Review - A Christmas Carol in Concert (Lyceum Theatre)

Spirited musicianship has always been a hallmark of London Musical Theatre Orchestra, and nowhere is that made clearer than in its returning musical production of A Christmas Carol, in concert.

 

Griff Rhys Jones and Miriam-Teak Lee in A Christmas Carol
Photo credit - Nick Rutter

Alan Menken, Lynn Ahrens and Mike Ockrent’s merry musical is a London Musical Theatre Orchestra favourite, which returns to the Lyceum Theatre this December, having played to sold out audiences in both 2016 and 2017. Of course, with Christmas just around the corner, the popularity of A Christmas Carol in concert is hardly surprising, and yet its return is favourably received.

This sprightly retelling of Charles Dickens’ beloved novel brims with warmth and humour, and a fair share of big ensemble numbers keep toes tapping as Scrooge embarks on his revelatory jaunt into the supernatural. From Jacob Marley’s intense yet eerily jaunty Link By Link, performed with fascinatingly dark charisma by Jeremy Secomb and an ensemble of long-imprisoned souls, to the uplifting Christmas Together, led by the Cratchit family, A Christmas Carol is a musical which revels in rousing choruses.

 

Griff Rhys Jones and Jeremy Secomb in A Christmas Carol
Photo credit - Nick Rutter

Musical Director Freddie Tapner’s enthusiastic conducting is a pleasure as always, and the 32 piece London Musical Theatre Orchestra sound richer and more jubilant than ever before. A starry cast of musical theatre performers add another layer of pizazz to the already glittering production, and Griff Rhys Jones is the epitome of Scrooge, the mean and miserly moneylender, and gives a masterfully characterful vocal performance, combining confidant singing with the brisk and blithering persona that has made the character such an enduring and unforgettable one.

 

Miriam-Teak Lee, Cedric Neal and Lucie Jones are spooktacular as the trio of Ghosts sent to save Scrooge’s soul, and the multi-roling of Lucie Jones as both the silent, stoic and bone chilling Ghost of Christmas Future, and Emily, the fiancé Scrooge drove away with his greed and selfishness, is an inspired move. Lee’s motherly Ghost of Christmas Past may have given Scrooge a glimpse into the trauma of his childhood, but his bitterness, self-hatred and regret over the loss of Emily clearly haunts Griff Rhys Jones’ Scrooge more unrelentingly than any of the three spectres who pay him a visit of Christmas Eve.

 

Freddie Tapner of London Musical Theatre Orchestra
Photo credit - Nick Rutter

This December, there’s no better way to escape the cold for an evening than by enjoying the big-hearted joy of London Musical Theatre Orchestra’s A Christmas Carol; a festive five star success.

Review - Girlfriends in Concert (Bishopsgate Institute)

Every November, since the end of World War I, Remembrance Day has been observed, as a tribute to those who served in the armed forces, and way of remembering those who lost their lives. What better time, therefore, for London Musical Theatre Orchestra to revive Howard Goodall's musical Girlfriends, which follows a group of young women plucked from normality and dropped onto the front line as part of the Women's Auxiliary Air Force during World War II. 

The cast of Girlfriends in Concert 
Photo credit - Nick Rutter

The musical in concert, which played three performances at Bishopsgate Institute where LMTO is orchestra in residence, featured a large, mostly female, ensemble cast. Heading up the gang of women was Lou and Amy, a couple of pals from home who join the WAAF together. Whilst Lou takes a rather more hopeful view of the experience to begin with, Amy is much less impressed with the rather unglamourous, unforgiving military lifestyle, until Lou introduces her to pilot and self-appointed Errol Flynn lookalike Guy. Lou and Amy were played sweetly by Lucie Jones and Lauren Samuels. Both sang the score beautifully, and perfectly portrayed the youth, inexperience and hopefulness of the young WAAF women they were embodying. Meanwhile, as the love interested who tore Lou and Amy apart, Rob Houchen was vocally spectacular, inflecting his vocals with 40s inspired stylings which helped emphasise the wartime setting. Houchen and Jones' act two duet Remember You Wanted Me was a thrillingly sung high point in the concert.

