ONE OF THE SMART ONES LIZA MINNELLI – LIVE AT THE WINTER GARDEN CD Back in the late eighties I would often head into “Cheapo Records” on Rupert Street and rummage through the racks to see what could tempt me. On some occasions I would come across something that I didn’t even know existed, such as when I found Liza Minnelli’s “Live At The Winter Garden” album. Recorded in 1974 well before “Cats” was installed in the theatre “Now And Forever” – or not actually, as Mamma Mia has been there for a good decade, the album is one that seemed fated never to get a CD release. Finally that has been rectified, and it’s only reading the liner notes that I discover the album itself was also a rare gem having been withdrawn from release very quickly due to issues with the rights of her performances from “Cabaret” So almost forty years on a performance from a young Liza at the height of her powers and fame has at been embraced by the digital age. Hot on the heels of both “Cabaret” and “Liza With A Z” it must have been a very hot ticket when Liza set foot on the stage of the Winter Garden and hearing this album now it’s easy to understand why. Firstly what strikes me is the boundless energy that the recording captures, whether it’s on “A Natural Man”, “If You Could Read My Mind” or possibly the best of her several recordings of “I Can See Clearly Now” you just know that she was dancing up a storm and holding the audience in the palm of her hands. The only disappointing original track is over very early in proceedings when she sings “Shine On Harvest Moon” a song that I have never been particularly fond of. However, this is followed by the first of several pieces of special material, a companion piece to “Liza With A Z”, where Liza sings of people who she has met claiming to know someone “Exactly Like You”. It’s the sort of song that Liza excels at and other performers can rarely carry off. She follows this with the rousing “The Circle” a lesser known Piaf tune, followed by the standard “More Than You Know”. Next up is another absolute highlight from the pens of Kander & Ebb, the little known “I’m One Of The Smart Ones.” A change of pace with a couple of Charles Aznavour songs, the introspective “And I In My Chair” which defines the thinking that a song is a three act play in four minutes. As Liza sings of observing people at a party as her relationship breaks down you believe every word. Thankfully after the heartbreak of this number she lets rip with the better known “There Is A Time”, before once again getting introspective with a definitive version of “A Quiet Thing” from her first Broadway show “Flora, The Red menace”. The original ends with the track that lead to the many years of limbo that the album suffered – a medley from “Cabaret”. No surprises in this selection, but many of the preceding make this album an absolutely essential purchase for any fan of Liza. My only real negative criticism is that the album doesn't use the original cover art on the front, relegating it to an inside picture. However I have used that original design for this review.

As an added bonus for this release come three additional tracks from the archives that never made the original cut of the album. It’s fair to say that it’s always nice to have a little extra Liza, but none of these three tracks sparkle in the way that the highlights of the original album do. For another taste of Liza from this period seek out “Liza With A Z” on either CD or even better DVD.

How Glad I Am that I discovered Aretha's jazz past

It has been sometime since I wrote regularly for my blog, so it’s high time I at least attempt to write the occasional paragraph. I seem to accumulate CDs and DVDs at such a ridiculous rate that I thought I would begin by writing the occasional review of the latest additions to my collection. For my first selection I am taking a look at a recent compilation by the greatest of soul divas – Aretha Franklin ARETHA FRANKLIN – THE GREAT AMERICAN SONGBOOK When most of us think of Ms Franklin we tend to think of the classic soul tracks she recorded for the Atlantic label in the late sixties and early seventies, such as “A Natural Woman”, “Think” and “Respect”. The definitive recordings she recorded during this period have possibly over shadowed everything that she did in later years, and this is certainly the case when it comes to the recordings she did for Columbia in the early sixties at the beginning of her career. Apparently it became common place for people to say that these early albums were produced by a label that neither understood or supported Franklin as a performer and are inferior to everything that followed. However, Aretha is on the record as saying that what she really wanted to be was a jazz singer, and that she holds these recordings in high regard herself as the arrangements and production, were exactly as she wanted at the time, and she held the musicians in higher regard than those on her more successful songs. Putting all that aside I can only judge the recordings as I find them myself., and as a lover of the great American songbook, I can judge them alongside the great artists of the last eighty years or so who have made a success of singing the music of Porter, Berlin, the Gershwins and more. I can possibly divide the songs into two categories. Firstly, tracks such as “What A Difference a Day Made” and “How Deep Is The Ocean” where she plays it straight with arrangements close to the originals. I almost expected the vocal histrionics that typify a lot of Aretha’s work (for better or worse) but what Franklin does is showcase the music and lyrics in a similar way to Ella Fitzgerald did on her acclaimed songbook series for the Verve label, and she is no less effective than Ella herself which is high praise indeed. Secondly, there are the recordings where Aretha let’s loose and swings. She throws herself into these songs with what seems like abandon, but on closer listening it’s clear that these are meticulously considered renderings on a par with the greatest of jazz performers. What sets many of these tracks apart are the inventive arrangements where Aretha deconstructs a songs and re-invents it so it sounds like something you are hearing for the first time. This is typified by her take on “It Ain’t Necessarily So”, but the absolute highlights are possibly “How Glad I Am” and Cole Porter’s “Love For Sale” which give her full rein to really let loose and show what she can do, but without the over indulgence that some of her later work exhibited. It’s fair to say that I was totally blown away by this compilation and can’t recommend it highly enough. Aretha Franklin has now gone from a singer I used to quite like and appreciate to one that I regard in the highest terms and want to discover more about. FURTHER RECOMMENDATIONS If like me you listen to and enjoy this album then do as I have done and seek out some of the individual albums from this period where she was, as oft described, “the Queen in waiting” Many of these discs are available in budget priced box sets. So far I have added “Unforgettable – A Tribute To Dinah Washington”, “The Electrifying…”, “Soul Sister”, “The Tender, The Moving, The Swinging”, and “Running Out Of Fools” to my collection and none of them have disappointed – they all highlight the great Jazz singer that Aretha Franklin was in her early twenties whilst showing a tantalizing glimpse of the consummate soul diva she would become.

Les Miserables Aux Folles

Les Miserables Aux Folles

As I write, it’s almost a week since I tried to get to the French revolution during a tube strike. OK, that’s a slight exaggeration, I was of course attending the 25th Anniversary concert of “Les Miserables” at Greenwich’s O2, but yes a tube strike was beginning that night, so my mind was possibly more occupied on how one earth I would get home rather than the joys of the “Worlds Favourite Musical” tm.

I have to admit “Les Miserables” may be the worlds favourite musical but it probably wouldn’t even make my own personal top thirty. Despite it possessing a fair few good songs in the score, it lacks the qualities that, I think, make for a great musical. Far too many characters die for me to engage with them emotionally, although I may be in the minority here as dozens of audience members sob through the whole piece relentlessly.

However, that aside, the celebratory concert at the O2 was a wonderful occasion. I think possibly “Les Miserables” is at it’s best in this format, away from the ongoing dreariness of the regular stage production. It was beautifully cast with stars from the world of Opera, the West End, Broadway and a small sprinkling of Jonas brother. There were a few occupants of my box who were rather scathing when it came to Nick Jonas, but I found him to be a perfectly respectable light tenor, and was probably a far better Marius than I have ever seen in the four times I attended the West End production (Why oh why????) Unfortunately he was cast alongside a triumvirate of truly exceptional male voices that couldn’t fail to put him in their shadows. Firstly, “Love Never Dies’” star Ramin Karimloo as Enjolras who thrilled with “Do You hear The People Sing”, and also Broadway’s Norm Lewis as Javert. However the real sensation was opera’s Alfie Boe. His rendition of “Bring Him Home” was truly beautiful. I would wager that it has never sounded better. Amongst the other cast members Lea Salonga showed Susan Boyle where she goes wrong with “I Dreamed A Dream” and Samantha Barks was stunning as Eponine and has really grown as a performer since her TV stint on “I’d Do Anything”. Last but not least Matt Lucas’s comic turn as Thenardier showed what an asset he would be to musical theatre should he decide to follow that path.

It was thrilling to hear the score performed with full orchestra and a massive chorus which made it quite spine tingling at times. However the most moving moments came towards the concerts close when the original cast from back in 1985 took to the stage. We heard “Bring Him Home” again as Mr Boe and the original Valjean, Colm Wilkinson were joined by the current West End and touring Valjeans in a beautiful harmony. All that remained was for the original cast to lead the entire company in a rousing reprise of “One Day More” to the whoops and whistles of all in the O2.

Definitely an evening to remember and one that is to be released on DVD shortly.

Also this week, I received my new small shiny disc of the Broadway revival cast recording of Jerry Herman’s “La Cage Aux Folles”. Now “la Cage” is definitely in my top twenty musicals, as I have a particular fondness for it that dates back to 1986 when I worked front of house on the London Palladium production. The recent London revival (on which this incarnation was based) was a pale shadow of the original for me. However it did reveal that it has a particularly strong book and score which cannot really be messed up. As much as the original orchestrations and George Hearn’s definitive Zaza will always be hard to better, the new recording still has much to enjoy. Whilst lacking Hearn’s vocal abilities, Douglas Hodge imbues Zaza with much warmth and emotion and still manages to dazzle with “Mascara” and the iconic “I Am What I Am”. Ably supported by Frasier Crane himself, Kelsey Grammer (who betters Broadways original – Gene Barry) they lead a competent company in this new recording. Whilst I feel “The Best Of Times” and “Cocktail Counterpoint” are disappointing on the album, most of the new orchestrations and vocal arrangements work brilliantly. Where this new recording really scores however, is with the afore mentioned leads. You really do get a sense that these are two men in love and you cannot fail to be moved by “Look Over There” as Grammer sings of the love that Zaza feels for their son. Truly touching. Also the “naughtiness” of les notorious Cagelles shines through. Whilst it will never replace the original 1983 Broadway recording in my affections it’s a worthy addition to my collection.
Available on PS Classics.

