Showing posts with label Jerry Herman. Show all posts
Showing posts with label Jerry Herman. Show all posts

Wednesday, 14 August 2024

Song of Bernadette

As you will already be aware, dear reader, Madam Arcati and I are avid arch-Sondheimites, and we whoop with joy at any opportunity to see his musical numbers sung by a stage legend. Just last November we went to see the one-night-only "An Evening With..." "Broadway Royalty" Mandy Patinkin, the originator of the part of "George" in Sondheim's Sunday In the Park With George - and this Monday we were privileged to get tickets for a similar format show starring his co-star, the original "Dot/Marie", Miss Bernadette Peters!

This may have been our third theatrical experience in a fortnight [starting with Hello Dolly!], and our second in one weekend - but what a sublime evening it was...

From Musical Theatre Review:

For her fans, this was a near-religious experience. The pre-show lobby was filled with feverish excitement and once the performance began inside the auditorium, volume levels assumed a binary deafening applause or silent awe. However, with the sense of humour and charm that has made her a star, Peters punctured any potential pretentiousness and delivered a stunning show that demands to be remembered.

She is a remarkable talent indeed - even at 76 years old, she looked amazing in her glitzy gown and trademark curly red hair.

Her show wasn't all Sondheim, of course - her brilliant transformation of the usually testosterone-heavy There Is Nothing Like a Dame from Rodgers and Hammerstein's South Pacific into a solo "seductress" number was a stroke of genius, and when she reclined over the grand piano to sing Peggy Lee's Fever, she gave Michelle Pfeiffer a run for her money!

Giving a nod to Imelda Staunton up the road, she also did cracking renditions of Jerry Herman's Before the Parade Passes By and So Long Dearie.

It was to "The Maestro", however - to whom she owes so much - that she mainly paid tribute. Despite the occasional wobble and crack in her voice, she nonetheless gave his big numbers such as Losing My Mind, Children Will Listen, Send In the Clowns, No One Is Alone and - in a standout performance that nearly brought the house down with applause - Being Alive the full-on performance they deserve.

Perhaps the most memorable number of the lot, though, was when none other than Bonnie Langford and fellow West End trouper Joanna Riding [with whom Miss Peters had recently starred in the Sondheim revue Old Friends] joined her for a briliant rendition of You Gotta Get a Gimmick. We roared!

What an evening! What show! I doubt we'll ever see the like of Bernadette Peters again...

Sunday, 4 August 2024

Go and taste Saturday's high life!


Wow wow wow, fellas!
Look at the old girl now, fellas!
Dolly'll never go away again.

Wow, wow, wow, indeed!!

From Adam Bloodworth in City AM:

Plenty of musicals made in the middle of last century are given glittering revivals, but rarely do they look and feel as contemporary as Dominic Cooke’s adaptation of Hello Dolly!, this year’s most hyped musical.

Cooke plunges us into an 1890s New York so richly realised through pops of colour and set pieces that it can feel cartoonish in its eccentricities. Great trolleybuses veer onto the stage, warm colour washes pulsate like club lighting, and the fashion is out of this world. Musicals at the Palladium typically pull out all the stops, but somehow Hello, Dolly! has found new ways of raising the roof.

Indeed, the roof was well-and-truly raised last night, as Madam Arcati, Hils, History Boy and Our Sal went along to see it.

Probably maestro Jerry Herman's most-lauded and enduring work, it's a roller-coaster of ever-moving parts - from energetic dance number to energetic dance number, endless perambulation [brilliantly assisted by the moving conveyor], streetcars, scenery changes and even a steam train!

Packed full of classic and familiar* musical numbers such as Put On Your Sunday Clothes [which has been an earworm for me all weekend], Just Leave Everything to Me, Before the Parade Passes By, (We've Got) Elegance, So Long Dearie, It Takes A Woman, and of course the title number, we knew the show was going to be an "internalised singalong" evening [*apart from the Megababs film, we also saw the Timothy Sheader/Stephen Frears production of the show at the Regent's Park Open Air Theatre way back in 2009].

The cast was superb - including Tyrone Huntley as the wide-eyed teen "Barnaby", Harry Hepple (whose solo number It Only Takes a Moment was beautifully done) as "Cornelius Hackl", Jenna Russell as "Irene Molloy", Emily Lane as "Minnie" and Emily Langham as the perpetually-hysterical "Ermengarde".

A particular stand-out number was Miss Russell's ode to seeking pleasure Ribbons Down My Back - we've seen her on stage quite a few times; in Guys and Dolls (opposite Ewan McGregor, back in 2005), Into The Woods, Merrily We Roll Along, and the gala Stephen Sondheim's Old Friends - a Celebration, and she never fails to impress!

