Review - Camelot in Concert (London Palladium)

As the West End welcomes an increasing number of jukebox musicals and transfers from Broadway alongside the seemingly immortal mega musicals, many musical theatre fans are calling out for new writing. However, it can be easy to forget that there is a wealth of older, rarely performed musicals, crying out for revival. Lucky London Musical Theatre Orchestra, one of the most exciting forces in musical theatre right now, frequently gives a platform to lesser performed musicals, the most recent of which being Lerner and Loewe’s 1960 musical Camelot, which returned for one night only at the London Palladium, having not been seen on the West End for 30 years!

David Thaxton in Camelot
 Photo credit - Lidia Crisafulli

Starring a five star cast, fronted by David Thaxton as King Arthur, Savannah Stevenson as Guenevere and Charles Rice as Lancelot, LMTO’s Camelot was an outstanding showcase of the often witty and ultimately rousing songs of Lerner and Loewe. The London Musical Theatre Orchestra itself, conducted by founder Freddie Tapner, played the score magnificently as always. Equal parts quaint and bombastic, it was full of Olde English charm.

The concert was a real treat from beginning to end, and was an excellent showcase of the virtuosity of both the orchestra and the singers, who were utterly flawless in their delivery of Lerner and Loewe’s medieval hit. David Thaxton was a commanding presence as Arthur, but also brought a lot of humour to the role. Even whilst performing in a concert setting Thaxton convicted entirely as the brave and all too trusting monarch, and one can only imagine how fabulous he’d be in a fully staged version of the musical. Celinde Schoenmaker was another standout performer, playing the witch Nimue. Although she had very little stage time, she made a huge impression, her glittering soprano adding some ethereal magic to the proceedings.

The cast of Camelot
 Photo credit - Lidia Crisafulli

 Despite several alterations to the script having been made in order to remove some of the more outdated content which may have jarred by today’s standards, the book still felt a bit too archaic at times, and there was a distinct lack of roles for female performers, although Savannah Stevenson gave a very believable performance as Guenevere. The story also felt generally uneven, with the first half ambling along leisurely for the most part, before the second half quickly spiralled into chaos. That being said, the musical balanced humour and drama cleverly, and was verily enjoyable despite its flaws.

London Musical Theatre Orchestra’s Camelot in concert was a musical theatre lover’s dream. Be sure to keep an eye out for their upcoming production, which are guaranteed to provide a fantastic few hours of lush playing and thrilling performances.

Review - King in Concert (Hackney Empire)

It's been 50 years since the assassination of Martin Luther King, one of the most influential and inspirational historical figures of all time. Although many may be familiar with the legacy of King, his personal life is decidedly less well publicised, and yet it is equally fascinating. Happily though, 30 years after its single public performance at the Prince Edward Theatre, Martin Smith's musical King was revived for just two performances at the Hackney Empire, featuring a story which spanned from King's time at university right up until his untimely death on the 4th of April, 1968.

Cedric Neal and Debbie Kurup in King
Photo credit - Nick Rutter

Getting to understand what drove King, initially a very reluctant leader, to become the iconic figure he is now seen as, was clearly at the heart of actor Cedric Neal's performance, as his embodiment of Martin Luther King was full of nervous energy, but also teamed with immutable power and conviction which only grew as the story went on. 

The supporting cast were equally strong, with especially affecting vocal performances courtesy of Jo Servi, Daniel Bailey, Adrian Hansel and Adam J Bernard. The quartet's touching a cappella number Freedom On My Mind stood in sharp contrast to the rest of the show, and provided a somber moment of reflection during an otherwise rather fast paced story. 

The story's pace may have been King's only real downfall. It moved so swiftly from one moment in Martin Luther King's life to another, touching on so many of his triumphs as a Civil Rights Movement leader that there was very little room for any deeper exploration of the events, and how they affected King and his family.

In fact, Coretta King, who was initially established as King's equal and even partially narrated the prologue and epilogue, was shunted to the side quite a bit throughout, which was a shame given the extraordinarily nuanced performance by Debbie Kurup, who was a statuesque marvel in the role. It may have been nice to see more of Coretta and the part she played in the Civil Rights Movement, independent of her husband.

The cast of KingPhoto credit - Nick Rutter 

That being said, the musical still packed plenty of painful punches, and the addition of archival images and video footage of the events taking place in the story was an inspired touch by Reuben Cook, which proved particularly potent during the Act 1 closing number; a musical interpretation of the emotions stirred by King's I Have A Dream speech. 