So my week has seen my journey from the French revolution to the French Riviera, acts of war to acts of….well drag……, Alfie Boe to a feather boa, who knows what the next week will hold!!!!!!!!!

It's Liza With A Z

As anyone who knows me intimately can tell you I have rather a big one. Now, now don’t let you dirty mind get you all carried away, what I am referring to is, of course, my comprehensive collection of CD’s and DVD’s. Barely a week goes by without me having to purchase the latest must have item for my listening or viewing pleasure, and the last week was no exception as I was woken with a thud on the doormat not once, not twice but three times (thank you Amazon.co.uk) as two CD’s and one DVD arrived. Unusually in this instance all three packages had one performer in common, the show business legend that is Liza Minnelli.

The first of these was “Cabaret And All That Jazz – The Liza Minnelli Anthology” , a by no means definitive collection largely culled from the recordings Ms Minnelli made for the Columbia label between 1972 and 1992. It’s a real pot-pourri of musical styles from a period where Liza was at her most creatively prolific. Much of the content was already in my collection so I am not going to particularly dwell on the tracks from “The Singer”, “Liza With Z” and the rather wonderfully bizarre 1977 album “Tropical Nights”, nor indeed the album that was to prove her most successful in terms of chart placing, 1989’s Pet Shop Boys’ produced “Results”. What made this album a must have was the inclusion of around a dozen tracks that had hitherto never been released on shiny silver disc. Back in the early nineties I had discovered a rather scratchy old second hand vinyl copy of “Liza Live At The Winter Garden” originally released in 1974. I have been waiting for twenty years for the album to be released on CD – to no avail – so when I saw that almost all of the albums tracks were to be included on this compilation I knew I just had to have it. Sadly the best version of her oft recorded “I Can See Clearly Now” was not included, but what remains includes four Minnelli classics. Liza’s first Broadway show, a decade earlier, was “Flora, The Red Menace”, and at the Winter Garden she performed, possibly the best ever versions of the lovely plaintive “A Quiet Thing” alongside the more rousing “I’m One Of The Smart Ones” from that show. After 1972’s “Liza With A Z” she returned with another piece of specially written material where she sang of people often saying they had a friend just like her with “Exactly Like Me” which possibly even betters the earlier song. However the undoubted highlight, which ranks as one of my personal Liza favourites is her rendition of Charles Aznavour’s “And I, In My Chair” a little known gem, conversational in style, that is almost a one act play in it’s own right telling the story of a woman at a party. This alone was the main reason that I bought this compilation, and one I will never regret.

Bringing things right up to date Liza has just released a new studio collection entitled “Confessions”. It’s a very different Minnelli we hear on this recording, a world apart from many of the recordings on the anthology. Vocally, now she is in her mid sixties, her voice hasn’t the range and energy it had in these earlier recordings, but she more than makes up for that in warmth. The repertoire she has chosen is perfect for the sultry husky tones she now has in a collection of late night jazzy tunes accompanied by her long time pianist Billy Stritch. The mood is set with the rather naughty “Confession” by Schwartz & Dietz where she claims that “I am always in bed by ten, and then go home at four” before launching into a swinging version of the Cy Coleman classic “You Fascinate Me So”, possibly my favourites amongst a collection of standards and little known gems that also includes “Close My Eyes” and Peggy Lee’s “He’s A Tramp”. Of particular interest for Liza fans is the rarely performed “On Such A Night Like This” which dates back to the sixties and was, I believe composed for an un-produced musical that was to have starred Liza alongside Jeanette McDonald, with a lyric that pays homage to her mother Judy Garland, amongst many others. If you are looking for a mellow jazzy album, for late evening, to enjoy alongside good conversation and a glass of your favourite tipple then “Confessions” would make a very good choice.

Lastly I come to the DVD of “Liza’s At The Palace”, when Liza is in front of an audience a magical alchemy happens, and this concert is no exception. Liza makes a few jokes about not being able to do what she used to, but then again who can at 64? Let’s face it Liza at 64 is so much more than many at half her age. Of all the concerts Liza has performed this one is probably her most autobiographical as she pays tribute to both of her parents, and most notably her godmother Kay Thompson. These days Kay is best known for her outrageously camp “Think Pink” number in the classic Hollywood musical “Funny Face”, but other than a recreation of that movie’s “Clap Yo’ Hands” this concert looks to her night club act from the late forties that she performed with the Williams Brothers. It’s quite unlike anything that you ever see these days and really infectious in it’s energy. Of the other material there are three undoubted highlights. Firstly, the specially written “I Would Never Leave You” which is evocative of Shirley Bassey’s recent “The Performance” collection, as it deals with an older performer looking back on her life. A real treat is a rare performance of “I Am My Own Best Friend” that Liza first performed in her brief Broadway stint of “Chicago” in the mid-seventies and has never previously recorded. The third highlight, which I was lucky enough to see her perform at the Albert Hall in 1992, is another Charles Aznavour song “What Makes A Man A Man” which unusually for the period it was written (forty years ago) deals with homosexuality . Particularly unusual is the fact that Liza sings it as a man playing a woman. Not camp at all!

In closing, all of these items come highly recommended for fans of Liza both old and new. I hope you enjoy them!

Once Upon Another Time

In the last few weeks the show-biz forums have been well and truly buzzing. It seems people were well and truly up in arms! How could Andrew Lloyd Webber have the audacity to produce a sequel to “The Phantom of The Opera?” How dare he write a follow up to the greatest musical ever? How dare he re-use a song he had already put in another show? These questions were only the tip of the iceberg as it seemed that almost everybody had an opinion on the subject. Also, let’s not forget all the armchair critics who had heard this or heard that or had spoken to someone who had seen a preview and they had thought all manner of things. Well everybody is entitled to an opinion I guess so now the dust has settled a little and the show has had it’s glittering premier and been reviewed by the critics I thought I would offer mine.

I would say, in producing “Love Never Dies”, Lord Lloyd Webber possibly has a little audacity but then again writing a rock musical about the gospels in the early seventies was a lot more audacious, as was setting a whole musical on roller skates back in the eighties. However, I do concede that “The Phantom Of The Opera” is a hard act to follow so it was certainly a bold move. I don’t necessarily believe that “Phantom” is the greatest musical ever written (actually I like “Evita” a lot more) and, yes, I do realise that’s almost as controversial as saying Susan Boyle isn’t the greatest singer. Of course, it’s all down to personal taste, but what is beyond dispute is that “Phantom” is one of the most successful musicals of all time and amongst the best loved. For this reason many of its fans feel a real sense of ownership when it comes to the show and have very fixed ideas about what happens next or indeed if anything should.

The real controversy around “Love Never Dies” seems to be that Andrew Lloyd Webber took the chorus of “Our Kind Of Love” from “The Beautiful Game” and re-used it as the title song. Well, as Fraulein Schneider in “Cabaret” once said “who cares, so what!” Almost as long as musicals have been produced composers have recycled tunes – and in many cases lyrics. Back in the thirties the Gershwin’s used “The Man I Love” in “Strike Up The Band” before cutting it and later re-used it in “Rosalie” before cutting it again. Irving Berlin’s “Mr Monotony” had a similar history. In the 1953 Rodgers and Hammerstein show “Me And Juliet” Richard Rodgers used the theme he had written for the previous years NBC documentary “Victory At Sea” as the shows big ballad “No Other Love”. 1958 saw a young Jerry Herman write the little remembered revue “Nightcap” for which he wrote a rather lovely show tune with the rather original title of “Show Tune”, then eight years later he used the tune again in the rather more well known “Mame” as “It’s Today”, and indeed wrote yet another lyric for it as the title song to his compilation show “Jerry’s Girls” in 1985. So whatever the rights and wrongs are on re-using a tune Lloyd Webber is in very good company. Almost every successful composer has utilized a “trunk song” (yes there is even a term for it) at some time or another. Fraulein Schneider, in particular can back this up as “Maybe This Time” was an album track for a young Liza Minnelli many years before it found it’s way into the screen version of “Cabaret”.

So now that I have commented on some of the criticisms levelled at “Love Never Dies” you may be wondering what I thought of it myself. In short I loved it, enjoying it far more than I have ever enjoyed “The Phantom Of The Opera” and believe that it’s Andrew Lloyd Webber’s best score since “Evita” full of romantic and sweeping melodies the likes of which are too rarely heard in the West End in these days of rock compilation musicals. Ramin Karimloo gives a towering performance as Paris’s former Opera Ghost particularly in his stunning first act number “’Til I Hear You Sing Once More” that proves he is one of the best voices ever to grace the musical theatre stage. Equally sublime is Sierra Boggess as Christine Daee and I can only hope that this former Little Mermaid’s career has legs and we get to see much more of her in the future. Of the supporting cast Summer Strallen shines and does everything that Summer can do so well and shows us that she has well and truly inherited those Langford genes and Langford legs!

The opening projections which ethereally create the back drop of Coney Island are mesmerising as they magically draw you into the carnival with carousel horses and twinkling lights . Bob Crowley’s set designs are stunning and very much in the spirit of Maria Bjornson’s work on “Phantom”. Where as, I believe, Ms Bjornson took much of her inspiration from the art of the period such as Edgar Degas, Crowley seems to have taken similar inspiration from the Art Nouveaux school and his designs particularly evoke the work of Alfonse Mucha and the architecture of Albert Guimet in sumptuous fashion. Along with it’s majestic score all of these elements combine to provide a lush and dramatic nights entertainment at the Adelphi.