Andy Nyman [who we saw in Assassins and Abigail's Party] was great as the cantankerous "Horace Vandergelder" - a self-made man, yet no match for the "matchmaker" herself! His soliloquy on wealth Penny in My Pocket was indeed impressive.

Regardless, it wasn't any of them that the packed-out Palladium audience had come to see. Oh, no - it was Dame Imelda Staunton as "Dolly Levi" whose presence commanded us all...

And, my heavens! She was utterly fantabulosa!

As Kate Kellaway in The Guardian put it:

Staunton’s star quality - she shines in her emerald ballgown like a queen descending the restaurant’s appropriately golden stairs - depends on her miraculous ability to stay genuine and intent, no matter how far-fetched the goings on around her. Naturalness and charm make her a joy to watch. She gives us a Dolly who exults in being herself, yet whose eyes fill with tears whenever she consults her dear departed philanthropist husband...

Amen.

Remarkably for a woman of 68, her pint-size presence dominated the massive stage, and she kept up with every frenetic twirl, march, kick and dance the role demands. Her vocals were the best we've heard her - and we've seen her in some demanding roles, including in Follies, Gypsy and Sweeney Todd - at times poignant (Love, Look in My Window), and at others utterly joyful...

...especially on the triumphal show-stopper Hello Dolly!, the best scene in the whole show, complete with its brilliantly-choreographed (by Bill Deamer) Waiters' Gallup.

We loved absolutely everything about this show! Imelda Staunton certainly is "back where she belongs" - the hottest ticket in town.

Hello Dolly! is only at the London Palladium until 14th September 2024, so if you can, get a ticket before the parade passes by!

Tuesday, 11 June 2024

The Best of Times

Jerry Herman was a genius. That much is a given - indeed, he's our second favourite composer in the musical theatre world, after Stephen Sondheim (inevitably).

And so it was that I whooped for joy when I found out that his self-penned revue [and every showman simply has to have one of those!] Jerry's Girls was coming to a fave haunt of ours the Menier Chocolate Factory - so Madam Arcati, Hils, Crog and I trolled off to see it last Saturday!

It was a superbly-crafted show, and everything we could have wished for. From a review by Daz Gale at All That Dazzles:

Created by Jerry Herman and his collaborator Larry Alford in 1981, Jerry’s Girls opened off-Broadway before enjoying a national tour and a Tony-nominated run on Broadway. This musical revue crams in more than 30 of Jerry’s songs from eight classic shows including Mame, Mack & Mabel, La Cage Aux Folles and Hello, Dolly! as well as two new songs for this revue. This is done through a loose narrative that sees three performers getting ready in their dressing room for a performance and ultimately moving to the stage (and beyond, in some cases here).

The original concept by Jerry Herman, Larry Alford and Wayne Cliento is a clever way to incorporate the songs and make it feel cohesive. Though there is still an element of it being shoehorned in, having scenes move from the dressing room to the stage and back allows for a lot of fun and flair to be told in these songs, with elements of storytelling in several of the more emotive numbers. Hannah Chissick’s direction executes this flawlessly, with no shortage of ideas on how to make each number differentiate from the last and best use the versatile space of the Menier. This is elevated by Matt Cole’s always sensational choreography as we witness three of the very best of Jerry’s girls bring his numbers to life in spectacular fashion.

And what of those girls? This was a three-hander show, with the magnificently-talented combination of Julie Yammanee, Cassidy Janson and Jessica Martin, portraying the three ages of Vaudeville showgirls - the ingenue just starting out, the powerhouse current star, and the long-experienced trouper. In combination and each with their solo numbers, they were all utterly breathtaking!

Stand-out ensemble numbers - and there were so many! - included Before The Parade Passes By, Tap Your Troubles Away [on typewriters!], the Just Go To the Movies/Movies Were Movies segment [where we had Miss Janson, as one of the three "usherettes", sat in the row in front of us for a time], La Cage Aux Folles and Hello, Dolly!, Miss Jansen and Miss Martin also "trapped" Miss Yammanee in a trunk to do a marvellous version of Bosom Buddies, and the three of them were especially good in the utterly hilarious Take It All Off - in which Miss Martin was really able to exercise her "comedy chops".

In the absence of any Menier cast videos, here's Miss Dorothy Loudon's version of that number [I have also featured Miss Lorna Luft's version before]:

Miss Yamanee got her moment in the spotlight with rollicking versions of That's How Young I Feel and Look What Happened to Mabel...

... while Miss Janson got many of the big torch-song numbers like I Won’t Send Roses, If He Walked Into My Life, The Best Of Times and Time Heals Everything...

