Photo credit: Danny Kaan

(5 / 5)



If ever there was a more perfect introduction to the work of Steven Sondheim, it is Old Friends. Carefully arranged by Cameron Mackintosh, the evening is a complete triumph, the spirit of Broadway and of the man himself lies in every note.

If I’m very much mistaken, most if not all of his shows are crammed into this spectacle. All his retrospection, the machine gun lyrical delivery, the tender phrasing and punchy musical gustro all frequent his heaven sent show. You really can’t belive your luck when sat there and seeing this career which spanned decades go by, we only lost Steven not long ago and even his last musical has just opened in New York.

I’ve less love for Into the Woods, though here Bernadette Peters made for a hilaroius Red Riding Hood, aside the sexed up Mr Wolfman from a marvellous Bradley Maden. Much billing has gone to Peters and I can see why. It is her innocnet and infecious voice that reels you in, a delight upon closer inspection. I did hear perhaps a voice crack or two, though these were during the big, ballsy nunmbers, though I have no complaints. I love her. Lets not forget her Send in the Clowns and Losing My Mind as well!

Lea Salonga, most famous as Kim in Miss Saigon, also gets meaty ballads and rowdy numbers all over the place. Her passion got the audience in a state of rapture. The familar face of Bonnie Langford also impressed with strident vocals and good comic timing. Janie Dee might just be my favourite persona on the night, her Ladies Who Lunch a total highlight, The Boy From… another thrill with a few refrences to Wales, which got me in a whooping mood, perhaps I was the only Welsh in on the night?

Clare Burt and Christine Allado were in fabulous company, more treats along the way. Gavin Lee getting heaps of solos and duets with quick wit and vocally well paced. Jason Pennycooke coming into his own with the frantic song Broadway Baby from Follies, another triumph leaving me quite dizzy. Joanna Riding and Damian Humbley were even more joys in the cast, their many musical moments spread out over the evening. A Funny Thing Happened on the Way to the Forum, his first musical as both composer and lyricist, got a piffy flutter though remains slightly overshadowed by what would follow. 

Photo credit: Danny Kaan 

Jeremy Secomb as Sweeny Todd faired well in the demands of the roll, perhaps the most operatic of Sondheim’s whole oeuvre. Time spent with Gypsy and Everything’s Coming Up Roses was affirmed and I am so glad they included it. Pickings from West Side Story and Dick Tracey also help up well, the later an Oscar winning turn. Merrily We Roll Along has found fame since its first flop, the title song of the show coming from his musical. Its remains the best moment in Merrily and used as an encore was perfection. Beyond catchy.

Sunday in the Park With George might be one of his best, used an a first act ender was finely poised. Company holds up, the Not Getting Married song was another outstanding corker Passion and The Mad Show I know less of and I note the lack of Assassins and Pacific Overtures too.

See it. My word, just see it.

It runs till 6th January 2024

Photo credits: Konrad Bartelski

National Youth Music Theatre can righty be proud over an alumni of star studded names over the year, who all passed through performing with them. In my first time seeing them and in the new Southwark Playhouse, I stumbled over to see them take on a Sondheim rarity.

Based on the play Geroge Kaufman and Moss Hart, this musical version of Merrily We Roll Along was a notorious flop on Broadway. Yet it has found some sliver of popularity with some cracking songs and with Sondheim, who passed last year, now is the time to go out and see his stuff. Expect clever songs, lighting quick delivery of lyrics (also by him), earworms galore and a refreshing twist on what a musical should be.

This story of Frank Sheppard and Charley Kringas, a composer and lyricists combo on the up, must have been quite cathartic for Sondhiem, looking back on work he did with Leonard Bernstien and Jule Styne. His role with them was purely the writer of lyricist and no doubt the former composer would have been a memorable working environment. Demons are let loose here, the leading lady Mary Flynn, the guys good friend and Frank’s wife later on. The show goes back in time, the lack of chornological order would have proved quite bold back in the 70s, no doubt. We see success, to flops, to their humble beginnings.

It is pretty dated in some respects. The orchestration, some cheap harpsichord keyboard riffs and outdated stereotypes/jokes go against the show. Though the quality of the songs are very high, they remain moving, funny and insightful. I’d pluck out Old Friends as a favourite, very catchy and a nice three hander about the trials and tribulations of friendship. The title song has some charm, though not really a flabergasting find. It’s a Hit, Our Time and Bobby and Jackie and Jack also stand out for various reasons, mostly their quick wit, topical nature and effective sound world.

I respecfully won’t mention this young cast by name, they are rising stars for sure (with a few from Wales to boot!). I was impressed by the very effective American accents aquire for these roles, sounding like the real thing. Humour and sad bits were demonstrated with a formidable punch. The leads had a good peppy attitude as well, the ensemble also quick and alive. Director Katherine Hare and crew should be proud with their efforts putting this on. Libby Todd on sets and costumes harked back to the era, uncluttered moments would lead to hefty scenes and the wide space was used effectively. Not an easy piece to slap on any stage, I’m sure. Side note I would have loved a much earlier start time. We didn’t get out of the theatre till 10:45pm and sorting out public transport in the big city at that time can prove grueling.

It may have its flaws but it’s a big, busy show for youngsters to do today.

Jazz hands and happy feet, an exuberant, joyful, uplifting, seam of bright positivity runs through 42nd Street, originally a book and film dating from the midst of the Great Depression. A musical within a musical is a celebration of show business, it hints at the era’s economic atmosphere. 

The iconic show, with tunes such as “We’re In The Money” and “Lullaby Of Broadway”, tells the tale of a young aspiring performer, Peggy Sawyer, played by Rhianna Dorris, straight off the Greyhound bus from small-town Pennsylvania, she has wound up in New York City with only 40 cents in her purse, and there’s talk of skipping meals and breadlines, she’s aiming to make her dreams a reality, she longs to see her name in lights.

Stumbling into big-time director Julian Marsh, played by Michael Praed, and catching the eye of Billy Lawlor, she’s asked to join the chorus line of Pretty Lady, the latest musical to make it to Broadway. Unexpectedly she soon gets her chance at stardom, as leading-lady Dorothy Brock (who’s a nightmare to work with) is injured and Peggy finds herself thrust into the limelight, taking centre stage. The whole cast are superb, all strong characters, with amazing voices, working together as one to create a spectacular show. The character of leading lady Dorothy Brock (played superbly by Samantha Womack) certainly demonstrated incredible vocals. 

But, in my opinion, the real star of the show was the overall production – Robert Jones’ set and costumes are clearly fantastic. Utilising lighting and projectors to great effect. A lot of money and a lot of time has been spent making this production look as amazing as possible. The clever use of curtains allows us to see backstage as the production is happening, and other musical numbers like Shadow Waltz and 42nd Street have a very simple but incredible set design that really helps them stand out. 

Les Dennis and Faye Tozer are hilarious, they have great chemistry, a perfect comedy double act. Michael Praeds’ solo numbers are wonderful, he plays a very charismatic character. The leads are all outstanding, a plethora of household names, with years of experience on stage and screen“42nd Street” is a show that doesn’t come around too often. If you’re nostalgic over the era of Gene Kelly and Singing in the Rain then this is the show for you – and if you just love musicals, you won’t go wrong with this glitter-dazzling, tap-dancing delight!