I Feel Pretty And Witty And Gay 17/8

As this week sees the release of a new recording to celebrate the fiftieth anniversary of West Side Story it seems a good time to dip my toes into the world of the Jets and the Sharks. The show is, of course, an updating of William Shakespeare’s Romeo And Juliet. For Big Brother’s Brian (“So who is this Shakespeare geezer?”) I should point out that Shakespeare is regarded as Britain’s greatest playwright and he is not a film director or anything else for that matter. Although Brian and Charley really weren’t Romeo and Juliet, it could be said that, the rivalry between Charley and Chanelle was quite often on a par with the Montague and Capulet feud! And maybe Carol for the nurse and Seany as Friar Lawrence? Oh my god! Big Brother is taking over my mind, I am supposed to be talking about West Side Story……

Phew, let’s get back to (un) reality! Originally conceived as East Side Story and dealing with the rivalry between the Jews and the Catholics in New York the show brought together a group of musical theatre’s giants. Book writer Arthur Laurents, producer Harold Prince, composer Leonard Bernstein and director-choreographer Jerome Robbins are all now considered Broadway legends. Also joining them, writing the lyrics, was Stephen Sondheim making his professional debut. Of course by the time the time the musical premiered it had been retitled and the Montagues and Capulets had become the Puerto Rican “Sharks” and the more waspy “Jets”. West Side Story was one of the first Broadway musicals to focus on teenagers, with the adults being very much minor characters. From the comedy of Gee, Officer Krupke to the energy of Dance At The Gym, via the touching balcony scene, the show presents a rich portrait of teenage life. Indeed, the subject matter was revolutionary for it’s time and, within the plot and Sondheim’s lyrics, touched upon sex, drugs and lots of violence. As with many of Shakespeare’s plays, much of Romeo And Juliet has resonances with modern life. Likewise, West Side Story, with it’s relocating of the story to fifties New York, with it’s rival gangs, remains very topical today in a year that has seen several gang related deaths in the London area.

After the show opened it became the stuff of legend, the contributions of all it’s collaborators being incredibly innovative. For instance would it have had the same impact without Jerome Robbins’ breathtaking dance? I don’t know. Despite the groundbreaking achievements of West Side Story it was not 1957’s biggest hit, that honour (along with most of the years “Tony” awards) went to the more traditional The Music Man. However, a young Chita Rivera was honoured with an award for Best Featured Actress as the original Anita. It was possibly the 1961 film version of “West Side Story” that cemented the musicals place as one of the all time greats. Featuring Natalie Wood, then a big draw, as Maria (although she and most of the other performers were dubbed by other singers) the film was a resounding success. Even today it’s a truly stunning film. It was actually filmed on the streets of New York, on a number of streets due for demolition, and seeing the choreography of Robbins on those streets is particularly effective, really giving the whole movie an authenticity that adds to it’s impact. Incidentally, a few years later New York's Lincoln Centre rose from those avenues that had seen the Sharks and Jets fighting on them previously. So the streets that echoed with the sounds of one of the world's greatest musicals now echo with the best of the performing arts at this prestigious venue.

Of course I haven’t really mentioned the music yet. The demanding score features many songs that have become very well known such as Tonight, Something’s Coming and I Feel Pretty. Other highlights include the musical duel that is America and the anthemic Somewhere. The score has become much loved over the past fifty years and thanks to it’s great vocal demands is often performed by opera singers. It’s for this reason that many of its recordings feature well known, yet miscast, names from the opera. In fact when Bernstein himself conducted a recording of the show he chose Jose Carreras and Kiri Te Kanawa to lead the cast. Naturally they sang it beautifully, however they both sounded far too old and Carreras’ heavy Spanish accent made him sound more like a Shark than a Jet! Bernstein’s music also lends itself particularly well to Jazz so when acclaimed jazz musician Dave Grusin recorded an album with many of his contemporaries (and Gloria Estefan) it came as little surprise. However opera performers do seem to dominate new recordings and the fiftieth anniversary recording is no exception. As Maria, the light soprano of Hayley Westenra is very effective and it’s refreshing to hear a performer of the right kind of age in the role. Vittorio Grigolo has a beautiful tenor and sings wonderfully, however he does sound a little too old to play Tony and sounds far too Latin, like Jose Carreras. Even though the score sounds better than ever in this new recording I would relish the opportunity to hear it performed by more theatrical, rather than operatic, singers. Happily, the supporting players do sing the roles more like you would expect to hear them on West End or Broadway stage, in fact our very own Connie Fisher gets to sing the solo Somewhere. Connie does a great job on the track, it’s a very individual take on the iconic number and in places it is very moving.