Here's Miss Bernadette Peters' version:

...and Miss Martin, too, had some tear-jerkers of her own such as I Don’t Want to Know, And I Was Beautiful, I Am What I Am and the eternally poignant Song On The Sand.

Here's the laste, great Miss Mazzie's version of that:

We were overawed by the whole evening, to be honest - even the unfamilar numbers - and it just reinforced my opening sentence.

A fitting tribute, by a hugely talented trio of singers. What more could anyone ask for?

To conclude, from Jonathan Whiting for Musical Magazine:

Special mention must go to the band under Music Director Sarah Travis; bar the keyboard/piano, the band is completely acoustic, which adds a rawness and an intimacy to the production. Travis’s orchestrations are incredibly versatile, often feeling much grander than a six-person band might typically sound.

The final number, Jerry’s Girls celebrates all the luminary women who have graced the stage in a Herman musical, from Ethel Merman and Bea Arthur to Angela Lansbury and Carol Channing, culminating with the names Cassidy Janson, Jessica Martin and Julie Yammanee. That they have been added to this list of legends feels absolutely right here – it’s difficult to imagine this show being performed by anyone else.

Amen.

Jerry's Girls is playing at the Menier Chocolate factory to 29th Jun 2024.

Book now!

Saturday, 24 April 2021

The Dolly Sisters?

It's "Double-Diva Day" again! As I said back in 2013...

...when we have two of our Patron Saints sharing a birthday, what can one do but try and make a connection?

There are probably myriad connections, personally and professionally. However there is one notable work that provides the link today between our birthday girls Barbra Streisand and Shirley MacLaine - Thornton Wilder's finest moment, his play The Matchmaker!

For indeed, Miss MacLaine starred in the original 1958 screen adaptation of Mr Wilder's play - as the romantic lead, milliner Irene Molloy:
And of course, in 1969 Miss Streisand took the eponymous "Matchmaker" role in the Ernest Lehman/Gene Kelly adaptation of the Jerry Herman musical based upon that same play, Hello Dolly!:

Happy birthday, ladies!

Mega-Babs aka Barbra Streisand (born 24th April 1942)

Shirl (born Shirley MacLean Beaty, 24th April 1934)

Tuesday, 31 January 2017

You're still glowin', you're still crowin', you're still goin' strong



Sharing her birthday with Tallulah Bankhead, Franz Schubert, Mario Lanza, Jean Simmons, Johnny Rotten, Norman Mailer, Lloyd Cole, Anna Pavlova, Justin Timberlake, Derek Jarman, Minnie Driver, (the former) Queen Beatrix of the Netherlands and Philip Glass (80 today), it is - needless to say - our beloved Patron Saint Carol Channing who we choose to take centre stage today...

At 96 years old she is, remarkably, still the subject of rumours - the latest being that Bette Midler wants Miss Channing to do some matinees when the Divine Miss M brings her revival of Hello, Dolly! to Broadway this year. People pooh-pooh the idea, but stranger things have happened - after all, it is only four years since she was on stage with another "bombshell", Justin Vivian Bond!

And here, by way of an "audition" - or maybe just to show Miss Midler how it should be done - is the lady herself...

Oh, hello Dolly, well, hello Dolly
It's so nice to have you back where you belong
You're lookin' swell, Dolly, I can tell, Dolly
You're still glowin', you're still crowin', you're still goin' strong

We feel the room swayin' while the band's playin'
One of your old favourite songs from way back when
So, take her wrap fellas, find her an empty lap, fellas
Dolly won't never ever go away again
Many happy returns, Carol Elaine Channing (born 31st January 1921)

Monday, 11 July 2016

I feel like peckin' and bunny huggin'



Yesterday was the 85th birthday of that immensely talented Great Man of Showbiz, Mr Jerry Herman! He has a special place in our hearts here at Dolores Delargo Towers, being the creator of such faboo musicals as Hello Dolly!, La Cage Aux Folles, Dear World, Mack and Mabel and Mame.

On this Tacky Music Monday, to brighten up the start to another no doubt godawful week in the stuffy office, here's a song from the latter. Usually known for the version by Angela Lansbury, here's not one, but two renditions of That's How Young I Feel - first an unexpected one from Miss Ginger Rogers and her "safety gays":


...outdone and outshone (of course) by this bizarre version, featuring the combination of Miss Carol Channing and Mr Tommy Tune!


I wonder if Mr Herman's singing this to himself?

Jerry Herman (born 10th July 1931)

Thursday, 16 October 2014

Dame Commander









One of the greatest of our Patron Saints Dame Angela Lansbury - who we had the privilege of seeing for the first time on stage this year in Blithe Spirit - is 89 years old today!

All hail.