Outside of the central trio, interesting characters came in all shapes and sizes; young war widow Jane, played by Bronté Barbé, was given a bleak and subtly emotional solo in the form of The Chances Are. Meanwhile Jasmin, a young women from Scotland, soured towards the WAAF and war in general after the death of her brother in action and the denial of her request for leave by her tough leader Woods (a small yet pinnacle role, played with ferocity by Lizzie Wofford). Meanwhile Natasha Barnes and Chris McGuigan played Sally and Gareth, a couple who were drawn to each other out of a need for love against a violent and unforgiving background, where every night could be their last.

The cast of Girlfriends in Concert 
Photo credit - Nick Rutter

The score, which was reworked for the concert by Goodall and Simon Nathan, was extremely evocative of the time period in which the musical was set, and conductor Freddie Tapner brought out the best in a slick orchestra packed with passionate players. A couple of jaunty band numbers such as In the Messes and Clubs offered swinging toe tapping fun. They made a drastic change from the majority of the songs with more swoony swooping melodies, shot through with streaks of wartime panic and paranoia, signalled by repetitive counterpoints and terse, clashy harmonies. The music was spine tingling at times, but did begin to feel rather repetitive. 

Outside of the excellent performances of both the cast and orchestra, Girlfriends was disappointing though. For a musical which touted itself as a celebration of women's contribution to the war effort, the plot very much centred around the men of the story, despite them being outnumbered drastically on stage by a whole host of potentially fascinating female characters. It was rather dispiriting to hear so many songs in which the girls did not much other than moon over the men. The relationships formed between the WAAFs would've been more than sufficiently interesting and enlightening, and so putting a conventional love triangle at the musicals heart felt misjudged. Perhaps this was partially due to the complete lack of book in the concert setting, which may have fleshed out the characters between musical numbers, but whatever the case, it felt like a waste of a brilliant premise. 

Review - Legally Blonde (Leicester Curve)

Legally Blonde, the ever popular musical, has burst onto the Leicester Curve's stage in a furore of glorious pinkness. The show, based on the 2001 film of the same name, tells the story of Malibu sorority girl Elle Woods, who follows her preppy ex boyfriend Warner Huntington III to Harvard Law School in order to try and win him back, but once she arrives she finds a new love...justice! This feel good show was first seen on the West End in 2009, but the production in Leicester (directed by Nikolai Foster) is completely new, but just as brilliant.

Photo credit - Catherine Ashmore

In the past, Legally Blonde has received criticism from some for it's lightweight story and stereotypical characters, but while some of the show's themes do seem a little dated in 2016, its overarching moral that 'being true to yourself never goes out of style' is as relevant today as ever.

Lucie Jones is outstanding in the hugely demanding role of ditzy yet tenacious Elle, a character who is hardly off stage for the whole show. She has a fantastic voice and a winsome charm, and these elements combined make her an absolutely wonderful leading lady. Playing opposite Jones in the role of Emmett Forrest, Jon Robyns is equally impressive, particularly in his act 1 number, Chip On My Shoulder, which serves as a montage to show Elle's advancement as a law student. The song is excellently sung and provides some great character building moments, which help to drive the story forwards.

The songs of Legally Blonde (written by Laurence O'Keefe and Nell Benjamin) are invariably fantastic, and catchy numbers like the shows opening song Omigod You Guys, and the brilliantly heartening Legally Blonde Reprise really help to solidify the show's fun and upbeat tone. Interestingly, a few songs have been altered slightly or given a new twist. The most memorable and notable example of this is the new Bollywood twist on the rap section of What You Want. While the twist may be a little jarring to those familiar with the song, it is fun and refreshing, and showcases the vocal talents of Jamal Andreas, who also stands out both as part of the ensemble and in his roles as Padamadan and Nikos Argitakos.

Designer Matthew Wright's dazzling set design is pink perfection, and lighting design by Ben Cracknell is equally rosy. The overall effect is an almost overbearing pinkness which transports the audience to Elle Wood's world brilliantly. Although at times the stage does seem a little bare, and some moments (especially during big ensemble numbers) do get a little lost in the space, this is a small weakness in what is otherwise an unfalteringly enjoyable show. 

It is fantastic to see such a brilliant, high quality musical theatre production in the Midlands, proving that theatregoers don't have to travel all the way to London to see great theatre. Legally Blonde at the Leicester Curve features a top-notch cast and impressive creative team, and the result is magical. 

Legally Blonde is running at the Leicester Curve until Saturday 14th May before heading to the Deagu Opera House in South Korea where it will run from 25th June - 2nd July.