It’s almost ten years since West Side last played in London but I would hope that it’s a show that will return to the West End at some point in the coming years. Iconic as the original production was, it’s a show that is ripe for re-interpretation and it would be nice to see it done with a new vision…..new direction, choreography, sets and even orchestrations….after all they were brave enough to try it with Oklahoma!

Now back to what I was saying….Gerry could be considered a bit like Tybalt but……

Recommendations
I don’t think there is such a thing as a bad recording of West Side Story from the original Broadway Cast to this brand new one they all have their merits. As well as the versions I have mentioned, several songs were recorded by German tenor Peter Hoffman and his American wife Deborah Sasson on the album “Bernstein On Broadway” which often turn up on Bernstein compilations these days. These are probably my personal favourites. Ten years ago an album called Songs From West Side Story was released with an eclectic group of pop and country stars including Natalie Cole, Trisha Yearwood, Aretha Franklin and even Little Richard. It’s a different and unusual take with differing results which only serves to illustrate the versatility of Bernstein’s work. Around the same time the Pet Shop Boys released a very different version of “Somewhere” too. Of course the movie is fantastic so the film soundtrack is always going to be worthwhile, but you could do a lot worse than buy the new recording. The orchestra sounds fantastic!

In closing
Only you, you’re the only one for me
You are psychologically sick
So smoke on your pipe and put that in

Soundtrack - tracks 50-52

50.“Being Alive” (Sondheim) from “Company” BARBRA STREISAND
“Someone to hold me too close, someone to hurt me too deep” This is the song that possibly explains what I hope for more than anything. In a relationship I just want it all! The good stuff, the bad stuff – just stuff! Sondheim wrote it for a character who is still single in his mid thirties whilst all his friends seem to have couple off! Therefore I feel perfectly entitle to call it my own! Along with Ms Paige’s “Losing My Mind” this recording is also responsible for kicking off a life long love of all that is Sondheim too!

51.“April In Paris” (Harburg/Duke) ELLA FITZGERALD
Paris has become a big part of my life in recent years. I kind of wish that I had begun my love affair with this magical city when I was much younger and may have decided to uproot there for a while. However, lottery wins aside, I doubt I will be buying my Montmartre apartment any time soon! Although I have never spent April in Paris it was on a recent visit that I hopped into my cab back to the Gare Du Nord, only to hear Ella on the radio singing this song. It seemed the perfect way to end a wonderful holiday.

52.“Numb” (Warren) PET SHOP BOYS
I want to feel numb, I just want to close the door…..Shocking news can have this effect. I know that there were moments when all I wanted more than anything was just to close off and feel nothing. Sadly I don’t think the numbness appears quite when you want it to, and in those times of severe shock feelings can be all too acute. Although actually having the feelings is much healthier so I should be grateful I guess!

I Love to Cry At Weddings!

Well, for those musical theatre aficionados amongst you I suspect you think I am going to be writing about “Sweet Charity”. In fact this is one of those very rare columns when I don’t mention musical theatre at all. So what then is the subject you may ask? It’s what I got up to last weekend.