To celebrate, in a most suitable fashion, here she is - together with two other great ladies from our Pantheon, Miss Chita Rivera and Miss Carol Channing, and a cast of thousands - giving her own nod to a man who did so much for her Broadway career (at the 2010 Kennedy Honours Gala) Mr Jerry Herman...

The Best Of Times Is Now? If I had been in this audience, you bet!


Many happy returns to a fantabulosa lady - and remember, I am Angela Lansbury!

Dame Angela Brigid Lansbury, DBE (born 16th October 1925)

Monday, 14 July 2014

See that fascinating creature with perfection stamped on ev'ry feature



Another weekend has flown by too soon - but, thanks to my sister and her hubbie and their drilling, we now have our first set of pictures up at Dolores Delargo Towers #3. Slowly but surely, we are making this place into home (as we have done everywhere we've lived, of course)...

So, to cheer us up as we drag our aching bones out of bed and traipse back to the dreariness of the office, on this Tacky Music Monday I have something magnificent to lift our spirits along the way!

As last Thursday was the 83rd birthday of the maestro of the camp musical Mr Jerry Herman, here's the lovely Ann-Margret and her Erté-themed (highly appropriate - we have three of his prints on our walls) version of his show-stopper Look What Happened to Mabel.

This is very special, indeed...


Have a great week, folks!

Jerry Herman (born 10th July 1931)

Mack and Mabel

Friday, 11 July 2014

Give me the hook or the ovation



Dear old Jerry Herman was 83 yesterday.

It's also the end of a particularly tortuous week back in work after a week off for the move.

So what better way to celebrate the coming weekend than with the former "friend of the gays" (now, sadly, yet another diva-turned-god-botherer) Miss Gloria Gaynor [here, incomprehensibly, accompanied by what appears to be a collective of prostitutes...] and her version of one of the Great Man's most anthemic numbers - I Am What I Am?


Thank Disco It's Friday!

Jerry Herman (born 10th July 1931)

Thursday, 11 July 2013

Fanny, Stella, Jerry and me



I went to a very special event yesterday (in my role as co-Chair of Islington LGBT staff forum) in an unassuming back street in Bloomsbury.



Public recognition is bestowed at last upon two favourite gay heroes/heroines of ours - those Victorian pioneers of gay resistance Ernest Boulton and Frederick Park, better known (of course) as Stella and Fanny.

Read my entry in the Dolores Delargo Towers Museum of Camp about them.

The eponymous stars of a tremendous tome by Neil McKenna (the launch of which we attended during LGBT History Month this February), it was fitting - in the absence due to ill-health of the scheduled Bette Bourne - that he was asked by the sponsoring Marchmont Association to do the honour of unveiling a blue plaque to the pair.

As he said to the sizeable crowd (that included authors Rictor Norton and Neil Bartlett and representatives of gay history research organisations and Gay's The Word bookshop): "Unaccustomed as I am to pulling things in public..."



Given the outrageous behaviour of Fanny and Stella during their time in the "house of accommodation" [aka brothel] in Wakefield Street - cross-dressing, soliciting gentlemen in public, blatant homosexuality, arrest and trial - it was ironic indeed that the current site (the terrace was flattened during WW2) is occupied by the headquarters of the Unitarian Church!

However, as everyone mentioned in their speeches (not only the wonderfully entertaining Mr McKenna, but also Camden's Mayor (our friend) Jonathan Simpson, Ricci de Freitas of the Marchmont Society and the host Rev Roberta Rominger) times have changed since Fanny and Stella's day.

Sometimes, however, I wish we had more characters like Fanny and Stella these days...

Yesterday was also the birthday of another idol here at Dolores Delargo Towers, Mr Jerry Herman. And here is a marvellously apt song from the great man's La Cage Aux Folles that might have been written for our Victorian doyennes of drag - A Little More Mascara!


Fanny and Stella - The Young Men Who Shocked Victorian England by Neil McKenna is published by Faber & Faber.

Wednesday, 24 April 2013

Make me a match



I know I have featured this strange coincidence before, but when we have two of our Patron Saints sharing a birthday, what can one do but try and make a connection?

There are probably myriad connections, personally and professionally. However there is one notable work that provides the link today between our birthday girls Barbra Streisand (71) and Shirley MacLaine (79) - Thornton Wilder's finest moment, his play The Matchmaker!

For indeed, Miss MacLaine starred in the original 1958 screen adaptation of Mr Wilder's play - as the romantic lead, milliner Irene Molloy:


And of course, in 1969 Miss Streisand took the eponymous "Matchmaker" role in the Ernest Lehman/Gene Kelly adaptation of the Jerry Herman musical based upon that same play, Hello Dolly!:


Happy birthday, ladies!

