Tag Archives: Frank Wildhorn

“Your Lie in April” at the Harold Pinter Theatre

Another adaptation of a Japanese hit has arrived in London, this time based on the eponymous manga series by Naoshi Arakawa. This musical version shares the aim and, arguably, the weakness of a concert production called Death Note from much of the same creative team – the show focuses on fans. Such admirers are numerous, and good luck to them, but other audience members might struggle.

Like a lot of coming-of-age romances, Your Lie in April is unashamedly intense. The book (by Riko Sakaguchi and then Rine B.Groff) is efficient. There’s big drama, with tragedy (I heard a lot of sniffling) and love triangles; all exacerbated by the pressure that these youngsters are training as musicians. Just how repressed the kids feel, might raise eyebrows depending on your age. But there’s a lot for the cast to work with and work hard they unquestionably do.

Zheng Xi Yong takes the lead as musical prodigy Kōsei, the “Piano King” grieving for his domineering mother (whose ghost pops up rather too often) and on a journey of self-discovery. Every song is given its all, the performer seemed genuinely overwhelmed by the end of the night. Kaori is the love interest, a rebellious violinist who wants to duet with Kōsei, but who has a sad secret. The character is flat but Mia Kobayashi, who takes the part, makes her feisty and even has a stab at adding humour. Best of all, Kobayashi has a beautiful voice – this is a superb professional debut. If the chemistry between Kōsei and Kaori isn’t great, that’s OK…we’re supposed to find them an odd couple. Their friends are less successful, their stories only foils, and the roles a waste of Rachel Clare Chan and Dean John-Wilson.

There’s a bigger problem though. The lyrics, from Tracy Miller and Carly Robyn Green, are not good: sometimes nonsensical, full of clichés and repetitious. Some of the issue comes from the relentless aim to inspire – it’s all lifting, climbing, flying, while pages are turned and characters “break out”. But nearly every line is predictable, and some are toe-curling: freedom is “really real” and “butterflies can fly”. The words make performances that should be a pleasure feel plodding.

The production is strong. Director Nick Winston keeps the action clear and quick, and makes a lot of effort to focus on emotion. There’s some excellent video design from Dan Light while the lighting, from Rory Beaton, adds a great deal. Musical contests, which structure the plot, make it easy to include the audience – the applause we add is deserved – but such moments are nonetheless highlights. If the classical pieces might be made more of within Frank Wildhorn’s score, the music offered is good; many of the songs are catchy, and a conscientious effort is made to bring in variety.

The music is professional more than inspiring though. There’s an irony here, as the story itself reflects a problem for the show. What Kōsei learns from Koari is that music is about connection rather than perfection. What drives her is the chance to “live in people’s hearts” while a stress on technique has led to disaster – Kōsei literally can’t hear the music anymore. Regardless of how sentimental or neat the idea is, the precision everyone sings long and loud about is ever present. Such polish is an achievement and provides enjoyment. But it lacks a spark, a quirk…something special. Your Lie in April could learn a lot from its own message.

Until 21 September 2024

www.yourlieinapril.co.uk

Photo by Craig Sugden

“Death Note: The Musical” in Concert

There a strong fan base for this project based on Tsugumi Ohba and Takeshi Obata’s manga series. Three shows at the London Palladium sold out quickly – a transfer has been announced – leading to a sense of excitement for the European première of something that promises to be different.

Coming in cold… it’s a mixed bag. The story is good – it’s sold 30 million copies – and the book for the show, from Ivan Menchell, is accomplished. There are strong characters who are admittedly vehicles to raise issues but nonetheless intriguing. A schoolboy called Light, accompanied by a Shinto Kami, can kill people by writing their names in a book. It’s a neat way to raise moral dilemmas. And there’s a detective, the enigmatic ‘L’, tracking down Light for his vigilantism. But the show isn’t as bold as it might be: strong performances and a good atmosphere are its best points.

Concert is a stingy description. The set doesn’t move and there isn’t much choreography, but the lighting design (Ben Cracknell) is advanced, the costumes (Kimie Nakano) good and the characters well developed. Director Nick Winston has focused on his performers and, as a result, the roles are impressively realised by a strong cast.

Joaquin Pedro Valdes sounds great in the lead and shows Light’s arrogance – this hero starts with good intentions, but power goes to his head. Dean John Wilson plays the detective whose motivation seems more intellectual stimulation than justice and is, as usual, excellent. In the middle, often literally, is Ryuk, a supernatural figure who fascinates. This is a great role (performed brilliantly at the Palladium by Adam Pascal) – a real crowd pleaser with an element of danger and humour whose big problem is his sense of boredom!

Frances-Mayli-McCann-and-Aimie-Atkinson-in-Death-Note-credit-Mark-Senior
Frances Mayli McCann and Aimie Atkinson

There is less success with two female roles: a pop star called Misa (who falls in love with Light) and another Kami parallel the main story but they do not complement it. Both Frances Mayli McCann and Aimie Atkinson have strong voices, but their songs aren’t as good and their characters are less well written. The scene of Misa’s interrogation is ridiculous – let’s hope that was the intention.

Jack Murphy’s lyrics deserve praise if only for their efficiency – it’s all very clear. And, as for the songs, Frank Wildhorn can write a tune. If sometimes unimaginative, they are often catchy. There is an effortful mix of styles in Death Note so the show overall shouldn’t tire.

A lot of the music is earnest, which works well with the story. But the score sounds American through and through. Maybe that’s better than some kind of appropriation. But it lessens the show’s USP compared to your average musical… and that seems a shame.

Transferring to the Lyric Theatre for six performances, 7-11 September 2023

Photos by Mark Senior

www.deathnotethemusical.co.uk

“Bonnie & Clyde The Musical” at the Arts Theatre

Frank Wildhorn and Don Black’s score for this 2011 musical sounds exemplary. With consistently strong songs and smart lyrics, this is a show that can hold its head high. While not all the numbers feel as if they belong in a story about criminals – and the sense of time and place for these depression era degenerates isn’t convincing – there is barely a weak number to be heard.

The entire cast enjoys this solid material. The production has fine leads, with Frances Mayli McCann and Jordan Luke Gage taking the title roles. Given the stronger written part, Gage’s acting impresses. Director Nick Winston’s production is a quality affair. Although small, the venue feels appropriate for the show and the design from Philip Witcomb is neat, if far from lavish.

Natalie-McQueen-and-George-Maguire-in-Bonnie-and-Clyde-Photo-Richard-Davenport
Natalie McQueen and George Maguire

Problems arise with Ivan Menchell’s book and the characterisations here. Time spent on Bonnie and Clyde, looking at their motivations and insecurities, is rewarding. But secondary roles – Clyde’s brother and his wife, as well as a law man who holds a torch for Bonnie – are poor. The performers – George Maguire, Natalie McQueen and Cleve September – sound good, but the roles are written either too comic or too sincere. These issues are worse when it comes to the crime couple’s parents.

Such poor parts are an especial shame, since focusing on how others feel and are affected by Bonnie and Clyde is the show’s smart move. Taking criminals as your protagonists in any drama must be handled sensitively. This show generally avoids the danger, as aspirations for fame seem silly and both fall into violence in a convincingly chaotic fashion. If there’s a little too much sympathy for the gangsters, the show never leaves us in any doubt about how destructive they are. And it really does sound great along the way.

Until 10 July 2022

www.bonnieandclydemusical.com

Photos by Richard Davenport