I have known, my friend, Jackie for over twenty years. Back in our teens we would do that thing which teenagers did back in the days before ipods. We would sit in Jackie’s bedroom and play each other records, discussing the deep meanings that they held. Jackie introduced me to Suzanne Vega and Alison Moyet, whilst I played her Elaine Paige and Barbra Streisand. Sometimes we would pop down to Whitwick chippy, often pretending to be “Dempsey and Makepeace” and singing the theme tune. Jackie decided that I was Harriet Makepeace and she was Dempsey. Add to this the time when we got marooned at Coalville clock tower in the early hours of the morning, with Jackie dressed as an assassin and me as a (female) Greenham Common peace protestor, and it was a foregone conclusion that our lives wouldn’t take the conventional route!

Over the years Jackie and I have been around during each others bad times, and also the good times, so it was particularly nice to share last Saturday with her. The happiest of occasions.

This happy occasion was of course her civil partnership ceremony where she committed to her partner Sarah. I must admit when Jackie first told me about Sarah, for one reason or another I thought it was a bad idea, and told her so! However, the first time we met, over a pizza, I knew I was wrong. Sarah is intelligent, forthright and has a cracking sense of humour, so of course we got on excellently. Not only did I warm to Sarah pretty much immediately, but it was clear that she was having a really positive effect on Jackie. Jackie had always been a little shy and Sarah was managing to draw her out of herself. In fact since being with her, Jackie has really blossomed. As a couple they balance each other perfectly with the Jackie’s kindness and caring and the Sarah’s gregariousness and pragmatism they make a winning combination, and are very lucky to have found each other. In fact, as Barbra Streisand herself might say, these two people are the luckiest people in the world. I did try to think of a Suzanne Vega lyric (honest!) but they all seem a bit – well, vague.

Civil partnership’s between same sex couples are still very much a new thing. Obviously the legal implications are ground breaking and in terms of “rights” they go a long way towards achieving equality in many different areas. However I feel that the real achievement is that a civil partnership can give couples the opportunity to make a commitment in front of their family and friends in much the same way as a conventional wedding. The joy of a civil partnership ceremony (if you choose to actually have a ceremony of course!) is that they aren’t tied up in the tradition and paraphernalia of a heterosexual wedding. Beyond the signing (and witnessing) of the contract you more or less have free rein to make what you will of the day. I am sure that some couples go for a straight forward traditional wedding, but of course you can just take what elements you like. The symbolism of rings is something that I suspect many will choose to retain for instance. For Jackie and Sarah, although they eschewed a traditional reception in favour of a relaxed afternoon in the garden for all their friends and family, they kept the wedding cake and champagne! Phew, you can’t miss out on cake and champagne can you? Really! In this respect we are in the position that we can start our own traditions, and maybe in time there will become an “accepted” way to conduct things. My hope is that, rather than mimicking a heterosexual wedding, the way forward is to make civil ceremonies very individual events. It’s the second I have attended and both have been very different. For the first it was Joe Allen’s and then on to the London Eye by night, and for this second one it was a relaxed buffet and booze in the scorching August sun. The first was simple and brief, the second came with music and readings. There are no rules, and I hope that is how it remains. A celebration of a couples love, commitment and individuality. Confetti optional!

It was certainly a privilege, as a witness, to be part of their big day – even if I did get a bit confused about the rings! I wish Jackie and Sarah, and indeed all those others pioneers who have taken advantage of this legislation, much love and luck! Whatever you choose to call it – a wedding, a civil ceremony, a partnership, it’s certainly something that feels right

The Soundtrack of My Life - Tracks 46-49

Well it's been a while but I am back with more from "The Soundtrack of My Life" ......

46.“I Love Paris” (Porter) DORIS DAYAnd I really do! I would sing this to myself as I wandered the streets of Paris in November 1992 – the first time I visited. It really was the winter went it drizzles…which really didn’t matter as I felt immediately at home there, as I still do. I have since returned around seven or eight times and I have really become a Parisphile!


47.“All The Things You Are” (Kern/Hammerstein) CURTIS STIGERS
In 1997 within ten days of each other I lost my great grandma, and my Tante Leni. Two of the most important people in the world to me. The song is ostensibly a love song but it was a line from it that I chose to put on the flowers for Grandma. “You are the angel glow that lights each star, the dearest things I know are what you are”, this perfectly fits my feelings for both of them. And also for Violet! The flowers I chose for Grandma were daffodils, as I often used to visit her on a Saturday and take her a bunch. I only have to see daffodils to be reminded of her. ….