Mega-Babs

Shirl

Wednesday, 8 December 2010

Jerry Herman honoured in style



On Sunday 5th December, the 33rd Annual Kennedy Center Honours celebrated, among others the talents and contributions of one of our icons here at Dolores Delargo Towers, none other than composer and lyricist Jerry Herman, the genius behind Hello, Dolly!, La Cage Aux Folles, Mame and Mack and Mabel, among other camp classics.

Speaking of camp - the line-up of stars who turned out (or were wheeled out in some cases!) sounds tremendous!

Our divine mother Angela Lansbury introduced the tribute. Kelsey Grammer (as Zaza) led a chorus of dancing "girls" on We Are What We Are from La Cage.

The triumph of art over nature that is the wonderful Carol Channing then sang Hello, Jerry (Hello, Dolly) with lyrics especially adapted for the occasion.

The sexy Matthew Morrison of Glee (who is apparently not gay - as these pictures prove) performed It's Today from Mame, and two of our favourite showgirls, none other than Christine Baranski and Christine Ebersole, teamed up for Bosom Buddies.

A host of Broadway stars did their turn - Laura Benanti sang the beautiful Time Heals Everything from Mack and Mabel, and returning to Hello Dolly!, Sutton Foster performed Before the Parade Passes By, and Kelli O'Hara and Matthew Bomer duetted on It Only Takes a Moment.

Leading the finale, living legend Chita Rivera sang and danced to I Don't Want to Know (from Dear World) and the tribute concluded with two of Mr Herman's greatest songs, I Am What I Am and The Best of Times.

Now if that isn't a celebration, then I don't know what is!!

The show is not going to be televised in the US until December 28th so there is no footage of this glittering gala available yet - and somehow I doubt it will even get a mention on telly here in the UK. But I'll be looking out for it!

PS Apparently also honoured on the night were Sir Paul McCartney, Oprah Winfrey, Merle Haggard and choreographer and director Bill T. Jones.

Kennedy Center Honours 2010



STOP PRESS

Here it is!

Tuesday, 25 August 2009

You're looking swell, Dolly



We went to see the revival of an old classic at the Open Air Theatre last night, and it was a great evening.

Hello Dolly! is an odd show, based on an odd story by Thornton Wilder about a scheming match-maker and her influence on the sensibilities of small-town America. Indeed, I never got on with the glossy MegaBabs screen version (possibly because of my aversion to Michael Crawford). However, this production was superb!

In the beautifully atmospheric surroundings of Regent's Park (with no rain, again, so our picnic wasn't washed out), the set is wonderfully old-fashioned and conveys both the fustiness of (unmarried "half-millionaire") Horace Vandergelder's hay and feed emporium and the glamorous New York settings in which the wide-eyed characters find themselves.

Remarkably, the show's lesser-known songs come across better in this production than I remember in the film - It Takes A Woman, Put On Your Sunday Clothes (complete with a choreographed evocation of a train journey) and Before The Parade Passes By were all brilliantly done!

In the second half the schemes that Dolly Levi has put into place, both for herself and for others, begin to come to fruition in a hilarious melange. Possibly the best scene in the whole show is the superbly performed Waiters' Galop in the restaurant, with acrobatic waiters dancing attendance, the out-of-town boys trying desperately to work out how to pay for the extravagant meal to which they have brought their dates (widowed hat-maker Irene and her assistant Minnie) on one side of the stage, and the thoroughly embarrassed Mr Vandergelder attempting to calm his own dinner companion (Ernestina Money) down as she tries to dance the hootchie-cootchie on the other...

Of course this unsuitable dinner guest is all Dolly's work as she wants Horace all to herself, and this is more or less sealed when she arrives at the restaurant, accompanied by the show's triumphal Hello Dolly! number. Chaos takes over as all the guests - including Vandergelder's wayward niece - come into contact with each other, there is a mix-up over paying the bills, and somehow everyone ends up in court.

Inevitably, this being a Jerry Herman musical, everything is resolved in the end. All the star-crossed lovers overcome their problems, and even grumpy old Horace Vandergelder relents and proposes to Dolly. All in all, a superb feel-good show (which is all you can ask for really).

Samantha Spiro was an exuberant Dolly Levi, Allan Corduner a convincingly miserable old sod as Horace, and Josefina Gabrielle was great as the elegant Irene, but it's the superb choreography that really makes the show. Not so surprising when you realise that this is the work of the award-winning Stephen Mear (who also did Crazy For You, Oklahoma, Acorn Antiques The Musical and Mary Poppins among many others in the West End and on Broadway). I highly recommend this show!


Open Air Theatre website

Saturday, 20 December 2008

The death of Miss Spectacular



One of my leaving prezzies was a real curiosity. My friend John-John gave me a copy of the soundtrack of a Jerry Herman musical that none of us had heard of before (unusual for a theatrical queen, I know)! On further investigation, it became clear why...