If all the internet chatter is to be believed the show is still likely to be tweaked a little before it makes the journey to Broadway and any attention it receives can only improve on what is already a delightful evening at the theatre. Personally I would have liked the shows final moments to have ended with a couple of bars of the title song to give it the rousing finish it deserves. But listen to me, it seems I am starting to show signs of “ownership” myself. It must be catching!

If You Were Wondering

Well, it’s been a while since I introduced you to one of my Really Useful People , so I thought it was high time that we caught up with a couple of my previous subjects and see what they are up to now.

Firstly, erstwhile “Rusty”, Adam Ellis has had a successful run in “Pirates Of Penzance” at the Union Theatre and is shortly to make his debut in “Chicago” as Mary Sunshine. So if you want to see Adam strutting his stuff and all that jazz head on down to the Cambridge Theatre at Seven Dials.

So that’s what Adam is up to but now it’s time to find out what the Captain did next. Captain Von Trapp that is, in the shape of Simon Burke. Since leaving the London Palladium production of “The Sound Of Music” Simon has filmed an episode of “Hustle” and most excitingly made his debut at New York’s prestigious Carnegie Hall. Currently Simon is appearing as Georges in “La Cage Aux Folles” at London’s Playhouse Theatre and has also managed to find the time to release his debut album.

The beautifully titled “Something About Always” is a collection of songs that Simon has performed on the world’s stages, giving his fans an opportunity to have a permanent reminder of his big moments from the musicals. The title, of course, is a lyric from his current role with “La Cage’s” “Song On The Sand”, it is possibly one of my favourite Jerry Herman songs although it tends to be neglected on recordings in favour of the shows mega-hit “I Am What I Am”. Simon’s version has all the tenderness that the song conjures up in an imaginative, yet simple arrangement that utilizes the show’s title song.

For those of us who saw Simon’s turn in “A Little Night Music” at the National Theatre around a dozen years ago, we finally get to have his take on “In Praise Of Women”. It’s not necessarily a song that works well out of context but as he took over the role of Carl-Magnus he was the only one of the principals I saw who did not feature on the cast recording. Therefore for the completists amongst us it’s quite nice to add his rendition to our collections! He neatly follows this with “Sorry-Grateful” from “Company” which almost gives it a context as both songs deal with the trials of tribulations of marriage.

Having played Billy Flynn in “Chicago” and “Billy Crocker in “Anything Goes” it’s only right that we get to hear Simon’s “All I Care About Is Love” and “You’re The Top”. The latter features the delicious Caroline O’Connor in a duet of the Cole Porter classic. It’s another Porter song, this time from “High Society” that sees Simon reuniting with his very first Maria Rainer, Connie Fisher in a touching version of “True Love”. Undoubtedly this track is one of the album’s highlights.

As in the case of “Night Music”, Simon was a “take over” in “The Sound Of Music” so is not featured on the productions cast recording, however he addresses that fact by adding the shows paean to home “Edelweiss” to his collection. He follows this with a celebration of his own homeland, Australia entitled “My Country”. Personally this is probably the song I am least fond of on the album, but in all fairness I am not an Aussie. As the album’s quite an intimate one, with just a small band of musicians I just felt that this was one song that really needed a fuller musical accompaniment to do it justice. It’s definitely the more tender moments on the album that work best.

My personal highlights from the album are probably the lovely “What More Can I Say” from William Finn’s “March Of The Falsettoes” and two songs that I have never previously heard. Opening the proceedings we have a song from fellow countryman, Peter Allen called “If You Were Wondering” which I am sure will become a real favourite of mine. In closing Simon selects a delightful little song, which I believe he chose as the song that best sums him up back in my interview with him. So finally I got to hear “The Cuddle Song” and very sweet it is too!

Simon is in fine voice throughout and, as I mentioned earlier, he is at his best on the album’s more tender and reflective where his voice and the small band are at one with each other. I’m not sure whether it’s his intention but I found it quite interesting that his song choices take us on a journey chronicling love in all it’s many facets, ecstasy and heartache, romance and even patriotic love. While “Something About Always” is not a definitive overview of Simon’s career, the album does give a great taste of what he has accomplished so far. Perhaps when he does a follow up with a bigger band we will also get to hear a taste of his other roles such as Marius in “Les Miserables” and “The Phantom Of The Opera’s” Raoul. Until then we have “Something About Always” to tickle our taste buds.


www.simonburke.com

Baby Look At Me!

High kicks and high fidelity, jock straps and leg warmers, big egos, big talents and sho sho sho shorofsky. Leroy Johnson, Doris Schwartz and Bruno Martelli. Friday night’s gonna be alright, Starmaker and if you don’t know by now what I am talking about the immortal words of Lydia Grant will give you a final clue. “You want fame? Well fame costs, and right here’s where you start paying…in sweat!”

Yes, of course, I am talking about “Fame” which for many of us who were growing up in the eighties was a pretty big deal. It’s hard to believe that it’s twenty nine years since the original movie was released and I can’t be the only one who is intrigued by the forthcoming remake which is scheduled to be released later this year. I suppose the timing is pretty good…with shows such as “American Idol” and “X Factor”, and of course “High School Musical” keeping audiences entertained on both sides of the Atlantic, plus the other movie musicals of recent years there is probably more potential interest in this saga of theatre students than at any time in the last thirty years. We can only hope that it’s not another “Britannia High”

Back in 1980 when Alan Parker’s original movie was released it didn’t make much of an impression on these shores but two years later the spin off TV series was launched and became an overnight success spawning hit records and a concert tour as well as a the odious trend of leg warmers! It really caught the imagination of many of us, and I remember well the excitement of getting “The Kids From Fame” on cassette. My favourite song on the album was “High Fidelity” the first single from the series which was incidentally sung by Valerie Landsburgh who played Doris – my favourite character. It has to be said that it really is a dreadful song but very much evokes 1982 for me if I ever hear it. A couple of other hit singles followed and for a couple of years “Fame” was big business, and somewhat of a phenomenon. They even came over and played in concert at the Royal Albert Hall. Over the first two years they had five hit albums but by the third series the albums had stopped and as the original “kids” started to leave they were replaced by new ones who didn’t seem to have quite the same magic. The scripts became more and more formulaic and less and less viewers actually tuned in. So 1985 saw the BBC broadcasting “Fame” for the final time with it’s fourth series. I must admit I was quite sad that we never got to see the last two series’ over here, and if they ever get a DVD release I am sure I will end up buying them.

As for the new movie? Well, the trailer looks great (and far better than the West End stage version which I have to say I hated) and the soundtrack album is also worth a listen. The title tune and “Out Here On My Own” have both been retained from the original movie and are given great renditions by Naturi Naughton. Most of the rest of the score has a contemporary R & B feel and is really listenable, additionally you get Megan Mullaly from “Will & Grace” (who plays one of the teachers) singing a cracking version of Rodgers & Hart’s “You Took Advantage Of Me” . Also playing teachers (though not on the album) are Kelsey Grammer and Bebe Neuwith – yes that IS Frazier Crane & Lillith. Last but not least stalwart of the orginal series Debbie Allen makes a cameo appearance as Principal Simms, whether we are supposed to think that this is Lydia Grant in a later, married, incarnation I don’t know….but I would like to think so.

Schmaltzy it may have been but to paraphrase one of Debbie Allen’s songs from the series in my heart “Fame” will always have a very special place.

“Fame” is released on 25th September

I Guess I'll Hang My Tears Out Dry

So I left you last time with a family reunion and The Doctor and Martha battling The Master. Well you will be pleased to hear that our intrepid time-travellers outwitted the malicious Time Lord. However, my neighbours were not so lucky. Needless to say they weren’t pitted against an alien megalomaniac….merely the drug squad. Yes, it was somewhat of a surprise to discover that just across the road they were operating a cannabis factory. This provided lots of fun for all my other neighbours as we enjoyed a good gossip, and I asked 78 year old Irene upstairs what she would do now she had lost her dealer….

Anyway enough of this nonsense and back to the serious matter of musical theatre! The third show that myself, Adam and Vina attended was “Billy Elliot” at the Victoria Palace. “Billy” is definitely one of my all time favourite shows and I could only hope that my guests would enjoy it as much. There are many things that I love about “Billy Elliot”. I love that it’s got a resolutely British score – very much of the Lionel Bart school. I love the humour and heart of the show. Most of all I love the way that the choreography of the piece, even in a moment where they are simply removing chairs from the stage, moves me like nothing else I have ever seen. It has to be said that I am not one of those people who cries in public. I can sob to any old nonsense sitting at home on my own (for god’s sake even Kerry Mangel being shot on a duck hunt in “Neighbours” accomplished that) but at the theatre and at the cinema I am stoic and can’t even squeeze a solitary tear out. “Billy Elliot” has to be some kind of exception to this though as not only did I cry once, but a further six times. I was a wet soggy mess by the time I left the theatre. Not only does it have the Father – Son relationship which can set me off, but it has “The Letter” from his dead mother too. Oh woe is me!!! It’s quite bizarre to be honest even the, afore-mentioned, chair removing during “Grandma’s Song” managed to make me snivel. I really was an embarrassment that night. In public too! Happily Adam and Vina left every bit as in love with the show as I am, albeit they were far more dignified and managed to hold back the tears.

Alongside our theatre going we continued to watch the Doctor’s escapades, now with Donna at his side, and the odd half hour of Judi Dench in “As Time Goes By” to provide us with a gentler form of televisual delight. We did however have one final show to go and see before Adam and Vina returned to the other side of the world.