48.“Here Today” (McCartney) PAUL MCCARTNEY
Another dead dad song! I decided to separate this from the earlier ones rather than to bunch too many potentially depressing songs together! “And if I said, I really knew you well, What would the answer be?,If you were here today….” The whole song tells it’s story simply yet succinctly. It’s often a question you ask of yourself with reference to someone you have lost. It particularly deals with questions of love, and how well you knew each other, both pertinent issues in connection to the relationship I had with my father. The song also emphasises remembering the good times rather than dwelling on the negative.

49.“Wunder Ge’schehen” (Dehmel/Kerner) NENA & FRIENDS
Well I have mentioned before that I have become a fan of Nena over the last few years even though the vast majority of her work is recorded in the German language. This is a re-recording of one of her earlier hits that she released for Germany’s “Red Nose Day” – yes they actually call it that! My German is by no means fluent but the songs lyrics talk of being unhappy, and restless and having nightmares. Basically life being crap! However, according to the songs title, miracles happen. This is a gorgeous song with sentiments I truly do believe in. As I have said before, in the darkest of hours there is always light.

A Monkey On A Pedestal 3/8

Well I have seen the future. Frankly it’s frightening. The year is 2037 and I am sitting alone in my flat. On the antique CD player is my battered old copy of Chess and in my mind I see Murray Head and Elaine Paige dramatically performing an argument set to music as dirndl clad chess pieces polka behind them like whirling dervishes…….

Hmmmmm.

As you may suspect the truth is in fact that I have been to see The Drowsy Chaperone. Another case of a hit Broadway import failing to have the same success in the West End. This is such a shame as it really is one of the most ridiculously silly shows I have ever seen, although the silliness is balanced out by another really touching story – that of the “man in the chair”.

So let’s start with the ridiculously silly. The Drowsy Chaperone is a very funny spoof of all those twee musicals that populated Broadway and the West End in the twenties and thirties. This was a time when the stories were slight and the songs didn’t need to make sense within the context of the plot. Long lost brothers, mistaken identity, and novelty dance numbers would all feature and invariably the shows ended with either a proposal or a marriage. Romance was the cornerstone, and many songs still popular today such as Funny Valentine and I’ve Got A Crush On You all began in these inconsequential shows which provided the pop songs of the day. If an actress was starring who was known for singing grand opera arias they would b included, indeed if a performer was hired who happened to play the spoons then that may well have been introduced into the show – whatever talents they had would be utilized regardless of the suitability to the story. You only have to seek out a few of the cast recordings to realise that it really was the age of silliness in musical theatre! This show embraces those musical comedies of the twenties and thirties with brilliant effect. It really does tap every bit of comedy possible through it’s eccentric cast of characters and witty score. Even the shows big romantic number is hammed up for all its worth – but with a title like Monkey On A Pedestal it’s hardly surprising! The score isn’t by any stretch the best you will hear but it does achieve what it sets out to by lovingly sending up the Broadway of a specific era.

So what about the man in the chair exactly? Sitting alone in his apartment and playing an old record of The Drowsy Chaperone he tells us, the audience, all about this show he has never seen as the characters come to life before him. He seems to have quite a sad story. He lives alone, has a failed marriage behind him and is besotted with a young performer in the show who he only actually remembers as an old man – not the young dashing roller skater of twenties Broadway. The mundane daily occurrences get him down, as he ignores the telephone because it interrupts his listening. His only pleasure is listening to these old albums and imagining what the shows would be like. On the surface this sounds like a rather sad existence as it’s hardly a life anyone would aspire to. However, he gets such joy from these records that maybe it’s not quite so depressing after all. There are many people who, theoretically, have much more fulfilled lives who never realise the joy that this un-named man experiences. These elements counterpoint the whimsy of The Drowsy Chaperone very touchingly and its almost a case of it going from the sublime to the ridiculous! Possibly the nicest thing about The Drowsy Chaperone is how the show was born. The combination of all it’s elements certainly lead to a thoroughly satisfying evenings entertainment. Originally conceived as a wedding present for Bob Martin (the original man in the chair) the idea just grew over a period of years, as it was gradually expanded to a fully fledged musical. Sadly the show hasn’t really flourished in London – and if you have not seen it already the chance is you won’t as it closes this weekend. In New York it was a different story of course where it was the big winner at last years Tony Awards.