The musical in question, Miss Spectacular, was never staged. Jerry had been coaxed out of semi-retirement to write the score for a lavish Las Vegas production at the Mirage Hotel. The manager was even prepared to build a whole theatre to accommodate it, and musical thesp Tommy Tune was to be its director. Sounds perfect - but then disaster struck when in 2000 the Mirage chain was bought out by MGM-Grand, who (for some bizarre reason) shelved the whole project.

So the first musical by one of the greatest musical theatre composers for more than a decade was confined to being produced as a "concept album", albeit with a great cast including Michael Feinstein, Steve Lawrence and Christine Baranski.

It is a crying shame, as the show sounds (as always) fabulous, and could make a fantastic production if someone, somewhere, would only stage it. Cameron Mackintosh, are you listening?

[This clip opens with "I Wanna Live Each Night" from Miss Spectacular]:


Read more about the demise of Miss Spectacular

Saturday, 1 November 2008

Everything’s ankle straps, Marabou, Shalimar



We all turned out for the new Playhouse Theatre run of La Cage Aux Folles last night to help celebrate our friend John-John 's birthday. We had been to see the original run at the Menier Chocolate Factory, and at the time I predicted this would get to the West End - so how did the two compare?

Read my review

Well, when we saw the original, the star Douglas Hodge was unwell so we didn't experience his take on the part [it was "played to quivering perfection by (the understudy) Spencer Stafford", as I said in my blog]. So it was a bit of a surprise to find Mr Hodge had decided to play Albin/Zaza as a sort of Alan Carr/Dick Emery character...

This was disconcerting, to say the least, and inevitably meant that much of the subtlety and pathos of the show was lost. As the gurning, stereotypical gay (and particularly "telly star gay" - Barrymore, Carr, Norton) humour went on, the largely ignorant audience bayed with laughter at the visual gags, and missed the subtlety of important parts of the story.

Personally I was fuming when Hodge threw in a "chase me, chase me" gag into what should have been a far more interesting scene about the relationship between Georges and Albin. [I hate Duncan Norvelle and his brand of "playing-to-the-tabloids" homophobia, and cannot see why doing this kind of impression is in any way relevant to the show.]

And in consequence of this "dumbing-down" we sometimes felt that the general sympathies of the audience lay with the machinations of the erstwhile son rather than the put-upon gay "parents".



Anyway, in its favour this production does have its merits. Much of the brilliance of the DV8 production remains intact - the "birdcage" dance choreography, in particular the scene where Albin stirs the cocktail as the dancers whirl about him, for example. Douglas Hodge, when he stops playing up for laughs, is vocally superb in his big numbers - I Am What I Am, and The Best Of Times in particular.

And as Michael Billington in his Guardian review says, "Denis Lawson may not possess the massive dignity that Philip Quast originally brought to the role of Georges", but he is remarkable in revealing his singing and dancing talents, which we all found impressive.

The ultimate conclusion that everyone came to after the "post-match analysis" that accompanies these occasions, is that Jerry Herman is a genius, La Cage Aux Folles is one of the best musicals of all time, and if this had been the first time we'd seen the show in its current form, we would have thought it marvellous. Had we not been spoiled by seeing it first at the Menier Chocolate Factory, and had we not had to put up with the stupid drunken ignorant West End audience, it would have been a far better night. But all-in-all it was great fun and worth seeing nonetheless!

A Little More Mascara
Once again I'm a little depressed by the tired old face that I see,
Once again it is time to be someone, who's anyone other than me.
With the rare combination of girlish excitement and manly restraint,
I position my precious assortment of pencils and powders and paint.

So whenever I feel that my place in the world is beginning to crash,
I apply one great stroke of Mascara to my rather limp upper lash.
And I can cope again, Good God! There's hope again!

When life is a real bitch again, and my old sense of humour has up, and gone
It's time for the big switch again, I put a little more Mascara on.
When I count my crow's feet again, and tired of this perpetual marathon,
I put down the loo-seat again, and put a little more Mascara on.

And ev'rything's sparkle dust, bugle beads, ostrich plumes,
When it's a beaded lash that you look through,
'Cause when I feel glamorous, elegant, beautiful,
The world that I'm looking at's beautiful too!

When my little road has a few bumps again,
And I need something level to lean upon,
I put on my sling pumps again,
And wham! This ugly duckling is a swan!
So when my spirit starts to sag,
I hustle out my highest drag,
And put a little more mascara on.

And everything's ankle straps, Marabou, Shalimar!
It's worth sucking in my gut, and girdling my rear.
'Cause ev'rything's ravishing, sensual, fabulous!
When Albin is tucked away, and, ZaZa is here!