So another theatre and another musical. I could even say another cross dresser as so far every show we had seen (“La Cage”,”Hairspray” and “Billy Elliot”) had seen men in some kind of frock. Our final show was no exception, although in this instance the men were dressed as nuns, for I was finally seeing “Sister Act”. I had seen bits of the show since it began previews but this was the first time I was seeing the whole thing in all it’s glory so I was particularly looking forward to it. We were joined by Adam’s friend Zara, who had been living in London for two years yet had never been to the theatre, along with my Thai neighbour’s niece, Pla. Pla is apparently a nick name and means fish (!!!)

“Sister Act” is a rare creature. A totally brand new show with a totally new score. Thank goodness that the producers didn’t take the easy path and regurgitate the songs from the movie. Instead they persuaded the oscar winning Alan Menken and his collaborator Glenn Slater (also the lyricist of the upcoming “Love Never Dies”) to compose one of the most entertaining collections of songs we have seen in the West End for many years. My particular favourite part of the show has to be “How I Got The Calling” when the nun’s explain how they came to the church, but there are many other catchy songs such as “Take Me To Heaven” and “Fabulous Baby”. The show really comes to life when Deloris gets the nuns singing of course, and I should mention Sweaty (or sticky as a colleague calls him) Eddie’s solo turn that has a really clever costume change……I’m not going to say any more though in case you haven’t see it yet. A final comment can only be that amongst a fantastic cast you we were left in no doubt that in Patina Miller we had witnessed a real star of the future. She is one sister who is not only doing it for herself but will go far!
We had an amazing night and Zara probably had the highest praise in that she had such a good time that she definitely wants to see more theatre after her first taste of a show. Possibly one of the funniest moments was provided by Pla however. Pla is terminally shy, shy to the point that she ran up the stairs at the interval to avoid talking to us and we didn’t see her again until the beginning of the second half. Seemed a bit fishy to me!

So four musicals (and around forty cross-dressers), a mis-diagnosed mini-stroke and swine flu, eggs Benedict and Salvador Dali, not to mention around twenty five episodes of “Doctor Who” a good couple of dozen “As Time Goes By’s” and a drugs bust, and it was finally time to say goodbye to Adam and Vina.

Adam followed his fortnight in London with ten days with our “Oma” in Germany and the following day I received the text “I am already bored in this sh***y little village”. Vina headed back to Mayotte after spending a few days with her centenarian father in Mauritius and I was left in a rather empty seeming flat only to discover that I had become hooked to the romantic comedy of Lionel and Jean. I can only hope that it’s not twelve years until Adam and Vina come and stay again. I may have been at home but it was as good a holiday as I have ever had.

In Closing
Very much off topic but I have been asked by redcoat extraordinaire Anthony Bristoe to mention an upcoming event. Scott Alan is a much loved songwriter from the states who has released two albums, “Dreaming Wide Awake” and “Keys” with vocals from the cream of broadways performers such as Liz Callaway, Sutton Foster, Shoshana Bean, Cheyenne Jackson and London’s own Kerry Ellis. Both albums are great and well worth buying however to get a more personal experience of his music Scott Alan is heading to these shores.
Simon Greiff (“Saturday Night Fever” cast member) is producing “The Music Of Scott Alan” at the Leicester Square Theatre for two performances on Sunday 11th October. Scott will be joined by a host of west end stars including Patina Miller, Caroline Sheen, Annalene Beechey, David Bedella and star of the upcoming “Love Never Dies”, Ramin Karimloo. The show’s promise to sell out quickly so be sure to check out www.leicestersquaretheatre.com for details of how to book.

Back To Before

Well, it’s been a long time hasn’t it? I must admit I have been trying to work out why it has taken me quite so much time to write another column. Perhaps it’s the seismic shock of hitting forty? Perhaps the stresses of a new show opening here at the Palladium? Perhaps even the fact that there hasn’t been a series proper of “Doctor Who” this year? Well who knows? I guess I will just have to use the well worn excuse of writers block and a lack of inspiration. One thing is for sure, for someone who works in theatre and writes about theatre I really don’t spend enough time actually going to the theatre. In fact for the first six months of 2009 I didn’t even go once! However in late July this was more than remedied when I saw a mammoth four shows in less than two weeks. I also had a very good reason.

Back in 1996 and 1997 I had two very enjoyable summers when my half brother, Adam, and his mum, Vina, came over from Germany to stay. Neither of them had ever really been to see a musical, but with me working in theatre I was well placed to introduce them to the joys of the show tune. We saw “A Little Night Music” ,“Oliver”, “Jesus Christ Superstar”, “The Phantom Of The Opera”, “Cats”, “Guys And Dolls” and even “On The Twentieth Century” at the Bridewell Theatre. Needless to say by the end of their 1997 visit they had both developed a great appreciation for a night out at the theatre. Then in 1997 they re-located to Vina’s home country of Mauritius and our blissful theatre going summers were consigned to history. That is until I got an email from my brother a couple of months ago with big news. By now Adam is based in Australia and his mum lives on the island of Mayotte (Google it if you want to see paradise) and (although I have seen Adam in the interim) the two were heading for London together for the first time in twelve years.

We had done much of the touristy thing on their last visits way back when but we were definitely going to have to see some theatre while they were here. Before that we decided on a little culture and on the Sunday we took the tube to St.Pauls and walked across the wibbly wobbly bridge to Tate Modern. Sadly the bridge neither wibbled nor wobbled, but as the sun shone it was a pleasant way to get to the Tate. I must admit that, although I have wanted to go to the gallery since it opened, I was quite worried that the exhibition would feature all those hideous “installations” such as modern artists who have pickled themselves in formaldehyde or, even worse, their dirty laundry strewn across the floor. Pleasantly, we discovered that the exhibition was almost all paintings and we enjoyed a contemplative couple of hours of Miro, Picasso and Dali amongst others before heading (with my friends Richard and Lisa who had joined us for the day) to Joe Allen’s for a late lunch. Happily they had my favourite, Eggs Benedict, on the menu.

Our plans for the next few days included a rather odd family reunion. Odd in that my brother would be meeting my mother, which would also mean that my dad’s two wives (who spookily share a birthday) would meet for the first time. My grandparents, whom they had both met previously were also heading down along with my sister Kate – another first. However these plans were to go somewhat awry…

Anyway, the day before our planned reunion saw our first sojourn to the theatre where we were to see “La Cage Aux Folles” at the Playhouse. I must admit that I was a little wary of seeing “La Cage” as the show had meant so much to me back in 1986 when I worked front of house at the Palladium in my school holidays. None the less, despite my ambivalence, I thoroughly enjoyed the show. I really don’t think it’s a patch on the original version and some of the changes they had made didn’t quite work for me but it managed to press my emotional “buttons” at almost all the same points it always had. So, I found myself as moved ever by “Song On The Sand”, “Look Over There” and “The Best Of Times”, although I couldn’t help feeling that Roger Allam’s lack of vocal prowess diluted the power that “I Am What I Am” usually has. Despite this “La Cage” is still a beautifully crafted piece of theatre and Adam and Vina absolutely loved it and we were on a real high when we left until I spoke to my mum after leaving the theatre. I knew my Nan had had a “funny turn” earlier in the day, but it was still quite a shock to discover that her doctor thought she had a mini-stroke and she had been admitted to hospital for tests. So the following day’s plans were sadly cancelled.

We amused ourselves by going to Kingston and doing a little shopping, and (as by now I had managed to get them both hooked on the new version) watched several episodes of Doctor Who – and also for a change of pace a couple of episodes of Jean and Lionel’s autumn romance, “As Time Goes By”. Later that day good news greeted us as my Nan was being discharged from Hospital. However, ironically she was discharged only to spend the next five hours in the A & E department as my Grandpa had managed to have a fall. Clumsy bugger!

So another day and another musical, as we headed back into the west end to see the relentless dance-athon that is “Hairspray”. Although it didn’t have the emotional connection that “La Cage” holds for me, I had a fantastic night and thoroughly enjoyed it . Vina and Adam were a little less impressed than me but none the less we all had a great time – possibly helped by the phone call I had before setting off.

Despite the mini-stroke and fall situation my grandparents were determined to drive down fro Coalville the following day, although my sister was now not coming as she thought she had swine flu. Thankfully we now think that swine flu was not the correct diagnosis!

So the following day saw us enjoying a relaxed day of good food and good company as the two sides of my family finally met and any prospective tensions failed to materialise. In fact my brother said he almost feels like my grandparents are an “extra set” of grandparents for him, and my mum felt like Adam and Vina were extended family and looked forward to seeing them again some time. To make matters even better my Nan seemed healthier than I have seen her look in a long time and it’s since been discovered that she didn’t have a mini-stroke after all. Good news indeed, and as good a time to leave things for now as Adam , Vina and myself wave goodbye to my relatives and settle down for an evening of The Doctor, Martha and The Master…..

Adieu, ADieu to Yieu and Yieu and Yieu

This one was rejected from the really useful website - but I guess it IS a tad irreverent...

Well, to paraphrase Oscar Hammerstein, our days in the hills have come to an end. Well almost, as 21st February sees “The Sound Of Music” take it’s final bows at the London Palladium after a successful run of over two years. One of the world’s most beloved musicals, it was hardly a surprise that Andrew Lloyd Webber had a hit on his hands. Let’s face it when it opened it was more than a hit – it was a phenomenon.

Of all the shows in Rodgers and Hammerstein’s catalogue nobody would have ever expected “The Sound Of Music” to be the one that broke new ground. However, with the inspired idea of casting by television (which now almost seems passé) Andrew and his good friend Auntie Beeb managed to not only find the people’s Maria but create the people’s musical. Of course many inches of news print have been given to “How Do You Solve A Problem Like Maria?” and the subsequent stage production but I thought I would share a few of my own personal memories of the show with you.