I have never really been a fan of Steve Pemberton who had taken over the role of the man, but in this performance he was excellent and conveyed a real pathos. Elaine Paige, in the title role, played against type in this rare comedy appearance that allowed her to send herself up in a multitude of ways, and in As I Stumble Along she had the shows catchiest number. The real find of the show is Summer Strallen, as our ingénue, who proves to be a real triple threat singing and dancing up a storm, in a performance totally in synch with the era it lampoons. I suppose all that is left to say is that I hope you are amongst those who got to see this delightful night of nonsense!

Recommendations
The Broadway cast recording is available but without seeing the show it’s a difficult score to love. However you could seek out the shows that inspired Drowsy and listen to one of the old shows by The Gershwins, Cole Porter or Irving Berlin – many of which have been re-recorded over the last ten years or so!

The Music That Makes Me Dance 26/7

“Memories, light the corners of my mind, misty water coloured memories of “Barbra Streisand, OK, I admit, it I have been a Barbra Streisand fan for about twenty two years. A closet fan? Well it’s difficult to be a closet fan when Babs is the subject of your adoration……. Anyway as we are in the midst of her London concerts it seems an apt time to discuss all things Barbra.

As a child and early teenager I had pretty much loathed her in all honesty, that is until I heard the song “Evergreen” the theme from her movie “A Star Is Born” and from that moment on I was hooked. It wasn’t long after this that her “The Broadway Album” was released and I was ridiculously excited about this as I knew the song “Somewhere” from “West Side Story” was on it and I had got a bit obsessive about the song at the time. I was on tenterhooks waiting for the release. The album didn’t disappoint ,and was one of my first experiences of the music of Stephen Sondheim (a parallel obsession) , remaining a favourite to this day.

So there I am a teenage Barbra Streisand fan, not the hippest of past times I know! I would go to my friend Jackie’s and we would do that very teenage thing of playing each other the songs that had “meaning” to us. It was in this way that Jackie introduced me to Alison Moyet, Prefab Sprout and Everything But The Girl. My legacy to her was Elaine Paige and Barbra Streisand. She liked Ms Paige pretty much immediately but I really had to persevere with Barbra. Eventually I persuaded her to like some of her stuff but it took a great deal of effort!!

It wasn’t long after this that I went into the sixth form. It was really funny but the circle I hung around with got a really awful reputation with the other students, in the sixth form house where we spent our breaks we kind of occupied what became known as “the end room” . Everyone else was really scared of us! To this day I don’t really know why but maybe it had something to with our taste in music! Firstly we had the mods (and modettes) playing their northern soul – and having what they called “serious fun”. “Nobody has serious fun anymore” they would lament, and then dance to their music with the most dour facial expressions you can imagine. It would seem that serious fun was all about being miserable when having a good time! It seemed particularly bizarre when they were doing their moves to the theme from “Rupert The Bear”! Yes Really! Perhaps that was enough to scare anyone! We also had a Led Zeppelin fan called Leper. That wasn’t really his name of course (don’t ask what that was!) but hew was about six foot five and had very long arms and it looked like his hands were dropping off (!?) So everyone called him leper. Then there was heavy metal, a few smiths fans and me. In the space of a lunch time it wasn’t unusual to hear “Stairway To Heaven”, “Wipe Out”, “You Don’t Bring Me Flowers” and “One Singular Sensation” from “A Chorus Line”. Yes, that was my fault too! So I wonder now if this is what everyone was frightened of. Death by show tune?