When everything slides down the old tubes again,
And when my self esteem has begun to drift,
I strap on my fake boobs again,
And literally give myself a lift.
So when it's cold and when it's bleak,
I simply rouge the other cheek,
For I can face another day
In slipper satin lingerie.

To make depression disappear,
I screw some rhinestones on my ear,
And put my brooches and tiara,
And a little more mascara on

Sparkle dust, bugle beads,
Ankle straps, Marabou...On! Ankle straps, Marabou,
Ostrich plumes, Shalimar,
Ravishing, fabulous, on! Ravishing, fabulous, on!



La Cage Aux Folles at the Playhouse Theatre

Thursday, 10 July 2008

You're lookin swell, Dolly



"There is never an evening when, somewhere in the world, the music and lyrics of Jerry Herman are not being sung by a lady in a red headdress, or a lady with a bugle, or a middle-aged man in a wig and a boa."

The grand-daddy of the high-kicking, sequinned camp showbiz number Jerry Herman celebrates his 77th birthday today!

We love Jerry - another of those wonderful out gay men who keep Broadway and the West End alive with shows such as Mame, Hello Dolly and La Cage Aux Folles. He provides a complete balance against the likes of Sondheim and Bernstein - they do the clever, the thought-provoking and the symphonic, but leave it to Jerry to provide the va-va-voom!





Happy birthday sweetie...

Saturday, 8 December 2007

Go for the mystery, the magic and the mood



It's rather gaudy but it's also rather grand.
And while the waiter pads your check he'll kiss your hand.
The clever gigolos romance the wealthy matrons
At La Cage Aux Folles.

It's slightly forties, and a little bit "New Wave".
You may be dancing with a girl who needs a shave.
Where both the riffraff and the royalty are patrons
At La Cage Aux Folles.

La Cage Aux Folles,
The Maitre d' is dashing,
Cage Aux Folles,
The hat check girl is flashing,

It's bad and beautiful,
It's bawdy and bizarre.
I know a Duchess who got pregnant at the bar.
Just who is who and what is what
Is quite a question at La Cage Aux Folles.

Go for the mystery, the magic and the mood.
Avoid the hustlers,
And the men's room,
And the food.
For you get glamour and romance and indigestion
At La Cage Aux Folles.

La Cage Aux Folles,
a Saint Tropez tradition,
Cage Aux Folles
You'll lose each inhibition,

All week long we're wondering who
Left a green Givenchy gown in the loo.
You go alone to have the evening of your life.
You meet your mistress
And your boy-friend and your wife.

It's a bonanza, it's a mad extravaganza,
At La Cage Aux Folles.


Ten of us went to see the new production of La Cage Aux Folles at the Menier Chocolate Factory last night, full of anticipation. The show has seemed ill-fated, with several bouts of illness forcing the previews to be delayed three times - and indeed the intended lead Douglas Hodge is still unwell and was replaced by his understudy. But we were definitely in for a treat!!

Everyone should be familiar with the plot - whether from the original (brilliant) French film, its US remake The Birdcage, or indeed this, the Jerry Herman/Harvey Fierstein musical. Two ageing queens Albin and Georges, who run a drag club on the French Riviera, have their lives turned upside down when "their" son announces his engagement to the daughter of a right-wing politician, and farce follows...

Star of the show at La Cage Aux Folles is Zaza, alter-ego of the ultra-camp Albin, who was played to quivering perfection by (the understudy) Spencer Stafford.



Despite a bit of a shaky start, he really came into his own in the first half when Zaza's stage show begins. Spencer commands a breathtaking presence when, during the show's title number, he stands among the troupe stirring a Martini. The faster he stirs, the faster the "Cagelles" spin around him. When he stops stirring they stop twirling. When he eats the olive, they fall to his feet, and he/she stands there, queen of all he surveys. Genius!

The interplay between Albin and Georges (played subtly and skilfully by Philip Quast) provides a wonderful insight into the complexities of relationships, no matter who they are. Torn between his love for his son, and his loyalty and love for Albin, Georges has some of the most emotional and stirring numbers in the show, Song on the Sand and Look Over There - and Philip's beautiful renditions had several of us in tears. Even I welled up...

As the story unfolds, Albin's reaction to being told he is not welcome at the eventual meeting with the prospective in-laws leads him to sing the show's most famous and triumphal number I Am What I Am - revealing with bitterness just how strong and resilient he is, and providing us with an insight of just why the couple have stayed together so long.

Then the real farce ensues - Albin's attempts to "play it straight" as the boy's "uncle", and the eventual meeting with the girl's nauseating father and his dim wife (played by Una Stubbs), where Albin emerges as "Maman". The interplay between the characters (and their fabulous "maid" Jacob) is hilarious. And the restaurant scene, when Albin sings the show's most brilliant number The Best Of Times Is Now, is an absolute joy!