It’s around three years ago that we first heard “The Sound Of Music” was coming to the Palladium. It’s fair to say we were all a little wary of the reality-show idea, but never-the-less we looked forward to seeing a big old fashioned musical in this big old fashioned theatre. In preparation there were many things we could have done but we decided to take our lead from the spirit of the film. Firstly we all had confidence in sunshine - that goes without saying! Secondly- and most importantly - we had to design a new uniform. The solution seemed easy and we set to work making a sparkling new outfit from the old curtains. A simple task one would think, however the old curtains were actually Venetian blinds and they chafed somewhat so that idea was abandoned. OK, OK so I made all that up but there have been a few other memorable moments. Honest!

One of the first memorable events was more akin to “Gypsy” than “The Sound Of Music” as hundreds of “stage-mothers” and their off spring descended on the theatre for open auditions. Of course instead of cries of “sing out Louise!” coming from the front stalls it was “Sing out Liesl”, and rather than “Everything’s Coming Up Roses” everything was coming up “Edelweiss”. Luckily a splendid group of Von Trapp children were cast in no time and they were all soon in rehearsal learning their do re mi’s and trilling about their favourite things. However, there were a couple of the stage mother’s who were not amongst our favourite things but the less said about that the better!

When it came to our Maria I think most of us felt, from day one, that Connie Fisher had what it takes to play Frau Von Trapp nee Rainer so it was no great surprise when she won the show and opened a few months later to rave reviews. However not everyone was a Connie fan. On more than one occasion we have been visited by a lady aged something between 55 and 70 who we would hear approaching from a distance. Yes, we could hear her, as she walked down Argyll Street, singing “The Sound Of Music” at the top of her voice. By the time she walked down the corridor this had often segued into “My Favourite Things” and she would enter with a twirl and, sometimes, a curtsey. All sweetness and light! Then the venom would be unleashed on our Maria’s. Connie, Aiofhe, Sophie, Summer and Gemma, none of them were safe. It would seem that our visitor felt that only she could ever be the true Maria and nobody else could live up to her performance of the role. It has to be said that in some ways I agree. She was definitely a lot to live up to!

It’s true that you can’t please all of the people all of the time but I always felt that Connie really did inhabit the role of Maria and, more importantly, (as I have previously revealed) she liked my home made cake. However, not everyone quite grasped her name. Many customers tried to buy tickets to see Connie Francis and on more than one occasion Carrie Fisher. An interesting concept I am sure you will agree. Somehow I can’t quite imagine Maria singing “Lipstick On Your Collar” to comfort the Von Trapp children during a thunder storm. Then, of course there is the image of her confronting the nazis with a light sabre and telling Georg “may the force be with you”.

We also have an occasional name problem with current Maria, Summer Strallen. We have often told a customer her name for them to repeat back “some Australian?” with a bewildered look on their face. Then again we did have “some Australian” in the cast for a year, the lovely Simon Burke as the captain. Simon has now sadly moved on but has kept busy with upcoming TV work and also appearances at Sydney Opera House and very soon at New York’s Carnegie Hall.

Of course Summer’s casting in the show also had a TV connection as she came to us fresh from “Hollyoaks” where her character (also called Summer) won the role of Maria. A curious case of life imitating art which saw our disabled entrance transformed into the Palladium stage door and a memorable acting performance from the lord himself, Andrew Lloyd Webber. Summer proved a more than worthy successor and also made it a family affair with her Uncle Paul (Grunert – married to Bonnie Langford) playing Uncle Max.

Now, I can’t sign off without mentioning our many, many nuns.
From day one those amazing high notes of Lesley Garrett and Maggie Preece have thrilled our audiences as they beseeched them to “Climb Ev’ry Mountain” at least until they found their dream…
Early in the previews I stepped into the theatre and was somewhat shocked to be faced with a dozen of the sisterhood clasping glasses of gin. Of course they weren’t really on the bottle, they were merely making a stage exit and clutching the votive candle holders they have at the beginning of the show. It’s much more fun to think of them as tipsy nuns though!
Then of course there is “the mysterious case of the incredible shrinking nuns”…which I will leave to your imagination other than saying we now have the most glamorous sisters this side of the Vatican!

Anyway, enough of this nunsense! Our Von Trapps, Nuns and assorted Nazi’s are leaving the Palladium in just a few weeks before launching on a national tour. However the Palladium is not to be a nun free zone as we are trading in our Austrian sisters for Americans with the opening of “Sister Act”. But, for now, all that remains is to say So long, farewell, auf wiedersehen, and a last goodbye….

Eartha, Gavalar and numerous alien threats!

Well it’s been a little while since I have written an intranet column so I thought it was high time that I thought of something to write for you. After all with all the credit crunchiness of current newspaper articles a little diversion is called for. So, as 2009 begins it gives me a great excuse to look back on 2008.

With all the current doom and gloom I think what we most probably need is an “Old Fashioned Millionaire”. Of course that’s the song that is most readily associated with the great Eartha Kitt who passed away over Christmas. Eartha really was a one off. With that distinctive growl you were never under any doubt about who you were listening to – and she had a distinctive personality to match. Back in the late eighties Eartha appeared in Stephen Sondheim’s “Follies” at the Shaftesbury. Before she opened in the show she made a memorable appearance on “Wogan” where she appeared complete with a sequined eye patch and mangled most of the lyrics to “I’m Still Here”. That didn’t bode well for the show itself, but when I saw it she was truly electrifying. Possibly one of the most memorable performances I have ever seen. Miss Kitt was often to be seen out and about in town in those days as she famously walked to the theatre – wearing ankle weights. As good a way as any other to keep fit I suppose! Kitt was always good value for money and possibly the campest thing I have seen in my life was when she returned to the Shaftesbury in a short season of concerts. As the band struck up “Old Fashioned Millionaire” Eartha was lowered from the flies on a bed. High camp indeed! I doubt we will ever see her like again.

My new year’s resolution really has to be to see more theatre in 2009. I only managed to see two shows in 2008. A return visit to “The Phantom Of The Opera” where I was mesmerised by Ramin Karimloo’s performance as the Opera Ghost, and also a visit across the road to the Haymarket where “Marguerite” proved somewhat less mesmerising. There were elements of Michel LeGrand’s score that were lovely but over all it was terribly disappointing. Unfortunately I found the characters all incredibly unsympathetic and when Ruthie Henshall breathed her last, in a badly staged death scene, it appeared that she had died of a bad haircut. Here’s to seeing a few better shows in 2009. “Sister Act” anyone?

I did manage to see a couple of concerts however. Firstly the celebratory Don Black show at the Palladium which was stunning, and also Andrew Lloyd Webber’s birthday concert in Hyde Park. These events were both a lot of fun and the kind of once in a lifetime events that stay in your memory forever.

Of course, you are probably aware that I did have another once in a lifetime event when I won tickets for the Royal Variety Show. I feel privileged to have seen one of the best shows in recent memory. There were many highlights but the over riding memory will probably be of having a nightmare journey into town and arriving only ten minutes before we had to take our seats. Not a problem really however Sarah, my date for evening, insisted on buying us a bottle of champagne which we then had to consume in five minutes flat. Hic! We were certainly both very happy and jolly for the rest of the evening.

On the small screen 2008 was the year that saw me become a fan of “Gavin And Stacey”. Or should I say Gavalar and Stacey? Rob Bryden singing James Blunt songs was hilarious – not to mention his duet with Ruth Jones, whose performance as Nessa is sheer genius. Tidy!

The end of the year saw Jonathan Harvey’s “Beautiful People” on BBC2. It was the tale of a boy growing up in nineties Reading who is a little, well, different. Any fan of musical theatre should see it for the episode where the young leads audition for a school production of “Joseph”. As Simon stepped out of the front door to the strains of “Take That Look Off Your Face” his best friend Kylie (Layton Williams – the first black Billy Elliot and now in “Thriller Live”) joined in belting out “Tomorrow” from “Annie” – complete with high kicks . It was a real showstopper that ended with the entire street becoming one great yellow brick road as the cast danced away to “Ease On Down The Road”. If you missed it get the DVD. And yes that’s you I am talking to girlfriend!!!!

All in all 2008 was quite a good year for TV. It began with Vera Duckworth dying in “Coronation Street” , then came Jodie Prenger crying as she won “I’d Do Anything” before 95 percent of the planet was dying in a remake of Terry Nation’s “Survivors” .Then of course there was “Merlin”, “X Factor” and any number of great US shows. Special mention should also go to Tom Chamber’s and his stunning show dance in “Strictly Come Dancing”, conjuring up the spirit of the MGM musical in the kind of routine the show hasn’t seen before.

Of course I can’t sign off without mentioning one of my great obsessions. No I don’t mean chocolate as I am trying to keep of that for a while! I speak of course of “Doctor Who”. The 2008 series was a real stunner. David Tennant continued to thrill and Catherine Tate’s Donna was a revelation, and that ending with all of those past companions back in the Tardis fighting Davros was amazing. Anything that brings Sarah Jane Smith back to the show always works for me. I am happily spending early 2009 re-watching it all on DVD. You’ve got to love a DVD boxed set haven’t you? This year sees a Doctor-lite year for us and only a few days ago it was announced that Matt Smith is to take over the lead role as the youngest Doctor so far. It has to be said that Tennant is probably my favourite Doctor ever (apologies to Mr Davison and Mr Pertwee who previously tied for that privilege!) so I wasn’t overly chuffed when he announced he would be leaving the show. However after seeing Smith’s interview I think the show is in safe hands. Even though I haven’t yet seen any of his previous performances I feel that he has an ageless and other worldly quality about him, a “Doctorness” if you will. I can’t wait to see what he does with the role and think he’s a great choice. Potentially spine tingling in fact.

