Tag Archives: Damian Humbley

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“Songs For A New World” at the St James Theatre

Jason Robert Brown is a composer known for his clever musicals and skilled songwriting, both evident in Adam Lenson’s 20th anniversary revival of his first work, Songs For A New World. A song cycle, rather than ‘proper’ musical, it has numbers set in distant ages and places, mixed with those about relationships that could be from any time and anywhere. The songs are connected by a moment when a life changes and a character develops. Startling and original, it’s the music’s instant appeal and variety, rather than the concept, that is the real highlight.

Lenson has some nice touches to suggest the fluidity the show aims for, but he never distracts attention from the performers – wise, as the four stars on stage are truly stellar. They sound better singing solo than as a group, but their voices are fantastic. First the boys – Damian Humbley and Dean John-Wilson – with songs of depression and ambition, often linked by the mistakes of fathers, perfectly delivered. Then Cynthia Erivo, who sounds appropriately heavenly as a woman who sings about her pregnancy and has a wonderful stage presence. But since I’m such a fan, Jenna Russell was my favourite, with the show’s funniest numbers: a suicidal rich bitch and the desperate wife of Santa Claus.

Yet even with performances like these, it’s frustrating to hunt for themes and connections when you really just want to enjoy the music. Songs For A New World feels like a collection of musicals waiting to break out rather than its bolder aim of something abstract. You want each song to develop – they sound so great. And each character introduced is one you want to know better. A surfeit of talent perhaps, the piece is more a soundtrack to love than a show to see.

Until 8 August 2015

www.stjamestheatre.co.uk

Photo by Darren Bell

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“Forbidden Broadway” at the Vaudeville Theatre

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Forbidden Broadway may modestly describe itself as a “fringe revival transfer” but the hugely successful US show’s latest incarnation is a screamingly funny compendium of songs and impersonations. Relocating from the Menier, the legendary cabaret troupe has just begun a limited run at the Vaudeville Theatre, which can only be good news as the larger venue gives more Londoners a chance to laugh along to this irreverent take on show biz.

Writer and creator Gerard Alessandrini uses the songs from the very shows he lampoons (Les Mis, Phantom, Once et al) taking sweeps at commercialism and, the cardinal sin, laziness. The stolen songs are cleverly adapted, the new lyrics a wickedly guilty pleasure and lazy is one thing you can’t accuse these performers of. The four actors playing multiple characters are astonishing throughout, not least for their costume changes. There isn’t moment when you aren’t getting your money’s worth.

Forbidden Broadway’s other target is celebrity. There’s Kristin Chenoweth, Liza Minnelli, Bernadette Peters, Mandy Patinkin, Cameron Mackintosh and Hugh Jackman. If some of the names don’t ring a bell, don’t worry: the delivery is enough to keep you happy. Christina Bianco and Anna-Jane Casey are marvellous impersonators, their co-stars Damian Humbley and Ben Lewis, similarly, terrific comedians, and affectionate jokes about what it must be like to perform a hit show night after night ring true.

Despite their efforts, the emphasis is on Broadway rather than the West End. But we share many shows and there’s plenty of attention paid to London. The stab at Charlie and The Chocolate Factory (it’s not a good show) is more accurate than funny but songs about the forthcoming revivals of Evita and Cats are superb. If you’ve ever loved a show and are interested in the theatre you’ll laugh long and hard.

Admittedly, there is a danger the show is preaching to the choir. When Forbidden Broadway gets annoyed, demanding more for us as an audience, ironically, it delivers slightly less. But it’s here that you see the passion. There’s so much great theatre out there, there’s no excuse not to put on something superb. A sense of complicity with the creators puts us, the punters, at the fore, wanting the best. So, even if you’ve hated musicals in the past – this could still be the night out for you.

