Curve, Leicester
8th June 2021
‘Feel the magic in the making’
When I was 7, my primary school did a production of Cats.
You had to be in the years above to be in it but this didn’t stop me being
consumed by it for weeks. I was obsessed with the songs (‘Skimbleshanks’ and
‘Mr Mistoffelees’ especially) and my dad got me the recording of the London
production on VHS – during the concert Madalena Alberto tells a similar story
of being introduced to Andrew Lloyd Webber (and musical theatre in general)
this way. I remember we got to watch one of the last dress rehearsals and, as
we sat on the dusty parquet floor, I was mesmerised by how the school hall was
transformed into the junk yard set. A stage was put up and a starlit backdrop
covered the back wall, adorned with bin lids and incorporating the folded-up
climbing apparatus which the cast used as part of the show. The following year,
I was similarly obsessed when we did Joseph and
I was old enough to be in the cast. I remember being bumped up from Chorus
member to one of the Brothers (Naphtali), watching the hall transform this time
with a backdrop of pyramids and palm trees, and spending summer afternoons
stopping after school to rehearse the show. Like many kids, these musicals were
my gateway into a lifelong passion for theatre. It seems fitting then that as
theatres reopen, Curve is welcoming back audiences (and hopefully enchanting a
whole new generation of youngsters and future theatre-lovers) with a celebration of the UK’s most prolific musical
theatre composer.
The Lord himself, appearing on screen at various
locations throughout Leicester, guides us through the evening - a musical
biography of sorts - moving chronologically (for the most part) through his oeuvre.
The set pieces are punctuated by Lloyd Webber’s anecdotes: his and Tim Rice’s
misguided foray into pop music with their song ‘Kansas Morning’ (which had
later success when rewritten as ‘I Don’t Know How To Love Him’ in Jesus
Christ Superstar); the touching inspiration behind his Requiem;
and how he persuaded the edgy hit-maker Hal Prince to take a gamble on
directing a ‘High Romance’ (Phantom). These biographic morsels are an
intriguing glimpse into Musical Theatre history and Lloyd Webber’s slightly
awkward delivery ends up being rather endearing.
The music is a real treat for fans and newcomers
alike. Best described as a ‘Greatest Hits’ compilation, Lloyd Webber, along
with Director Nikolai Foster and co. have sifted through the back catalogue and
selected only the gold standard of tunes. From the powerhouse aria
‘Gethsemane’, to the plaintive ‘Another Suitcase’, or the sensuous ‘The Music
of the Night’ to the underrated ‘Take That Look Off Your Face’, the show revels
in a variety of Lloyd Webber’s successes (Phantom; JCS; Cats; School of
Rock; Evita; Sunset Boulevard), ensuring that every song is a certified
banger. That’s not to say the less successful productions are completely
glossed over. Lloyd Webber is self-deprecatingly honest when addressing his
shows that didn’t work, from the disaster that was the original Jeeves musical
(later revised as By Jeeves in the 90’s) to the creative snags
in the London premier of Love Never Dies (an issue that was
fixed in the subsequent Australian production). However, despite his extensive
body of work there were some misses that were conspicuously absent from comment
*ahem*Stephen Ward*ahem*.
Lloyd Webber’s music is often criticised for being
trite and overproduced. But the truth is, at his best as seen here, Lloyd
Webber’s melodies soar and hit a musical sweet-spot that many have tried and
failed to emulate. These songs have become standards for a reason and it was a
pleasure to hear them performed by an excellent cast including three previous
Evitas and two veteran Phantoms. A lush acapella opening features a clever
mash-up of songs that the cast clearly have a lot of fun with. Despite
suffering a leg injury Karen Mavundukure (a highlight of Curve’s production
of The Color Purple) raises the roof with her storming rendition of
‘Light at the End of the Tunnel’ from Starlight Express, and
Jessica Daley demonstrates astonishing versatility and a vocal range to die for
in her various roles, a particular highlight being her effortless performance
of ‘Love Never Dies’. Tim Rogers belts out ‘Gethsemane’ before transforming
into playful scamp, Mr Mistoffelees , and newcomer Shem Omari James brings a
fresh exuberance to proceedings in his roles as Judas and Joe Gillis. Madalena
Alberto and Ria Jones show us just why they have the reputation as some of the
best of Lloyd Webber’s leading ladies with their charismatic turns as Eva Peron
and Norma Desmond. Jones’ rendition of ‘Memory’ is chill-inducing, and
incredibly poignant. Foster and co. capitalise on this moment with some simple
but exquisite staging; Jones’ lament is accompanied by a single ‘ghost-light’,
a theatrical superstition transformed into a symbol of hope. For theatre, and
for the world, the lyrics ring true; ‘a new day is dawning’. Finally, special
congratulations to Jennifer Lane Baker, as Trainee Director on the production
she admirably stepped in for the injured Mavundukure during the ensemble
numbers. Ah, I’ve missed the spontaneity of live theatre!
Since reconfiguring Curve’s stage and auditorium Ben
Cracknell has truly come into his own with some outstanding lighting design.
The immense rig is a character in its own right as the lights literally dance
around us during the upbeat numbers, creating an exciting and immersive
atmosphere. It was also lovely to see the return of the Curve Young Company in the
larger ensemble pieces. The past year has been tough on everyone, but the
sacrifices of the younger generation have been innumerable, and to see these
teens thriving once again is exemplary of the hard work and pride that Curve
takes in their commitment to the wider community.
It was a thrill to be back in the theatre, and we were
thoroughly entertained and left Curve humming our favourite tunes. This
celebration of a life’s work is representative of the resilience of the arts
community. Long may music and stories continue to inspire and enchant audiences
world-wide. Theatre is back and the only way is up!
The Music of Andrew Lloyd Webber plays at Curve until 19th June.
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| Madalena Alberto and the cast of The Music of Andrew Lloyd Webber Credit: Ellie Kurttz |
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