As in all classic shows there has to be a dazzling denouement, and the closing sequence where the politician father has to escape the paparazzi is played to glittering sequinned perfection. And there is a lovely happy ending...



I cannot fault this show! Every one of us enjoyed it so much - the tears and the laughs, and the sheer feeling of uplifting exuberance it gave us - that we are even talking about going to see it again before it closes in March 2008...

Given the Menier Theatre's record of success - their productions of Little Shop of Horrors and Sunday in the Park with George have both gone on to West End and worldwide acclaim - I sincerely hope that La Cage Aux Folles will see the same level of success. West End - here we come!


Menier Chocolate Factory

Footnote:

And for the homosexual in your life...

Camp Classics Collection: Some Like It Hot, Priscilla Queen Of The Desert, La Cage Aux Folles and The Birdcage.

Tuesday, 25 September 2007

The Best Of Times Is Now...



Coinciding with the announcement that the Menier Chocolate Factory's showpiece musical this November will be a revival of La Cage Aux Folles, we went to a special BBC Friday Night Is Music Night gala celebration of the life and work of Jerry Herman on Sunday.

The gorgeously flamboyant Mr Herman is almost single-handedly responsible for some of the most brilliant and memorable musicals to hit Broadway and the West End (and in many cases the big screen too): Hello Dolly, Mame, Mack & Mabel and La Cage among them...

For anyone who loves musical theatre, Sunday's show (recorded for broadcast on BBC Radio 2 this Xmas) was a real treat. The beautiful John Barrowman was both Master of Ceremonies and performer, singing the gay anthem I Am What I Am among others, and was joined by stalwarts of the stage Maria Friedman, Debbie Gravitte, Clarke Peters and Don Pippin, accompanied by the BBC Concert Orchestra and the chorus Capital Voices. Whew! Even Jerry himself joined us live (by phone, unfortunately being too unwell to travel to appear in person, as had been advertised).



Jerry Herman is a phenomenal writer of big showtunes as well as pithy torch songs, and provided a career boost to luminaries like Barbra Streisand, Angela Lansbury, Louis Armstrong, Carol Channing, Barbara Cook, George Hearn, Gloria Gaynor and Michael Crawford among many others. All our favourite hits were here, including Put On Your Sunday Clothes, Before The Parade Passes By, I Won't Send Roses, Tap Your Troubles Away, and of course my all-time favourite The Best of Times is Now.

A brilliant night (needless to say)!

Jerry Herman on Wikipedia

Menier Chocolate Factory

Monday, 30 July 2007

Adieu, Zaza



Sad news today - Michel Serrault, unabashed star of that marvellous camp classic film La Cage Aux Folles, is dead.



As the outrageous drag queen Albin (whose alter ego Zaza was queen of the nightclub run by her boyfriend Renato), Serrault set a superb precedent of hysterical camp that could not be matched by any future pretenders to the throne - not even the fab Nathan Lane, who reprised the role for The Birdcage with Robin Williams.

The film itself was ground-breaking stuff in 1978. Its sympathetic portrayal of two ageing gay men and their relationship with each other - and their cultural clash with so-called "normal" life as Renato's son prepares to marry the daughter of an ultra right-wing politician - was practically unheard of in its day and quickly became a cult hit, even though it is entirely in French. It was nominated for three Oscars, and won several awards including a Golden Globe.

Those giants of Broadway Jerry Herman and Harvey Fierstein were inspired to make a hugely successful musical out of the story, which spawned an uber-gay anthem in I Am What I Am, and one of my favourite songs The Best Of Times Is Now.

And of course without La Cage, where would such films as Torch Song Trilogy, Priscilla Queen of the Desert and To Wong Foo be?

Farewell, Zaza!

The Best of Times is Now (from La Cage Aux Folles the musical)
The best of times is now.
What's left of Summer
But a faded rose?

The best of times is now.
As for tomorrow,
Well, who knows? Who knows? Who knows?

So hold this moment fast,
And live and love
As hard as you know how.
And make this moment last
Because the best of times is now,
Is now, is now.

Now, not some forgotten yesterday.
Now, tomorrow is too far away.

So hold this moment fast,
And live and love
As hard as you know how.
And make this moment last,
Because the best of times is now, is now.

So hold this moment fast,
And live and love
As hard as you know how.
And make this moment last,
Because the best of times is now,
Is now, is now
Is now, is NOW!


La Cage aux Folles (film) on Wikipedia

La Cage aux Folles (musical) on Wikipedia

Michel Serrault - BBC article