As is always the case with London Musical Theatre Orchestra productions, the orchestra was utterly faultless, embracing the verve and jubilance of Simon Nathan's orchestrations wholeheartedly, under the baton of conductor and London Musical Theatre Orchestra founder Freddie Tapner. Additionally, the voices of both the Hackney Empire Community Choir and the Gospel Essence Choir helped to bolster the already strong cast, and made large ensemble numbers soar even higher.

50 years after Martin Luther King's tragic death, his legacy still lives on, and King explored just exactly why that is. The man who rallied for the Civil Rights Movement, using his skills as a master orator to inspire crowds and arrange peaceful protests, will always be remembered for the part he played in changing the world, and in 2018 reviving a musical like King in order to honour him seems like the least that can be done. 

Review - A Christmas Carol in Concert (Lyceum Theatre)

Just when it seemed like London couldn't get any more Christmassy, London Musical Theatre Orchestra's jubilant one night only concert production of A Christmas Carol lights up the Lyceum Theatre like a glorious dusting of snow on a winter morning. 

Robert Lindsay as Ebenezer Scrooge
Photo credit - Jamie Scott-Smith

Based on Charles Dickens' famous novel, A Christmas Carol features music and lyrics by Alan Menken and Lynn Ahrens, and a book by Ahrens and Mike Ockrent. 

The famous story takes place on Christmas eve. Old miser Ebenezer Scrooge is visited by the ghost of an old friend, who warns him that if he doesn't stop his selfish ways he'll end up doomed. The sceptical scrooge is then called on by three other spirits, who show him his unfortunate past, the miserable present he has created for his overworked and underpaid employees, and the harrowing future he has in store unless he changes his ways. The story itself is a classic, having been told in many different forms over the years, but there's no doubt that transporting the story into musical form works brilliantly. Filled with jovial group numbers, lively instrumentals and gorgeous choral sections, the score more than justifies the existence of a musical adaptation of such a well known story. 

The orchestra itself, conducted by musical director Freddie Tapner, is absolutely first rate. The rich, sumptuous sound produced by the musicians, notable right from the overture, is extremely satisfying. Especially when they are playing with a such an impressive cast of singers, both principal and ensemble. 

The star casting of London Musical Theatre Orchestra's A Christmas Carol was no doubt a key factor in the show's sold out status. Robert Lindsay brings a smile to the face as Ebenezer Scrooge. Despite seemingly having a few timing issues throughout the show, his snide scrooge has a comedic vein and is impossible to hate entirely, despite his miserly ways. Meanwhile Alex Gaumond's gangly Bob Cratchit instantly endears, and a suitably unnerving and impressively voiced Norman Bowman as Jacob Marley elevates the music even further. Additionally, as the ghosts of Christmases past, present and future, Madalena Alberto, Hugh Maynard and Carrie Hope Fletcher are well cast, with Maynard in particular bringing infectious enthusiasm to his role. 

Despite being presented in concert form, London Musical Theatre Orchestra's A Christmas Carol has just enough theatricality to make it an engaging performance to watch as well as listen too. With a stage bookended by two dazzling Christmas trees, and wreaths adorning the music stands too, while Mike Robertson's lighting design gives the whole piece a warm, intimate feel. 

The London Musical Theatre Orchestra is an exciting addition to the London theatre community. Unbelievably, A Christmas Carol is only their second public concert, but with a new season already in the works, they're undoubtedly going to be an exciting addition to theatregoing in 2017!

Find out more about the London Musical Theatre Orchestra at www.lmto.org

Q&A - Freddie Tapner (London Musical Theatre Orchestra)

On Sunday 6th November the London Musical Theatre Orchestra will be performing Rodgers and Hammerstein's classic musical State Fair at London's Cadogan Hall. The performance will be the first professional production of the musical in London, and also the orchestra's first ever full scale production, after it's inaugural gala in June of this year. The performance will be conducted by Freddie Tapner, the London Musical Theatre Orchestra's founder and principal conductor. As the production enters its final week of rehearsals, Freddie Tapner took some time out to answer a few questions about the how the London Musical Theatre Orchestra was formed, why State Fair was chosen as the first ever production, and what audience members can look out for in the future...
 

Photo credit - Nick Rutter

Hi Freddie, thanks for taking the time to take part in this interview. As the conductor of State Fair you must be very busy. It's interesting that you chose to study engineering at university, and yet now you work in the arts. Did you always have an interest in musical theatre? 