Having begun with Eartha Kitt it seems only right to close by remembering a few more people from the world of entertainment we have lost over the past year.
Writers – Harold Pinter, Michael Crichton, John Esmonde (The Good Life),Dale Wasserman (Man Of La Mancha)
Singers – Miriam Makeba, Yma Sumac, Bo Diddley, Lita Roza (of “How Much Is that Doggie In The Window” fame)
Oliver Postgate – creator of “Bagpuss”, and prankster extraordinaire Jeremy Beadle
Directors – Bob Spiers, Sydney Pollack and Anthony Minghella.
Actors – Heath Ledger, Majel Barrett (voice of the “Enterprise” computer in “Star Trek”) , Kathy Staff , Van Johnson, Richard Widmark, Paul Scofield, Guillaume Depardieu, Rob Guest (Australia’s long running star of “Phantom”), Ken Campbell, John Hewer (star of many West End shows and TV’s Captain Birdseye),Emmerdale’s Clive Hornby, Estelle Getty (The Golden Girls), the legendary Cyd Charisse and the inimitable Paul Newman

Last but not least, a very special mention to box office manager Billy Doyle who worked for RUT and Stoll Moss for many years. Those of us who worked with Billy will remember him, and his dry wit, with great fondness.

So all that remains is to wish you a very happy new year, and ask you to find a moment to raise a glass to Billy Doyle. A true West End character.

Really Useful People - Uwe Kroeger

So far my pursuit to find “Really Useful People” has brought you a Welshman, An Australian and an American. This edition sees me heading to Europe (metaphorically) to chat to German born leading man Uwe Kroeger who began his career as the first German speaking “Rusty” in “Starlight Express”. Later roles include the German premier of “Sunset Boulevard” and recording the role of the Phantom for the German release of “The Phantom Of The Opera” movie. Possibly Germany and Austria’s biggest musical star, Uwe also played lead roles in the original productions of German language musicals “Elisabeth” and “Mozart” and until the end of 2008 is playing Maxim DeWinter in “Rebecca” at Vienna’s Raimund Theatre. West End audiences may also have caught Uwe at the Shaftesbury Theatre a few years ago where he shared the the title role in “Napolean”. Uwe’s next role sees him premiering the new Frank Wildhorn musical “Rudolf”, one again at Vienna’s Raimund Theatre where it opens early in the new year.

You have been performing professionally for some twenty years now, but can you remember your very first acting role, even if it was in a school play?
Interestingly enough, I will always recall the Christmas play at kindergarten where I played Joseph, the father of JC. I was five, or even younger, and I only had one sentence: “Come In” , but I was so proud and nervous about it and thought it was the most important moment of the play.
What I mean is, that until today I believe in the importance of each and every word or moment on stage whether you are the lead or the last person in the last row.

What was the first musical you ever saw, and did this inspire you to pursue a career in musical theatre?
Well, it was actually the film “Fame” which inspired me most. The idea of one school where you could train, and try all kinds of stage skills, was so fascinating that I wanted to give musicals a shot.

What other shows have influenced you?
I think “Les Miserables” should be on the priority check list of each musical performer. No other musical is teaching you the importance of “One for all and all for one”. It brings singers, actors and dancers together and each of them is able to extend his horizon. Great emotions, intriguing story, beautiful music and a warm-hearted message to take home with you.

And which people from the world of musical theatre have inspired you?
Difficult to say, each colleague of mine had inspired me in one way or another over the years.

Early in your career, you were the first German “Rusty” in the Bochum production of “Starlight Express”, do you have any particular memories of this time?
Yes, of course. I was the first German speaking “Rusty”, although (the) understudy, but still surrounded by international, mostly English speaking, artists. I felt overwhelmed and privileged at the same time. I lost my toenail during rehearsals, due to “too small” shoes, and I was part of a wonderful fairy tale. Hard School!

Bringing it full circle, this year saw you appearing as judge on “Musical Show Star 2008”, where the German public voted for a new “Rusty” and “Pearl” for the Bochum production. How did you find this experience?
I think an audience can barely understand what it really takes to play certain roles on stage. I don’t think they can judge whether (a performer) is capable to play the role up to eight times a week or not. They can only judge from their heart and how much they like the person on TV. But in the end we, as judges, didn’t decide – it was the audience. Having said that, I think we found a wonderful new German “Rusty” and I am glad the girl took my advice to go back to school first, ‘cause at the end of the day you have to train and learn your stage skills from scratch.

As well as “Rusty”, you have also played leading roles in several more of Andrew Lloyd Webber’s musicals, which of these roles have you most enjoyed?
I enjoyed and learned the most from playing “Joe Gillis” in “Sunset Boulevard”. Not only is it a wonderful story adapted from a brilliant Hollywood movie (but) I was also able to use and show everything I had. A fantastic mixture between acting and singing and a great challenge to bring a spoken word smnoothly to a song. This is musical (theatre) at perfection, I think! I have learned so much and I am grateful I was chosen to do so.

2004 saw you singing the role of the “Phantom” on the German soundtrack album of “The Phantom Of The Opera” movie. Is this a role you would like to play on stage, and indeed are there any other roles in Andrew’s shows you would like to perform?
In fact I have played the role – in 2006 in Essen, after the movie was out. So actually a dream came true, ‘cause after the movie and being honoured to give my voice to Gerard Butler I really wanted to play it live. Another fantastic story and beautifully put on stage.

Stepping away from Andrew’s work what have been your other career highlights?
The three roles in the world premieres of Sylvester Levay and Michael Kunze in Vienna:
1992 “Death” in “Elisabeth”, Empress of Austria.
1999 Collerado in “Mozart”
2006 Maxim De Winter in “Rebecca”
and of course the German speaking premieres of “Burrs” in “The Wild Party” (2003), “Chris” in “Miss Saigon” (1994) and “The Beast” in “Disney’s Beauty And The Beast”(1997), AND “Napoleon” in the West End production of “Napoleon”

Yes, of course, a few years ago you appeared in London’s West End in Napoleon at the Shaftesbury Theatre. How did you find your time here? Is there a difference between German and London audiences?
I had the time of my life, learned a lot and I realized that there are good and bad actors, good and bad productions everywhere and it was good for me to see it with my own eyes. Colleagues were extremely nice and supportive towards me and the audiences seemed to like what a “German” Napoleon did on stage. I met one of my best friends there, Sarah Ingram! What more could I want? A great first time.

I am a regular visitor to Germany myself, where no visit is complete without going out for schnitzel at Café Klingler in Nurtingen (near Stuttgart) or getting a big bag of Paprika Chips! Were there any culinary experiences in London that you missed when you returned home?
Well, I love Christmas pudding and scones! J

If you were not an actor what job do you think you would have?
I don’t know. Maybe a teacher or doctor?

Who, outside the world of theatre, has inspired you?
My boyfriend: He is a doctor and this is his true calling. He loves to help people and doesn’t stop to find answers and medical help. I admire him!

What makes you really happy?
An open fireplace, a good wine, good food, my friends around me, a great performance and a smile on my partners face.

What makes you really sad?
If people are greedy and lazy on stage. Their bad vibes backstage can ruin the productive flow of a show. We are so blessed to be able to do what we do. We should be thankful. I don’t understand this attitude. That makes me sad.

Norma Desmond or the second Mrs De Winter?
What a silly question! J
I would love to play Joe Gillis again, although Norma is not the right person to share your life with, while “I” – the new Mrs De Winter – would be the love of Maxim’s life.

Berlin Or Vienna?
Vienna!!!

Which musical theatre song best describes you?
Wow! Difficult question! I don’t know! I don’t think in these terms.

To quote Bob Dylan, “How many roads must a man walk down before it makes him a man?”
Life is about learning and growing.
It probably means we will always have to walk, until the end!

And finally do you have a handliche haushalt tipp to share?
Yes, for singers who travel a lot and have to sleep in hotels: A wet towel each night over a chair next to your bed (close to your face) prevents dryness! Try it!

And so my interview with Uwe draws to a close, for further information on Uwe please take a look at his (German language) website http://www.uwekroeger.com/ All that remains is to thank him very much and wish him a happy last night in “Rebecca” and great success for his next project “Rudolf”

Off With Her Head!

“I’m Henery The Eighth I Am, Henery The Eighth I Am I Am”. Well, actually I am no such thing and don’t pretend to be. Neither, for that matter, did Peter Noone of Herman’s Hermits as he sang the preceding lyric back in the sixties. However, as happens every now and then Henry VIII and indeed all things Tudor seem to be capturing everybody’s imagination once more.

Historical fiction both in print and on the screen seem to be big business right now, and it’s no surprise that the period that seems to appeal most is that of the Tudors, in particular Henry and his daughter Elizabeth I. With the Showtime series about Henry, “The Tudors”, and last years blockbuster movie “Elizabeth – The Golden Age” , alongside a plethora of novels by Philippa Gregory and others it’s very easy to fall under the spell of this turbulent period in British history. In equal part glorious and bloody, the entire Tudor era is one that continues to fascinate audiences through the decades. With current events seeing the worlds battlefields influenced by religious matters it’s often quite timely to take a look back at a bygone age when matters of faith were also the cause of so much bloodshed.

Sadly despite the production values of “The Tudors” it does seem to be particularly “creative” in it’s relating of the story. Henry’s sister Margaret is ignored, and his sister Mary is renamed Margaret to avoid confusion with his daughter Mary. This is a shame as the stories of both sisters were actually quite fascinating and would have been great additions to the series. Cardinal Wolsey commits suicide even though this was not the case and countless other characters (or historical figures?) find their stories and the events around them tweaked and twisted. Henry himself is even portrayed as a young man when he would have actually been knocking on a bit. However if you take the show for what it is, historical romp, it’s really entertaining and if nothing else has the ability to inspire you to explore the real history for yourself.

