Tag Archives: english national opera

Carousel (London Coliseum)

This musical is one of my firm favourites, but the lead casting choices didn’t fill me with joy when they were first announced.  I’m familiar with both Katherine Jenkins and Alfie Boe as popular singers of mainly operatic fare (although neither have ever sung in a full-length opera), and to me they were hardly the embodiment of Billy Bigelow and Julie Jordan.

carousel-ENO

However, the supporting cast and the spectacular full-staging has been gathering praise despite some lukewarm reviews from both professional and blogging critics, and I do like the score, so I bit the bullet and bought a couple of tickets in the Upper Circle, which were overpriced and allowed fairly awful views and minimal leg room.

The show, though, has some great numbers and the ensemble pieces were well-delivered (‘June Is Bustin’ Out All Over’, ‘Blow High, Blow Low’, ‘What’s The Use of Wond’rin’), with some excellent chorus work and choreography.  Derek Hagen as Jigger, Brenda Edwards as Nettie, and Davide Fienauri as the dancing Carnival Boy need special mention as they lifted the energy and engagement levels whenever they appeared.

Gavin Spokes gives a real comic edge as well as some serious singing class to the role of Mr Snow, while Alex Young is a splendid Carrie, rightly getting warm applause for ‘When I Marry Mr Snow’ and ‘When The Children Are Asleep’.  This last song is a duet between Young and Spokes, who demonstrate the chemistry that is sadly lacking in the big lead duet ‘If I Loved You’, which should pull the audience in to the sudden emotional and deep love between Billy and Julie.

Let’s talk about Katherine Jenkins as Julie.  It’s been reported that as well as company voice coaching she has been receiving private acting lessons, and they have rubbed off as well as can be expected.  However she cannot both sing sweetly and put across the complex emotional range needed for the character, leaving her numbers to be simply very nice to listen to for the melody.  But in Act Two, where she has to engage with her wayward daughter, she’s fairly convincing, and her casting wasn’t the disaster I feared.

Which leaves Alfie Boe as Billy.  Reviews have not been kind, primarily to the wig which has now been replaced with something more in keeping to what a carnival barker might have worn.  His acting has been derided, too, with him being described as ‘a floorboard’, ‘a child pretending to be an adult’, and similar.

It may be the way the role was directed, but his stance is not in the least sexy or smouldering as it should be, and he’s just not convincing, and we don’t really understand what Julie sees in him.  In fact at the start of the big seven-minute Act One closer, ‘Soliloquy’, the way he stood made me think of the actors who taught thick Prince George how to deliver a speech in Blackadder.

The ‘Soliloquy’, though, is the undoubted highlight of the role, and by the end, the strength of the song came through and the effect was rather touching; we did, at last, believe that this man had found the heart within himself on discovering he was to become a father.

The staging though was odd, with the revolving circle which had been used to great effect in the opening ‘Carousel Waltz’ overture to introduce all the character and the show’s name itself, in letters revolving, oddly, backwards.  In the ‘Soliloquy’ Boe spent most of the number alone, as is right and proper for a number in which the character vocalises his thoughts,  but I expected a bit more use of both space and backdrops than we got.

Act Two started with some drama, as we were told that Alfie Boe had been feeling progressively ill during the first act and was unable to continue, leaving understudy Will Barrett to come on and deal with the tricky scenes of Billy’s death, engagement with the Starmarker (Nicholas Lyndhurst, in little more than a cameo), and as an invisible observer to his daughter’s childhood.  It would be hard to judge Barrett’s singing in Act Two as not much is required, but I felt he acted the part better, overall, and had a more believable engagement with Jenkins, as well as with Amy Everett, playing their daughter Louise.

Lonny Price directs, and Josh Rhodes is the choreographer, with David Charles Abell conducting the ENO Orchestra.  And no matter what the publicity says, this is most certainly not a semi-staged musical, there is a full set, costumes and flavour.  I can’t recommend it unreservedly due to the weakness of the two leads, but it is not the dud I thought it would be.


