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!

So You Want To Be A Nun?

So what is it with all the Nazi’s? I worked for years in the West End without a Nazi in sight but in the last few years they seem to be everywhere. It’s ironic really. There were less than a handful of musicals which included them amongst their characters, and now not only have most of them been produced, but more have been created.

First we had the comedy Nazi’s of “The Producers” and from then on it appeared that London’s theatrical producers well and truly jumped on the bandwagon. “Cabaret” with it’s take on pre-war Berlin has only just recently closed in fact. That show even managed to follow me to Paris where I saw it at the Folies Bergere - albeit in a different production. Of course Nazi’s (and nuns) are much in evidence at the Palladium currently where “The Sound Of Music” has been in residence since late 2006. It is also rumoured that some of the actors on stage as Nazi’s also appear as nuns at different points of the show! The less said about that the better!

Now of course we have two new musicals featuring Nazi’s. Over at the Theatre Royal Haymarket we have Ruthie Henshall singing Michel LeGrand in “Marguerite”. This show also presents us with a quirky piece of casting. Yes, erstwhile Captain Von Trapp, Alexander Hanson - who spent a whole year standing up to the Third Reich, appears to have gone over to the other side and become a Nazi general. Now it goes without saying that he is an actor and obviously only playing a role, but what wonderfully contrasting roles they are.

I am reliably informed that, until recently, there were only four musicals with these elements in the cast. “Cabaret”, “The Producers”, “The Sound of Music” and one so obscure that even I haven’t heard of it. You can’t blame me for being a little bewildered that they (the ones I HAVE heard of) have all been in town within the same period. I seriously suspect that, given the subject matter of “Imagine This” the West End is to have a few more Nazi character’s treading it’s boards before this year is out.

I suppose that this proliferation of show’s does give us pause for thought to remember some of the greatest atrocities the modern world has ever known. We should remember, so that’s no bad thing, but I can’t help feeling that in the world today we need more uplifting show’s. Something that gives us a reason to smile. You get the idea. “The Sound of Music” delivers this in abundance of course and I feel that a large part of this is down to our chorus of nuns. You really can’t beat a comedy nun. They really aren’t comedy nuns, in this instance, but working in a theatre we do see some funny things on occasion. It was shortly after the show opened that I popped next door into the theatre only to become trapped within a group of giggling nuns clutching glasses of what I could only assume was gin. My assumption was erroneous as you may realise. The afore-mentioned sisters of theatrical indulgence had merely left the auditorium (via the front of house) after their opening number and were clutching their glass votive candle holders. I would prefer to believe it was gin but alas that’s just my warped mind!

The unintentional comedy this moment provided me did make a good case for nuns treading the boards. I am sure there are many musicals already featuring them but am at a loss to name many of them, although I do feel the time is right for the sisters to do it for themselves and shine in the footlights. I strongly suspect that, legendary flop, “Bernadette” had it’s fair share of nun’s and I believe that they feature in Maury Yeston’s “Nine” shortly to become a movie featuring Daniel Day Lewis. Mr Day Lewis’s great versatility aside he will NOT be playing a nun!

Back in the eighties the Fortune Theatre saw one of the sisterhood’s finest moments with “Nunsense”. It really was one of the oddest show’s I have ever seen. The plot was basically that the nun’s needed to raise a large sum of money at short notice so were putting on a show. Bizarrely this was because most of the order had been the fatal victims of the cook’s tainted vichyssoise. Luckily for the remaining nuns they had been out playing bingo so hadn’t shared in that particular last supper. Now luckily (by selling greetings cards) they had managed to raise enough money for the majority of the sisters to be buried. However the Reverend Mother had squandered some of the capital on a VCR, and four nuns remained unburied. In the deep freeze no less! It’s no surprise therefore that it’s a really odd show. One of the songs was even called “We’ve Got To Clean Out The Freezer” – and one (rather forgetful) nun had the wonderful name of Sister Mary Amnesia! You couldn’t make it up could you? It really was the strangest, yet hysterical, show and in the US many sequels have followed. But twenty years have passed since “Nunsense” played the West End and what the world needs now is nuns sweet nuns – or at least a new Nun musical. Needless to say, I am not without ideas…..

First off the block is “The Singing Nun”. Back in the early sixties a real live singing nun from (I believe) Belgium had a hit in the pop charts called “Dominique” and it even ended up inspiring a movie starring Debbie Reynolds.

Possibly a better bet, which could perhaps include some breath taking special effects, would be a stage version of Sally Field’s 1968-1969 sit com “The Flying Nun”. It failed to strike gold as a TV show, but if flying monkeys can keep audiences in thrall at “Wicked” then why not a flying nun. The possibilities are endless.

Then of course there is art Sister Wendy Beckett. I am not sure of how this sister turned art critic could be immortalized on the West End stage but it certainly makes for an interesting idea. Even better, why not have a show featuring three all singing, all dancing, nuns? “Once upon a time there were three little girls from the convent, one liked to strum her guitar and sing, one had a taste for the impressionists, and one thought she could fly – well I took them away from that. My name’s……….god?”