I was brought up around the theatre, around musicals particularly. I specifically remember, when I was about 5 years old, in long car journeys we'd always be listening to Phantom of the Opera, or Chess, or some of the other great musicals. I was also very lucky at school, I was on stage a lot in plays and musicals, and then when I got to university I found that I identified a lot more with the music team, because really that's what I love about musicals. The dancing is amazing, the acting is amazing, but for me it's all about the music and the lyrics.
 

What made you want to pursue a career in music?

When I left Cambridge I knew that it was what I wanted to pursue, and because it's an inherently unstable career path to go down, I thought that if there was any time to attempt it, the time would be straight after university. I suppose I had the lowest height to fall from! 
 

When you started the London Musical Theatre Orchestra did you expect that a lot of people would be interested in the idea, and willing to take part? 

Well if I'm completely honest I really didn't think that many people would be interested in it. When I started it it was much more of a passion project, and one which I always hoped that people would like, but I didn't set out imagining it would become a success. I set out to do it because I thought it would be fun for a group of people who love musicals to get together and play through a show. The thing which sort of showed me that there was a real desire to play musicals was when I posted a facebook post asking if anyone wanted to come and play through a musical just for fun, and in 24 hours I had 250 replies. At that point I realised that my idea did have some legs!
 

So originally it was formed as a way to bring together musicians who loved and wanted to play musical theatre for fun. How was it decided that the professional orchestra would be created, and that the concerts would be open to the public? 

As the play-throughs began to grow in popularity and quality, we realised that all of that talent was behind closed doors and it was a waste. We wanted to invite people in. Of course, at that stage you have to step up a gear in terms of your aspirations for the quality of what you're doing, and so the LMTO is packed with the very best players that we can find in London, and importantly, within those very top players at least 25% are developing musicians. Very highly trained, highly skilled musicians who have just graduated and are in need of their big break. 
 

It sounds like an excellent opportunity...

We're aiming to provide musicians with their first big professional credit, and on top of that the experience of sitting next to the very best players in London. We're incredibly lucky with the orchestra we have. For example, we have Pablo Mendelssohn who played trumpet on Legally Blonde, The Book of Mormon and Groundhog Day, and now he's lead trumpet on Dreamgirls, so for a recent graduate trumpet played to sit next to him and watch him at work, that's a really unique experience which I am pleased to say that all of the developing players have grasped with both hands and really relished.
 

State Fair is the London Musical Theatre Orchestra's first concert musical. It's such a wonderful musical with a beautiful score. How was it selected? 

James Yeoburn (executive director), Stuart Matthew Price (artistic director) and I sat down and sifted through catalogues looking for something which we could bring something to. Something which hadn't been done to death, but had been written by someone with a great number of musical theatre scores behind them. When came across State Fair we each knew one of two songs from it but we went away and listened to the album and we were just blown away by how astonishing and just enormously groovy the score was! Half of the show is a big band show with these huge swing numbers, which Emma Hatton is singing with a six piece brass section (four saxophones, two French horns, 3 trumpets, 2 trombones and a tuba). The sound that they create is astonishing, absolutely astonishing.
 

It sounds like it's going to be amazing! it's interesting that you bring up Emma Hatton... the well known musical theatre names attached to this production are no doubt going to be an exciting draw for musical theatre fans (soloists include Wendi Peters, Oliver Saville, Richard Fleeshman, Celinde Schoenmaker as well as the aforementioned Emma Hatton). Were the soloists already attached to the orchestra or did come on board especially for this project? 

They're new to us for this concert, but we love building relationships with all singers and so it's very much hoped that there will be a continued relationship. We're having such a ball rehearsing because there is just so much to get your teeth into and I'm thrilled with all of the soloists and all of the chorus.
 

Are there any musicals which you'd personally love the London Musical Theatre Orchestra to perform at some point in the future?

Oh my goodness, there's a list as long as my arm! But one which we are particularly keen to do is Candide, which I think would be an enormous privilege to work on, and to give it full orchestral works, because it's got such an orchestral score. I think The Fully Monty is another where the music is just virtuosic in what it sets out to achieve and then does achieve, and I'd love at one point to do something really new that's just come from Broadway or just come from the West End. Something like a Jason Robert Brown show with a full orchestra would be so exciting, or to take a Stiles and Drewe show and do that in concert, or take a Brunger and Cleary show and give it the full orchestral works. 
 

It certainly sounds like there is lots to potentially look forward to! Thank you to Freddie Tapner for taking the time to answer these questions. Be sure to book your tickets for Rodgers and Hammerstein's State Fair at Cadogan Hall on Sunday 6th November. 

For more information and tickets, visit the London Musical Theatre Orchestra website.