The highlight of my week (or maybe my year) was getting to see Jonathan Kent's production of Sweeney Todd at The Adelphi theatre. Oh my goodness!
Sweeney Todd is right up there as one of my favourite musicals of all time. I have seen numerous versions live and recorded, including John Doyle's 2004 revival at The Ambassadors, where the 10 strong cast also played the score themselves on instruments incorporated in the staging! I was sceptical about Michael Ball playing the demon barber; my impression of him is the loveable cheeky chappy, but he was absolutely mind blowing. I was bowled over by the power and strength with which he sang the role... I now realise I'd never fully heard Sweeney Todd's agonising laments until last week. And he was so butch! I had high expectations of Imelda Staunton, being a huge admirer of her as an actress, yet she still overwhelmed me with how skilfully she made Mrs Lovett her own, delivering Sondheim's human pie witticisms during 'A Little Priest' as if it were the first time I'd heard them. I thought the whole production had real grit to it, bringing out the the disturbingly dark themes like no other version I'd previously seen. I think it's exciting when musical theatre successfully branches out from it's stereotypical 'razzle dazzle' and delivers instead a poignant, dark piece of intelligent theatre with fortitude. Stephen Sondheim is the master! It was with delight (and a touch of envy) that I sat in the gods as the chorus raised its voice for 'The Ballad Of Sweeney Todd'. What I wouldn't give to have the opportunity to sing such powerful music on a West End stage...
Although, maybe not this week.
My blog is to be dictated a little by the frustrating week I've had in general!
Finally, with better weather and lighter evenings comes a more regular London Showboat. I sing onboard the Showboat a few times a week as the main entertainment on a three hour evening dinner cruise along The River Thames. I'd been looking forward to a busy week of shows for the Easter break, only to be struck down by laryngitis and rendered completely incapable of singing. This has never happened to me before (I am generally one of those annoying people who is rarely effected by illness) and I have to say, I was really perturbed! I couldn't make a squeak let alone belt out a rendition of 'All That Jazz'. Losing my voice made me realise that I completely, 100%, rely on being able to sing to earn my living, and there is nothing else that comes close to being a secondary career option. I did have to accept that I needed someone to cover the shows - another first for me. It was a weird feeling having someone act as 'understudy' - at first I felt extremely grateful that I didn't have to worry about what would happen with the show, but then came the anxiety of having someone else doing my show and acknowledging that I am replaceable!
Being replaceable is obviously not the greatest of feelings, but the realisation of it does make me feel grateful for the work that I have got and the opportunities that people have given to me in the past, when they might have chosen somebody else. This weeks debilitation has also inspired me to come back fighting. Singing is what I love, it's my life and I most definitely can't imagine myself doing anything else for a living at this moment in time. Sometimes I lose sight of this amongst the constant CV mail-outs, casting submissions and rejections, but as the saying goes, I will not let them grind me down. I've worked so hard and I know that I have what it takes to perform in a show (like Sweeney Todd) on a West End stage... I have to be in the right place at the right time at some point in my career!
It's hard to take the knock-backs time and time again, but focus on the things you are achieving and keep striving to be better - don't let anyone convince you that your dreams are pie-in-the-sky (particularly not Mrs Lovett's!). You may be replaceable in certain areas of your life, but by being the best that you can be, you can make it difficult for anyone to find a the right replacement!
Reality TV talent shows are dominating our Saturday evening screens once again. Fortunately, Saturday night is gig night so I am rarely subjected to this manufactured 'talent' search. However, I must admit to being swept up a little by the promos for The Voice, so I decided to catch it on iPlayer. The show's concept is interesting from a singer's point of view, with the main emphasis being on the voice. I also think the panel has been well selected, each qualified, within their own right, to pass musical judgement on others.
My overall opinion on the show is divided. I had hoped that there would be less of the 'sob story' element to the contestants in comparison to similar shows. While I can relate to the singers' desperation to succeed I find it frustrating to watch endless cliches linked with clumsy dumbed-down narrative intended to heighten the drama. Unexpectedly, the most heart warming contestant for me was Samuel Buttery, singing 'Set Fire To The Rain'. He had such a positive attitude and a warmth which radiated through his own rendition of Adele's hit. I can sympathise with his motivation behind entering The Voice, wanting to be judged fairly on his talent without being seen. But at the same time he wasn't apologising for being a big guy, the confidence exuded from him. Despite such big personalities on the panel of judges I thought they struck a good balance between promoting themselves as mentors whilst being entertaining, but not making the show all about them (as often occurs on other such talent shows). The comments were relevant and backed up by informed technical knowledge, unlike the offensive and snide remarks often made on some shows.
Everyone has the right to shine, so I am not against talent shows - they have formed the basis of television entertainment for the past 50 years, with shows such as Opportunity Knocks and New Faces discovering the likes of Les Dawson, Lenny Henry, Jim Davidson and Victoria Wood. It's the relentless exposure to mediocrity, manipulated to seem something more and the flippancy with which the term 'star' is bandied about, losing any real sense of what it does take to be a star performer.
Andrew Lloyd Webber's star searches have more integrity, cutting down on the footage of early auditions to leave the people worthy of air time for general public viewing. Having watched all four of the previous programmes I think it has been a great platform for some wonderful performers who wouldn't necessarily have had the opportunity to share their talent in front of such influential people. Also, the BBC star search has helped elevate the profile of musical theatre, making it more accessible to a whole new television audience at a time when public spending cuts could have impacted upon theatre and ticket sales. However, there is now an increased expectation to see 'the star' of a show and greater disappointment often felt when that star is replaced by an understudy (which is quite common practice, particularly if the performer has not had the extensive training or experience of enduring eight shows a week). Though usually the understudy is just as good, maybe even better because they have more to prove! It is also this culture of having a celebrity name in a show which contributes to the high price of theatre tickets; a celebrity name expects to be paid a celebrity wage! We are a society driven by celebrity culture and I do speak from experience when I say that standards are often lower if you have a name which can guarantee to bring in the crowds.
I am eagerly anticipating the forthcoming ITV search for Jesus Christ Superstar. It was one of my favourite musicals growing up and I feel certain that, based on his track record, Andrew Lloyd Webber will direct the auditions with candor, hopefully introducing us to some exciting rock tenors.
Watching The Voice did, for a split second, make me consider applying for the show next time. But unfortunately, I still believe that fundamentally the producers are making a TV show in which the majority of contestants are mere pawns. To be a great singer you have to be prepared to bare your soul through your music - this should be enough without having to share the intimacies of your life with millions of strangers for the sake of entertainment. What I think would be really refreshing is if we could bring back a show like Sunday Night at The London Palladium. A show where we just get to see the performance without all the back story, featuring artists who are already masters of their craft delivering top quality performances and re-defining what it is to have star quality!
Finally, with better weather and lighter evenings comes a more regular London Showboat. I sing onboard the Showboat a few times a week as the main entertainment on a three hour evening dinner cruise along The River Thames. I'd been looking forward to a busy week of shows for the Easter break, only to be struck down by laryngitis and rendered completely incapable of singing. This has never happened to me before (I am generally one of those annoying people who is rarely effected by illness) and I have to say, I was really perturbed! I couldn't make a squeak let alone belt out a rendition of 'All That Jazz'. Losing my voice made me realise that I completely, 100%, rely on being able to sing to earn my living, and there is nothing else that comes close to being a secondary career option. I did have to accept that I needed someone to cover the shows - another first for me. It was a weird feeling having someone act as 'understudy' - at first I felt extremely grateful that I didn't have to worry about what would happen with the show, but then came the anxiety of having someone else doing my show and acknowledging that I am replaceable!