Likewise the immensely readable novels of Philippa Gregory, which although presenting a skew-whiff version of events are always an entertaining read. More satisfying though would have to be the classic historical novels of Jean Plaidy that have been recently re-published which, after comparison with legitimate biographies, seem to present a closer interpretation to real events. Her “Murder Most Royal” is one of the best of the genre for my money.

So the screen and the bookshelf have been flooded with successful evocations of Henry VIII and his progeny. Strangely, despite countless popular straight plays the musical theatre has never really managed to turn the same subject matter into a hit. In fact “Camelot” aside – which of course is the stuff of legend not historical fact – I am hard pressed to think of many musicals which have dealt with British royalty at all. In fact the only show I can think off that dealt with Henry VIII was a spectacular flop!

Back in 1976 I am sure that hopes were high for “Rex” which opened at Broadway’s Lunt-Fontanne Theatre that April. With respected actor Nicol Williamson in the lead and music by Richard Rodgers “Rex” certainly had the credentials to be a hit. However, hit it wasn’t and lasted a mere 48 performances making it one of the biggest disappointments of Rodgers’ long and successful career. It’s said that the main reason for the show’s short life is probably down to the fact that Henry is such an unsympathetic character. I can kind of understand that, but to shoehorn 40 odd years of history into one evening of musical theatre must have been quite a feat too. Sadly, having listened to the score, I don’t think that “Rex” was Rodgers’ finest hour musically either. Aside from the curiosity of an early musical appearance by Glenn Close it doesn’t really have much to commend it. The one saving grace is the lovely song “Away From You” that Sarah Brightman covered back in the eighties. I think the true lesson to be learned is that some things just don’t lend themselves to musicalisation. It’s often said that some stories just don’t “sing”. Maybe the tale of Henry VIII is one of them.

So on this occasion I am not going to suggest you head to HMV and buy this or that Original Cast Album, but get thee to a nunnery – oops, bookshop and explore some of the many historical novels that are currently doing the rounds. Perhaps when it comes to musicalizing the Tudor’s we should look to that classic of British cinema that delighted 1970’s audiences in all of it’s inaccurate glory….”Carry On Henry”. Now that would be something to see!

Here's One I Made Earlier

I have always been a woman who arranges things……no that’s Dolly Levi, what I mean to say is I that I have always been a sucker for nostalgia. Taking that into account 2008 has seen me getting all nostalgic for two television shows that were a huge part of my childhood.

Recently I was quite saddened to hear that “Grange Hill” had drawn to an end after thirty years and thirty one series. Of course it’s many years since I gave up watching this once controversial hot bed of secondary school drama. I believe it was after Pogo Patterson and Suzanne Ross graduated that I decided I was “too old” for the children’s hour soap and, let’s face it, the latter being played by Susan Tully in her pre-Michelle Fowler (EastEnders) years, that’s quite a wee while ago now. It was back on my ninth birthday that the series debuted and I became serially addicted to the exploits of Trisha Yates and Tucker Jenkins (Played by Susan’s EastEnders “brother” Todd Carty) . I can vividly remember some of the early story lines, and was almost tempted to get the box set on DVD a while back. However good sense prevailed and I bought “Smallville” instead so haven’t gone down that particular route of reference just yet. I suspect that, despite my recollections, the series won’t have worn that well so I don’t expect to revisit Andrew Stanton in Grange Hill’s production of “Joseph!” or Susi McMahon and the scandal of her padded bra any time soon. In the words of later characters I decided to “Just Say No”

At the opposite end of the scale my other childhood favourite “Blue Peter” seems to be going from strength to strength as it celebrates it’s fiftieth birthday. I did make a point of catching it’s celebratory documentary a couple of weeks ago to see what memories it stirred and that really did hit my nostalgia button big time. I’m not quite old enough to remember the glory days of Valerie Singleton (although I do remember her spin off series of “Special Assignments”) but it’s the longest serving line up of John Noakes, Peter Purvess and Lesley Judd that were part of the fabric of my primary school days.

One of my earliest TV memories must be of Lesley Judd as she abseiled from the top of Bishop’s Rock lighthouse to what seemed a tiny boat at it’s bottom. Apparently this counts as one amongst many occasions when Blue Peter presenters have almost lost their lives. I also seem to recall Lesley going on Concorde’s first commercial flight, and then being shown on a live satellite link up from New York. Most impressive – these things just didn’t happen back in the seventies! Also I recall the indignity of when she was off sick from the show and Aunty Beeb sent a film crew round to her sick bed. My over riding memories of her co-presenter Peter Purvess are possibly of him climbing the forth bridge, but also of his emotion at the death of Blue Peter dog Petra and the subsequent unveiling of the statue in her honour. Last but not least was John Noakes with his frequent cries of “Get down Shep!” and his adventurous ascent of Nelson’s Column. Clips of all of these seem to be available at http://www.bbc.co.uk/cult/classic/bluepeter/lesleypetejohn/video/video12.shtml I can’t wait to get a chance to check them out.

Sadly John, Peter and Lesley all seemed to leave around the same time and the show just wasn’t the same without them. Simon Groom stepped in and was often noted for his use of innuendo such as introducing “a lovely pair of knockers” when doing a feature on the restoration of a cathedrals door fittings, then there was the time when an ornithological competition saw runners up win the prize of a mug illustrated with a bird on a branch – or a tit on a stick in Simon’s words. Most of us kids had grown up watching the Carry On movies as well as “Blue Peter” so the innuendo was far from lost on us! Worst of all was when Lesley Judd left and was replaced by Tina Heath – previously best known for playing Lizzie Dripping in a kids tv show. Lizzie Dripping? This certainly wasn’t “Blue Peter” as I knew it. But all good things come to an end, and within the next couple of years my love for “Blue Peter” was superceded by “Grange Hill”. So no longer would I watch, rapt, as John Noakes made the advent crown from two coat hangers, a piece of tinsel and an empty washing up liquid bottle. My days of saving milk bottle tops to buy pit ponies for the Ethiopian donkey derbies were also consigned to the past.

But seriously, the enduring legacy of Blue Peter is what I learnt from it. I don’t think I ever constructed one of their “makes” – the washing up liquid bottle was only ever half empty (or should that be half full?) so I never got to make that rocket. What I did do was participate in a couple of the appeals, such as when it reported on the unfolding tragedies of Cambodia in the late seventies and the entire nation seemed to become one great big bring and buy sale. And yes, I did save milk bottle tops. Remember those? Yes, milk used to come in bottles believe it or not!

The big mystery of the show was “Whatever Happened To Lesley Judd?” she seems to have been away from our screens for over twenty years now. Never appears at reunions or in photo shoots. In fact she has all but disappeared. However the recent documentary finally solved that mystery and the location of my childhood icon was revealed. Lesley has done what we, at the Palladium, affectionately refer to as doing a Plum (for those of us who know Miss Peyton) and has re-located to France where she has renovated a barn etc. and does an occasional bit of conference work. Apparently Lesley feels that she lived her whole life in the seven years she spent on Blue Peter and is now happy to be away from the limelight.

So with that puzzle solved, I ask you to raise your glass (or cup of tea!) to fifty years of the great British institution that is Blue Peter and to John, Peter and Lesley – or who ever “your” particular team was. And may your days be full of sticky backed plastic!

An interview with Broadway's Liz Callaway

Once again it’s time to meet another of my Really Useful People, this time I head across the Atlantic (if only the trip was for real!) to talk to Broadway leading lady Liz Callaway.
Liz is possibly best known for a Tony nominated performance in the musical “Baby”, being part of the original New York cast of “Miss Saigon”, and “Follies In Concert” at the Lincoln Centre.
She has also voiced lead characters for Disney’s sequels to “The Lion King” and “Aladdin”, and enchanted a generation of children as the singing voice of the animated “Anastasia”.
A prolific recording career has seen her perform on numerous recordings including three stunning solo albums. “The Story Goes On – Liz Callaway On And Off Broadway” is a must have for any lover of musical theatre.
As well as her theatrical credits Liz has a thriving concert and cabaret career, including the award winning “Sibling Revelry” which she performed with her sister, Ann Hampton Callaway, at the Donmar Warehouse Theatre.
Last but not least, Liz was a long standing Grizabella in the Broadway production of “Cats” at the Winter Garden Theatre – which, of course, is what makes her a Really Useful Person!

So without further ado let’s hand over to Liz…

What was your first experience of Musical Theatre?
My parents took me to see Company on Broadway when I was, I think, 9 years old. They had seen the show first and brought home the cast album. I memorized every song on the album. I just loved it.

What was the first role you ever played ? (School shows count!)
I played Lucille in No, No, Nannette when I was a sophomore in high school. I’m grateful YouTube doesn’t have any record of it.

Which shows have particularly influenced you both as a member of the audience and a performer?
Well, Company for starters. I’d have to say Sunday in the Park with George was very important to me. I saw the first preview of the original, and went back to see it again two more times. I also got to play Dot in a regional production of Sunday. I think it is a very moving piece. Baby was my first big part of Broadway (I played Lizzie,) and that was the most important show in my career.

Influences?
I have the hardest time answering this question. Earlier in my career I’d say Eydie Gorme, Pamela Myers (from Company) Barbra Streisand. Now I would say Barbara Cook, for her artistry and longevity, and Meryl Streep - not just as an actress, but especially as a fellow working mother.

You had a particularly long run as Grizabella” in the Cats at the Winter Garden on Broadway – do you have any particular memories of this time – and exactly how long were you in it?
I did Cats on and off for 5 years. I loved playing Grizabella, and I also loved being part of such a wonderful ensemble. I practically raised my son backstage, when I wasn’t on stage, I’d be on the floor playing trains with him, or I’d be giving him a bath. If the audience ever knew….Of course it was an honour to sing Memory night after night, but I also enjoyed the challenge of dancing in the opening number. I called my character in the opening Mahoovna. Whenever I had friends come to the show and they said they couldn’t find me in the opening number- that was the biggest compliment. It meant I didn’t stick out too much!