Yes I am being quite ridiculous but am not incorrect in suspecting that, following on from all the shows featuring Nazi’s, the day of the nun may be fast upon us. Yes, one of the big rumours at the moment is that “Sister Act” is heading towards the stage. So give it a year or so and we could all be makin’ whoopee with the best of them…..


p.s.Thanks to Anna Keighley for services to nun googling!

No Me Diga

It’s always interesting to keep an eye and ear pointed towards Broadway to see just what is going on there, and to ponder what shows may make their way to the other side of “the pond”. Of course there are those amongst us that make regular forays to the big apple and see all of the new shows at first hand. I am not one of those people. Boo Hoo. However it’s well known that I am a CD addict so I do manage to discover some of these shows via their recordings. Obviously you can only get an idea of a show through the cast album but, let’s face it, the songs are pretty important when it comes to a musical.
I had high hopes of one of the current crop of Broadway Musicals. With a book by Harvey Fierstein and John Doyle as it’s director “A Catered Affair” is of immediate interest. Add to the equation song writer John Bucchino and I couldn’t wait to hear it. The show marks Bucchino’s first time on Broadway but he has long been a favourite of both musical theatre and cabaret performers in the states. His songs have been recorded by Barbara Cook, Maureen McGovern, Liza Minnelli. and Patti Lupone amongst many others and are always intelligent and witty songs. High hopes indeed.
The show has fifteen songs and three reprises, Sadly despite starry performances from Fierstein himself, Faith Prince and ex “Duke” Tom Wopat, the first ten songs barely improve on “dreary”. It’s a simple story about a couple who want a quick small wedding until their parents decide otherwise and take over. Even having listened to it a good few times these first ten songs fail to command my attention. In fact I am more inclined to give up on them and fast forward. Happily it all changes with the eleventh track, “One White Dress” where Janey (Leslie Kritzer) admits that she was never one of those “silly little girls” who had dreamed of a big wedding and all the attendant pomp and circumstance. Trying on the white dress, of the songs title, turns her head however and she becomes smitten with the idea of a white wedding and all that it entails. It’s a truly lovely song but this part of proceedings is a little late for a first good song! As the show draws to its finale we do get at least three more songs (and the three brief reprises) that have something going for them. Tom Wopat gives a moving performance of “I Stayed” where after stating that everything is “always my fault” strikes back and extols his own virtues! Janey and fiancé Ralph (Matt Cavenaugh) get a sweet ballad called “Don’t Ever Stop Saying I Love You”, and the poignant “Coney Island” between brother and sister, Fierstein and Prince, more or less brings proceedings to a close.
The future for “A Catered Affair” doesn’t seem to bright and it’s easy to understand given some of the failings of the shows old fashioned score. John Bucchino’s work will always be of interest though and something tells me that “One White Dress” is a song that will be used in many a concert engagement or cabaret in coming years.
For the latest Tony Award winning best musical “In The Heights” it goes without saying that the future is much brighter. It’s simple story is of the everyday lives of a group of Latin Americans in New York’s Washington Heights. At it’s heart the show is about dreams and , ironically for a city that many dream of going to, it’s of a desire to escape to somewhere else. The brainchild of Lin-Manuela Miranda who not only wrote the music and lyrics but also stars as Usnavi – who runs a Bodega which is a kind of coffee stand/paper stall, the album is catchy and engaging from the opening bars of it’s opening and title track.
From the very beginning the score evokes a hot day in the city. If I had to imagine the music of an urban summer then most of these sounds would feature in this show. Somehow it combines a current Broadway sound which conjures everything from Jason Robert Brown and “Rent” to “Annie”, with street music and latin sounds. Many of the songs feature a main melody with counter melodies sung in Spanish which are amazingly evocative of it’s setting. Somehow current trends such as hip-hop, r & b, and rap are alongside almost every type of Latin groove that you can imagine. Samba, Tango, Salsa – it’s all there. There really are some great songs. My particular favourite would have to be “Breathe” when Nina comes home from college revealing what a struggle it was. “Inutil” provides her father, Kevin with an opportunity to sing of what it means to be a father and “96,000” sums up the dreams of the entire neighbourhood as they hope to win the lottery- having heard that Usnavi sold the winning ticket. From the dramatic “Enough” to the energetic “Carnaval Del Barrio” and the touching “Sunrise” Miranda’s score is one that really get’s under your skin. Of course having talents like Andrea Burns, Mandy Gonzales and Priscilla Lopez (the original Morales in “A Chorus Line” ) on board it’s hard not to succeed.
I am not sure if “In The Heights” is a show that would work in London as it seems to be so very New York, but if you aren’t planning to go to NY any time soon it’s definitely worth following my example and logging on to order yourself a copy of this fantastic double album. Just find yourself doing a salsa!!!! You never can tell….