Until 22 November 2014

www.nimaxtheatres.com

Photo by Alastair Muir

Written 16 September 2014 for The London Magazine

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“Merrily We Roll Along” at the Harold Pinter Theatre

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Another transfer, another success for the Menier Chocolate Factory – Stephen Sondheim’s Merrily We Roll Along has just opened at the Harold Pinter Theatre. It is the show’s first presentation in the West End, which seems remarkable since it is one of the master-composer’s greatest musicals – a complex work with the potential to appeal to a wide audience. The Menier’s production deserves its new location, showcasing the piece to perfection.

Making her directorial debut, renowned singer and Sondheim soulmate Maria Friedman excels. Under her supervision, Merrily We Roll Along serves as a tremendous vehicle for its leading trio: Damian Humbley, Jenna Russell and Mark Umbers, who star as Charley, Mary and Frank. Just as excellent are Clare Foster and Josefina Gabrielle as the women in Frank’s life. The latter benefits from an additional number, requested from Sondheim by Friedman, that makes a rollicking opener to the second act. With the chorus the production’s modest origins reveal themselves – positively – this is a mature team that sounds fantastic.

The musical is played backwards: we meet our heroes at the height of their careers, but bitter and weary. And in the finale we see the college chums ready to take on the world. It’s a device used to great effect and adds layers of meaning to music that emblazons itself on the memory. The score becomes simpler as the evening progresses, but feels richer with each number – a magical trick to pull off.

Nothing is lost in this production. The performances make the most of the narrative device of hindsight, but keep it sincere and never gimmicky. Merrily We Roll Along is clever stuff but it’s intelligent not pompous. All in all, it’s a brilliant piece that mustn’t be missed.

Until 25 July 2013

Photo by Tristram Kenton

Written 2 May 2013 for The London Magazine

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“Lend Me A Tenor: The Musical” at the Gielgud Theatre

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A musical farce is a tricky thing to pull off, but Lend Me A Tenor shows us how it’s done. The book is the important thing. Based on the play by Ken Ludwig, Peter Sham’s adaptation of a star tenor’s guest performance is as simple as a farce is able to be. Confused love affairs, disguises, behind-the-scenes dramas and onstage shenanigans at a Midwestern opera house are combined with ease and plenty of laughs.

Sham’s lyrics are a model of clarity and hilarity. And if it takes guts to rhyme the name Tito with “indeed-o” then it pays off. Brad Carroll’s intelligently nostalgic score is easy on the ear. So what if you can see the mechanics? It works.

Despite the manic action (with the doors on Paul Farnsworth’s impressive set naturally getting a satisfactory amount of slamming), Ian Talbot’s direction seems effortless. With this cast, he can afford to be confident – Lend Me A Tenor has plenty of experience on stage and it really shows.

Matthew Kelly takes the role of Henry Saunders, harassed opera impresario, in his stride. Michael Matus is the star singer with a believably great voice and the kind of Italian accent you only get on stage. This team knows there is only one thing funnier than an outrageous accent… another character faking an outrageous accent. Stepping into the tenor’s shoes is Damian Humbley as mild-mannered Max, who gets the show’s big tune, ‘Be Yourself’, just as he is going onstage to masquerade as the divo.

With its female leads, Lend Me A Tenor, also excels. Maggie (Cassidy Janson) is our ingénue, and the opera’s resident diva Diana DiVane (Sophie-Louise Dann) is the “not so ingen-new”. Both are infatuated with Tito the tenor for romantic and professional reasons: Maggie wants to borrow him for a fling before she settles down, leading to the show’s romantic title tune, DiVane sees him as a kind of bridging loan to the Met and has a show-stopping ‘audition’ number. The superb Joanna Riding plays Tito’s long-suffering wife with delightful comic timing.

This cast is so strong that the performers might seem somewhat wasted; it’s an enviable position for any production to be in. But a musical needs more – that special something that critics are loath to describe as ‘heart’, and Lend Me A Tenor is such an enchanting piece that it’s clearly in credit.

Until 6 August 2011

Photo by Tristram Kenton

Written 1 July 2011 for The London Magazine