If you could play any role in any Lloyd Webber show which one would most appeal?
Hmmmmmmmmm. Actually I love creating roles, so I’d have to say that I’d love to do a brand new show that he wrote. That said, I would also love to do Song and Dance.

Male co-star?
I wouldn’t mind Hugh Jackman!

I was lucky enough to see you and your sister Ann Hampton Callaway performing your “Sibling Revelry” act at the Donmar a few years back. I even particularly remember a very clever “recovery” when you lost your ear ring! What are your particular memories of working in the West End?
I can’t believe you remember I lost my earring during the show! Ann and I had a great time working at the Donmar. The London audiences were so welcoming, and the Donmar was a fantastic venue for our show.

Is there any chance of you coming back, either with or without Ann to perform further engagements?
I would LOVE to come back to London, with or without Ann. Can you get me a job, please??? Seriously, I am looking for a venue to do a solo concert in. I recently performed a solo Sondheim concert in Barcelona, and would love to do that show in London.

Back to your side of “the pond” - for any of us taking a New York break are there any must-do’s that we may not have thought of?
I always think it’s great to walk around NYC without a plan. There are so many unexpected discoveries to be had, if you don’t have your nose in a map or guidebook.

What song do you most enjoy singing?
Meadowlark by Stephen Schwartz

You have quite a varied career performing in musicals, animated movies , concerts and cabaret, and also a prolific recording career – which aspect do you find most satisfying?
I love doing it all, and I’m incredibly fortunate that I am able to do it all, but if I had to pick one thing, I would say recording.

What are the personal highlights of your career so far?
There are too many to list, but Baby, Cats, Spitfire Grill (Off Bway), Anastasia… I could go on and on.

If you weren’t a performer what would you be?
A sports journalist, (I love sports) or I’d make an excellent travel agent.

What makes you really happy?
Being with my son and husband, cocktails on a roof deck anywhere in Europe, and a good night’s sleep.

What makes you really angry?
Being charged $25 for a second suitcase at the airport.

Cats or dogs?
I’ve always been a dog person, but 4 years ago I got a long hair Persian named Lennie. I am totally smitten. I have many more photos of Lennie on my phone than of my family.

Old Deuteronomy or The Rum Tum Tugger?
Old Deut.

Any future projects you would like to share with us? I hear whispers of a recording of a forgotten Rodgers and Hammerstein musical…..
Yes, I am on a new recording of Allegro to be released in January 2009. Next week I am going into the studio to begin recording a new solo CD. I am finally going to record Memory! And this Christmas, I’ll be at the Kennedy Center in Washington D.C. performing The Music of Andrew Lloyd Webber!

To quote a lyric from “Baby” – “What Could be Better?”
Obama as our next president.

And finally, do you have a handy household hint to share with us?
You left the hardest question for last. Never throw out over ripe bananas. Break them into small pieces and put in freezer bags. Anytime you want to make a smoothie, instead of ice, use the frozen banana chunks. Is that a household hint?

….and on that note many thanks to Liz Callaway – for more info about Liz you can check out her website www.lizcallaway.com. Also don’t forget to check out her “The Story Goes On” CD – it’s great and includes her version of “Meadowlark” that she mentions

Tooby Ooby Walla

Full frontal nudity. I can’t believe I just said that…….Full frontal nudity. Oops I did it again! Well this column is not usually somewhere you find that sort of thing and no, don’t worry, you are safe to scroll down to the photo – no nudity there. In all honesty just as such a thing is rare here it is also rare on the musical stage – but with some notable exceptions….

2008 sees the fortieth anniversary of, that most celebrated of exceptions, “Hair”. Despite having originated Off-Broadway the previous year it was in 1968 that this ground breaking musical debuted on the Great White Way, and indeed in London. Every now and then a show comes along that has a seismic effect on theatre and this trailblazing “tribal love rock” musical seemed to rock the genre to it’s foundations. Long on passion, yet short on plot, “Hair” is a snap shot of a post second world war generation that was striving for change and rebelling against the relatively young Vietnam War. The sixties had seen a sexual revolution happening as well as hard drugs becoming more common place – not to mention the civil rights movement. All of these elements were part of this era defining show and all of them were embraced in one of the most joyful and infectious pop rock scores to hit the boards. And it was practically the first!

As I have said the show is pretty short on story and the only real plot thread is the dilemma of Claude - whether he should be drafted or refuse to fight along with his friends – but with such a great bunch of songs who needs plot?
The show begins with the wonderful “Aquarius”. After all, the late sixties were indeed the dawning of the age of the Aquarius if astrology is to be believed. Also a year later was the dawning of me, an Aquarian, so the song has always been a favourite of mine.
Right at the start of the show we are confronted with a whole list of sexual taboo’s in musical form with the list song “Sodomy”, and only minutes later we get a celebration drug culture with “Hashish”.
Race was brought to the fore with songs such as “Coloured Spade” and “I’m Black” - and delightfully later in the show with “Black Boys/White Boys” where three white girls espouse the attractions of black men followed by a Supremes-like trio who eschew the “chocolate flavoured treats” in favour of “a pretty juicy white boy”. Of course these days political correctness would probably prevent such lyrics, but back in 1968 they were presented in an innocent way, and also one which celebrated our differences.
“Ain’t Got No” and “I Got Life” continue to be popular thanks to Nina Simone’s ever played version, and “Frank Mills” had a new lease of life back in the nineties when The Lemonheads recorded a version of it. “Frank Mills” is a whimsical little love story that contains the memorable lyric “ I love him, but it embarrasses me to walk down the street with him”. Bizarelly touching!
The wonderful protest/heartbreak song “Easy To Be Hard” is another highlight along with the uplifting “Good Morning Starshine” and the sombre “Flesh Failures” which merges into the effervescent “Let The Sunshine In” when the cast tends to invite the audience to take to the stage.

So bookwriter/lyricists Jerome Rado and Gerome Ragni, along with composer Galt MacDermot conjured up one of theatres biggest hits ever.
It ran for 1750 performances on Broadway where stars such as Diane Keaton, Ben Vereen and Keith Carradine were amongst it’s many casts.
Legend has it that the London run, at the Shaftesbury only closed after 1997 performances because the theatre roof fell down. Many of the London cast went on to become big names in the arts, Paul Nicholas, Richard O’Brien, Tim Curry and Elaine Paige all went on to create iconic roles in other musicals during their careers.
Further afield, the German production saw future disco diva Donna Summer in it’s cast.

So yes, all of the above participated in the full frontal nudity if you are wondering. As stage nudity goes, it has to be said that, “Hair’s” is particularly innocent with them merely entering the stage singing of beads, flowers, freedom and happiness. However it still courted controversy for this scene in it’s day.

There is an adage that great musicals don’t just get written but they get re-written and “Hair” was no exception as it’s journey continued new songs were added and changes were made. Therefore, it was a little odd that when it was revived at the Old Vic in 1993 starring, the now ubiquitous, John Barrowman it was rather too faithful to the original. The revival failed to capture the public imagination, where despite the energetic performances it was felt that the cast didn’t really get what made the characters tick.

Of course most of us know “Hair” best because of Milos Forman’s movie version of 1979. Some of the songs were ejected, and a more structured plot was introduced along with making some of it’s character’s barely recognisable by really only sharing the stage characters name and nothing else. For instance, as played by Beverly D’Angelo, Sheila Franklin was no longer a radical peace protestor and was instead a high society debutante.
The famous nude scene is not even featured – the nearest we get are some buttocks bared during a skinny dipping sequence.
The movie is not without it’s highlights though and has much to enjoy.
Twyla Tharp’s choreography is stunning. Seeing horses “dance” on their hind legs in Central Park as Ren Woods sings, for my money, the best ever version of “Aquarius” is just one stunning moment. Quite how she choreographed horses is beyond me but the human beings get ample time to shine too as her creativity is unleashed through the films two hours.
Another highlight of the movie is Cheryl Barnes. It is said that Cheryl was working as a maid when she accompanied a friend to an audition. Of course Cheryl got the part and gets to sing a devastating “Easy To Be Hard” in New York’s Washington Square. It’s this location and Central Park where the majority of the action takes place and this is why the latest revival of the show is of particular interest.

Yes, forty years after it first appeared in New York, and almost thirty after it was filmed in Central Park, “Hair” has returned – and this time to the park itself. Much like Regent’s Park in London, New York has long had an open air theatre – the “Delacorte” - and what better place for a revival of this show.
This concert version opened in July and runs until 7th September so if you are heading to NY then you can still see it. The good news is that it’s totally free! I will leave it to you to discover how to get the tickets. After all if you are going to NY then I am already jealous! I am so not going to make it easy for you!!!!

Recommendations
See the movie! Very cheap on DVD.
I have heard several recordings of “Hair” and they all have their merits. The movie soundtrack has the great versions of “Aquarius” and “Easy To Be Hard” I mentioned.
If you caught Jennifer Hudson in “Dreamgirls” you might like her version of the latter song which is on the 2005 Actors Fund of America benefit recording, along with many of the current crop of Broadways leading performers – including Liz Callaway’s lovely “Good morning Starshine”.
Everyone from Elaine Paige and Sarah Brightman to the Lemonheads have recorded songs from “Hair” and many are worth a listen, however I recommend going camp! Camp? Well, if you get Shirley Bassey’s “Something” album from 1970 you not only get her stunning version of “Easy To Be Hard” but you get Shirley at her most psychedelic as she performs many songs from the late sixties in her own spectacular fashion! Go Shirley!