Well apart from using the five pound record voucher I won for third place in the May Ball fancy dress contest – to buy the “Yentl” soundtrack that’s about it for my Barbra school years. And no, I didn’t enter the contest as Fanny Brice. But it was only a matter of time until I was working full time in Box Office on the huge sum of one hundred pounds a week – this was the eighties! Collecting Barbra began in earnest. Everything from “Hello Dolly” to “Je M’Appelle Barbra”. Obviously we all have songs that we especially connect to either emotionally or because they remind us of a particular place and time and, for me, her songs are no exception. Her recordings of “My Fathers Song” and “Being Alive” have meant a lot to me for many years.

Anyway, by 1994 when she was due to perform her Wembley concerts I must have had everything she had commercially released and seen all of her movies. I had never imagined that she would be someone I would see live so when I realised that the tickets were way beyond my means I accepted it pretty quickly. A couple of months before the concerts were scheduled I got a call from Plum (remember her?) saying I had to keep a particular night free but she couldn’t say why. Of course I knew that the date coincided with the London dates, but couldn’t allow myself to think that I might be seeing Streisand. After all, whatever Plum had organized it was bound to be something nice! Anyway the day came and I met Plum at the Opera Tavern, opposite Drury Lane, along with her sister, Debs. Now Debs really is a Streisand nut so her presence there was the final clue! My suspicions were confirmed. Debs was under the allusion that we were meeting Plum so she could show us the new sofa’s in her newly bought Barnet cottage. In fact even when she had the ticket in her hand Debs didn’t quite realise that we were going to see Barbra that night. Then there was screaming and tears and bed wetting and, well you get the idea!

In all truth I have seen better concerts than the one I saw that night, but possibly none that felt quite so special. From the moment that she took to the stage, singing “I Don’t Know Why I’m Frightened….” the opening line of “As If We Never Said Goodbye”, it was clear that it would be a memorable night. There is something quite magical about hearing her signature numbers and big hits performed live. “Evergreen” was incredible and actually being there when she launched into “The Way We Were” as Robert Redford appeared on the big screen behind her was spine tingling. “The Man That Got Away” had long been a favourite of mine too so when she sang that for the first time I was really pleased and , schmaltzy as it is, I even enjoyed her singing “People” from “Funny Girl”. She even had Wembley Arena carpeted just for the show! I haven’t seen her this time around but I am not sorry. Seeing Barbra Streisand live is really a once in a lifetime thing. To see her twice would diminish that experience.

So am I a complete Barbra Streisand fanatic? Well no, not really. I have everything she has done (more or less) but I tend to do that with anyone I like – hence 3000 plus CDs. I do however continue to enjoy her music and every now and then go all Barbra and listen to all the old albums again. All I have to do is hear “Evergreen” or “Somewhere” and I am transported back – either to the “end room” or that night at Wembley Arena……


Recommendations
Well where do I start? “The Essential Barbra Streisand” is possibly the best overview, and “The Broadway Album” is an essential for any musical theatre fans. “One Voice” is one of her best live albums and it also features a guest appearance from Barry Gibb for her “Guilty” duets. “The Concert” is the tour I saw, and her new live album is great too. Of her movies “Funny Girl” is the best of the musicals, “What’s Up Doc” the best comedy and “The Way We Were” the best drama. “Yentl”, and “Hello Dolly” also get a special mention! Also on DVD are most of her concerts and, for extra kitsch value, “The Television Specials”. These are very old fashioned, but were highly innovative at the time, and show a Barbra who doesn’t take herself nearly as seriously as she has in more recent years!

Me And My Amazing Technicolor Column

Well I don’t usually write a review of a show after I have seen it, but having seen a preview of “Joseph And The Amazing Technicolor Dream Coat” I feel compelled to write about it. But “Joseph’s” special.

