHOW BOAT at the Crucible, Sheffield - back to the beginning...

Last Saturday we took a long journey up to the Crucible Theatre, Sheffield and also journeyed back to the first milestone of the American musical, Jerome Kern and Oscar Hammerstein II's legendary SHOW BOAT.

I had previously seen the show once before in 1991 when Ian Judge directed an Opera North revival at the London Palladium with a memorable cast of Jan Hartley (Magnolia), Bruce Hubbard (Joe), Marilyn Cutts (Julie), David Healy (Cap'n Andy), Karla Burns (Queenie) and Margaret Courtenay (Parthy).  Nearly 25 years later I can still remember the production well.

But Daniel Evans - soon to be the artistic director of Chichester Festival Theatre - has directed a fine production which smoothly moves through the show's timespan of 40 years.  It's a shame we do not see this show produced more often because it's one of the best Broadway shows which boasts a stunning score including "Ol' Man River", "Can't Help Lovin Dat Man", "Bill" and "Why Do I Love You?" among other classics.

The show, based on Edna Ferber's novel, broke the mould of previous revue-style shows and operettas, by telling a story which touched on serious themes with it's musical numbers allowing the story and the characters to develop.  Indeed Hammerstein's book, although admittedly thin on character development, does indeed touch on the racism that the black workers on the Show Boat faced from their overseers, which of course lend "Ol' Man River" a greater weight when seen within the show's context.

Through the timespan, apart from the travails of Magnolia's love for gambler Gaylord, we also see the times changing for the Show Boat performers too - song-and-dance team Frank & Ellie evolve from low comedy performers to headliners until they reveal in the final scene that they have moved to Hollywood.

Lez Brotherston's set design makes good use of the Crucible's thrust stage and his minimalist Show Boat was hugely evocative - although the cast probably could do without all those stairs!  The great lighting designer David Hersey has also given the show a glowing vitality and kudos too for Tim Reid's video projections which helped the years melt away within the show.

There are sparkling performances from Evans' handsome cast - Michael Xavier was in excellent voice as the raffish Gaylord Ravenal (although Owen did note that ultimately his character could be given more to do), Gina Beck was a delightful Magnolia (although at times her strong operatic soprano lent too hard on the notes), Allan Corduner was (and appeared to have) great fun as Cap'n Andy and was well-partnered by Lucy Briers' scowling Parthy Ann.

Emmanuel Kojo nearly stopped the show with his rousing "Ol' Man River" and he too was well partnered by Sandra Marvin's no-messing Queenie.  As you will see, it's interesting how there are so many couples within the show, another being the song-and-dance team of Frank and Ellie and they too were well played by Danny Collins and Alex Young - Collins energetic, athletic dancing betrayed his extensive work with Matthew Bourne.

Although initially partnered with Bob Harms' Frank Baker, Rebecca Trehearn as Julie LaVerne always suggested her character's inner solitude.  Julie is the star of the Show Boat cast until a jilted co-worker tells local lawmen her secret: Julie has been hiding that she is a half-caste.  She has to leave the boat which starts a downward spiral ending up as an alcoholic club singer.  Trehearn sang my two favourite songs in the score "Can't Help Lovin' Dat Man" and "Bill" and gave a haunting, quietly tragic performance.

It was wonderful to experience this show on stage again, and it proved that a historical milestone from 1927 can be as vital, touching and entertaining as ever.

 

It's the 2014 Chrissies!

Yes for the 8th year I am proud to present the apex of theatrical awards... the Chrissies!  As always, it has been hugely easy to find nominees, more difficult to sift a winner.  Be that as it may, here we go...

BEST DRAMA (Original/Revival):

 

MY NIGHT WITH REG - Kevin Elyot (Donmar)

Nominees:
BEYOND THE BEAUTIFUL FOREVERS - Hare (Olivier, NT) /

ELLEN TERRY WITH EILEEN ATKINS - Atkins (Wanamaker Playhouse) /

KING LEAR - Shakespeare (Olivier, NT) / MEDEA - Euripedes (Olivier, NT)

BEST MUSICAL (Original/Revival):

GYPSY - Arthur Laurents / Jule Styne / Stephen Sondheim (Chichester)

 Nominees:

CITY OF ANGELS - Gelbart / Coleman / Zippel (Donmar) / FINGS AIN'T WOT THEY USED T'BE - Norman / Bart (Stratford East) / HERE LIES LOVE - Byrne / Cook (Dorfman, NT) / SUNNY AFTERNOON - Penhall / Davies (Hampstead) 

BEST ACTOR (Drama):

 SIMON RUSSELL BEALE - King Lear (Olivier, NT)

 Nominees:
BRIAN COX (The Weir) / RUPERT EVERETT (Amadeus) /

BILL NIGHY (Skylight) / CLIVE WOOD (Antony and Cleopatra)

BEST ACTRESS (Drama):

HELEN McCRORY - Medea (Olivier, NT)

Nominees:
EILEEN ATKINS (Ellen Terry with Eileen Atkins) / ASHLEY McGUIRE (Henry IV) /

CAREY MULLIGAN (Skylight) / IMELDA STAUNTON (Good People) 

BEST ACTOR (Musical):

 

JAMIE PARKER - Guys and Dolls (Chichester)

 

Nominees:
ALEXANDER HANSON (Stephen Ward) / DOMINIC NORTH (Edward Scissorhands) /

PETER POLYCARPOU (Guys and Dolls) / MICHAEL XAVIER (The Pajama Game)

BEST ACTRESS (Musical):

 IMELDA STAUNTON - Gypsy (Chichester)

Nominees:
JANIE DEE (Keeping it Together) / NATALIE MENDOZA (Here Lies Love) /

SOPHIE THOMPSON (Guys and Dolls) / JESSIE WALLACE (Fings Ain't Wot They Used T'Be)

BEST SUPPORTING ACTOR (Drama):

Geoffrey Streatfeild - My Night With Reg (Donmar)

Nominees:
MATT BARDOCK (My Night With Reg) / PHIL DANIELS (Antony and Cleopatra) /

ADRIAN SCARBOROUGH (King Lear) / STANLEY TOWNSEND (King Lear)

BEST SUPPORTING ACTRESS (Drama):

 
ANGELA LANSBURY - Blithe Spirit (Gielgud)

Nominees:
ANGEL COULBY (Good People) / NOMA DUMEZWENI (Henry V) /

PATSY FERRAN (Blithe Spirit) / SHARON ROONEY (Henry IV) 

BEST SUPPORTING ACTOR (Musical):

 MIKE McSHANE - Assassins (Menier)

 Nominees:

GEORGE MAGUIRE (Sunny Afternoon) / ANDY NYMAN (Assassins) /

JAMIE PARKER (Assassins) / AARON TVEIT (Assassins)

BEST SUPPORTING ACTRESS (Musical):

REBECCA TREHEARN - City of Angels (Donmar)

Nominees:
SAMANTHA BARKS (City of Angels) / SUZIE CHARD (Fings Ain't Wot They Used T'Be) / KATHERINE KELLY (City of Angels) / LARA PULVER (Gypsy) 

BEST DIRECTOR:

ROBERT HASTIE - My Night With Reg (Donmar)

Nominees:
CARRIE CRACKNELL (Medea) / JONATHAN KENT (Gypsy) /

JOSIE ROURKE (The Weir) / ALEX TIMBERS (Here Lies Love) 

BEST DESIGNER:

LIZZIE CLACHAN - Treasure Island (Olivier, NT)

 Nominees:

BOB CROWLEY (Skylight) / WILLIAM DUDLEY (Fings Ain't Wot They Used T'Be) /

ROBERT JONES (City of Angels) / Tom Scutt (The Weir) 

BEST LIGHTING:

HOWARD HARRISON - City of Angels (Donmar)

Nominees:

NEIL AUSTIN (Henry V) / MARK HENDERSON (Gypsy) /

PAUL PYANT (My Night With Reg) / JUSTIN TOWNSEND (Here Lies Love) 

BEST CHOREOGRAPHY:

 SCOTT AMBLER - Lord of The Flies (Sadler's Wells)

Nominees:

MATTHEW BOURNE (Edward Scissorhands) / BILL DEAMER (Grand Hotel) /

STEPHEN MEAR/JEROME ROBBINS (Gypsy) / ANNIE-B PARSON (Here Lies Love)

I do enjoy doing these!  Congratulations all...