Sweeney Todd (English National Opera, London Coliseum)

We were lucky enough to see the final performance (of a short run of 14) of the ENO’s ‘Sweeney Todd’, a production first performed at the Lincoln Center with the New York Philharmonic.  Ported over for this show were Bryn Terfel (Sweeney Todd), Emma Thompson (Mrs Lovett) and Philip Quast (Judge Turpin), with the addition of Matthew Seadon-Young as Anthony, Katie Hall as Johanna, John Owen-Jones as Pirelli, Jack North as Tobias, Rosalie Craig as the Beggar Woman, and Alex Gaumond as the Beadle.

sweeney1

At the start it seems as if we are going to see a straight concert performance, but this seems a waste of a good cast and a vibrant, beautiful venue, so as Terfel and co throw down their scores, destroy items on the stage, and hand out props from an ENO trunk, we pitch into Sondheim’s powerful score with some style, and stuffy concert formality is pushed aside for banners, graffiti, and bloody handprints (the conductor even sports one on the back of his shirt, visible through his ripped black jacket).

sweeney2

Whether the production is a success or not generally depends on whether the balance of darkness and comedy is depicted correctly – and in Thompson there is a saucy playfulness around a hard interior which is quite happy to condone and encourage mass murder to encourage the pie trade.  In Terfel’s magnificent Sweeney we see an icy resolve for revenge, not just on the men who violated his wife and stole his daughter, but on everyone who needs a shave.  Truly there are no closer shaves to be found on Fleet Street.

Sondheim’s score, too, is towering, walking the line between musical and opera without effort – so that one of opera’s greatest bass-baritones fits well in the role alongside a musical comedy actress and a baritone who has played most of the major roles in musicals without having formal voice training.  Owen-Jones may be slightly wasted in the role of Pirelli, but he is fun, while Philip Quast is hissably repellent as the judge who finds himself lusting after his adopted daughter, who ‘looks lovely in her white muslin dress’.  Absent from London stages since La Cage Aux Folles six years ago, he’s welcome back in the UK after a run of successes in his native Australia, and it is a privilege to hear him sing the duet ‘Pretty Women’ with Terfel.

Thompson has two comedy high points in ‘The Worst Pies in London’ and ‘By The Sea’ (with a handy spray bottle to evoke the briny), while her duet with Terfel, ‘A Little Priest’ sizzles with menace against audience, orchestra and unsuspecting pie eaters alike.  In a red outfit with slashed collar and headscarf, she totters between industrious baker and lovestruck widow, and she has great chemistry with her Sweeney.

Thumbs up for this production’s Anthony and Johanna too, with their ‘Green Finch and Linnet Bird’ song of young love, and their eventual look of horror at the mouth of hell in the bakehouse’s final carnage.  And Tobias, the young lad who we first see as Pirelli’s assistant, a cheeky chap with a fast mouth, becomes a broken bird, and perhaps his story is the saddest of all.


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Emily Baycroft

Currently a final year English student at the University of Cambridge. Producing Intern for Fuel Theatre July-October 2016. Aspiring Arts Administrator/Theatre Producer, blogging about my projects (mostly).

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Loud Alien Noize

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Emily Baycroft

Currently a final year English student at the University of Cambridge. Producing Intern for Fuel Theatre July-October 2016. Aspiring Arts Administrator/Theatre Producer, blogging about my projects (mostly).

MTAS

West End Reviews | West End Challenges | Exclusive West End News

A Red Lip And A Nude Shoe

Dior Dreams On A Kmart Budget

is there room for me to sew?

Quilting, Reading and the Movies

Jaime Rebanal's Film Thoughts

Cinema - moving around life one film at a time.

The Case for Jeanette and Nelson

"Whaddya gonna do? I love her. I think she loves me." -Nelson Eddy on the Jack Parr Show, 1960

STARDUST AND SHADOWS

Opinions on Classic Hollywood , B Movies, Grindhouse, SF film , Classic Horror, Film Noir, Books, and related subjects by Canadian film guy TERRY SHERWOOD. (This site is not affiliated with author Charles Foster and his book Stardust and Shadows.)

The Wonderful World of Cinema

This blog is all about cinema, movies and stars of every decades. It's wonderful!

Movie classics

Thoughts on older movies, especially those from the 1930s to 1950s.

Hiss and Tell

Featuring Gryff, the angry diabetic cat, and the humans who serve him

TESSA BARRIE'S LOST BLOGS

Random Blogger from Jersey, Channel Islands, UK. Not Noo Jersey, USA. Expect the unexpected. Life's too short to be niche.

[insert title here]

just one of many things i'm still trying to figure out

buchanblog

A trip down Memorex lane

The Phantom Frame

Information about the creative works of Gareth Preston

West End Blog

Bringing you independent, honest, experienced reviews of current theatre shows. We believe theatre is something truly magical and can be enjoyed by everyone.

Archive Television Musings

"To waste one second of one's life is a betrayal of one's self! I wonder what's on television?"

The Actor's Advocate

In defence of acting

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