The first time I saw “Joseph” I must have been eight or nine. I went on a school trip to Leicester Haymarket to see the show and we all had a whale of a time. I remember, during the finale, the actor playing the lead pelted the audience with liquorice allsorts. I am sure in these days of proliferate health and safety regulations it really wouldn’t be allowed, and indeed I cowered in my seat expecting to be killed by a candy hailstorm. My friend Lesley was much braver however and managed to catch a sweet which she then proceeded to nail varnish and cherish as a memento of her love for the show’s star. She still had the all sort in her jewellery box ten years later and I suspect that somewhere in the cottage she shares with her new husband there is still a mouldy old sweet to be found.

The following year saw my next experience of the show, in Chelmsford, where my uncle was playing one of Joseph’s brothers. Possibly I enjoyed the show even more on this occasion. I suspect that in the late seventies and early eighties the show must have played at almost every regional theatre and rep in the country, becoming a huge popular hit that everyone knew well despite it never having had a major west end run.

Around 1980 even “Grange Hill” put on a production of “Joseph”. This wasn’t at all unusual as it was around this time that it became one of the staples for school shows. Then in 1991 a big budget production opened at the Palladium starring Jason Donovan and the musical finally became the huge mainstream success that it is now.

So whether it be a regional version, appearing in a school show or the West End mega hit, there must be many people who count “Joseph” as one of their first theatre experiences or even one of the defining moments of their childhood. In a strange sort of way this results in many of the audience having a strong connection to the piece. This seems to lend a show which, on the surface, seems slight and fluffy a real emotional quality. This is what, I believe, makes “Joseph” special.

Anyway enough of this meandering! Let’s get back to the new sparkling Adelphi production. I must admit that I had forgotten quite how funny the show is, but I was reminded by the lovely Miss Wilkin, at my side, who giggled all the way through! Steven Pimlott’s vision of the piece brings comedy very much to the fore. Humour finds it’s way via the choreography, the set and of course Tim Rice’s ever witty lyrics. This is most evident in the pastiche numbers that the brothers sing which work as brilliantly as ever. I doubt that Lloyd Webber regards Joseph as his greatest work but I think it’s certainly his most entertaining, and as good family entertainment goes the show really can’t be bettered. His score works brilliantly for the show and the shows big numbers “Close Every Door” and “Any Dream Will Do” are hard to beat. Lee Mead is certainly a great find in the lead. I doubt the role has ever been better sung and I heard harmonies there which I have never heard before. I mean Jason Donovan was really charismatic in the role and Donny Osmond – well you have to love Donny, but, I believe, Lee Mead really does sing the role better than it’s ever been sung before. It’s kind of ironic that it’s a TV talent show that has lead to a trained and seasoned musical theatre performer landing the lead when, in recent years, it has very much become associated with fading pop stars and TV presenters. I am sure we will hear of Mr Mead for many years to come and Andrew Lloyd Webber has made a great discovery. Nice set of pins too! The only bad point for me was all the screaming coming from the audience. The majority of this didn’t bother me but the stage mothers screaming for the children did seem a little OTT! Never mind though, they will calm down soon! The one thing that had filled me with horror was the prospect of enduring the mega-mix at the shows end. However my fears were unfounded as it really was a great ending to the show and left the audience with a real high to go out on. Let’s not forget that the Palladium “Joseph” was the first to have one of these extended medleys, so this productions is the first and best!

Maybe it’s just me but I certainly found many elements of the Adelphi production quite moving. The whole “father estranged from son” thing always gets me a bit -but that’s because of my own personal history. Oddly it was during the mega mix that I felt a bit choked. Now this I can’t explain but perhaps it was just the electric atmosphere that the show had generated that was getting to me. Whatever the reason I certainly had a great time and even though I hadn’t been particularly bothered about going I am very glad I did. A really great night out and, on this occasion, I didn’t have the perilous flying sweeties to contend with!

Recommendations
Well, I will be very surprised if a new cast recording of the show isn’t out very soon and I would suggest you wait for that. However the Jason Donovan recording is available as is the Donny Osmond one. They are pretty similar so just go for your favourite Joe! Of course the DVD is available starring Donny alongside Maria Freidman, Richard Attenborough and Joan Collins. A CD soundtrack was also released although it may be quite hard to find now. The filmed version is a lot of fun though and I would recommend it!