Showing posts with label Let's Face The Music And Dance. Show all posts
Showing posts with label Let's Face The Music And Dance. Show all posts

Sunday, 17 March 2019

Unforgettable in every way





One hundred years ago, a man with one of the most beautiful, instantly-recognisable voices in history was born.

Nathaniel Adams Coles was a bit of a child prodigy - he learned how to play the church organ at 4 years old, and was taking piano lessons at twelve. When he was fifteen, Cole dropped out of high school to pursue a music career, eventually achieving a modicum of success with the King Cole Trio. However, it was this song that first made his name, becoming a huge radio hit for him way back in 1940:


The hits just kept coming from then on, including these:





He broke new ground by being not only the first black person to have his own radio show in the 1940s, but also (ten years later) the first African-American-hosted television show. However, the deeply-embedded racism of American society was never far away. His TV show was eventually cancelled due to the reluctance of companies to sponsor it [to which Nat responded: "Madison Avenue is afraid of the dark."]; this was on top of the experience he had when he moved to the the exclusive Los Angeles neighbourhood of Hancock Park in 1948 - he and his wife Maria faced daily harassment, which culminated in someone burning the word "Nigger" into their lawn and poisoning the family dog. Eventually (after criticism from the NAACP for playing to segregated audiences, and after he himself had been subject to an assault on stage), Nat became a prominent spokesperson for the Civil Rights Movement.



His musical legacy is huge - he sold 50 million records in a career that spanned from 1940 to his death in 1965, and beyond (his daughter Natalie's posthumous duets with her dad being most lauded) - but this is probably my favourite...


Perfect "Sunday Music"...

Nat King Cole (born Nathaniel Adams Coles, 17th March 1919 – 15th February 1965)

Friday, 25 October 2013

I've got a great big amount saved up in my love account



We finally decided to get around to seeing the multi-award-winning musical Top Hat last night, before it closes this weekend. We were most definitely not disappointed!

Based (of course) on the classic Fred Astaire and Ginger Rogers movie from 1935 (and everyone should know how much we adore them!), the stage production pulled out all the stops to re-create the magical, impossibly luxurious Art Deco world of those uplifting RKO musicals of the Golden Age of Hollywood.

The sets were beautiful, the costumes sumptuous and the choreography as close to the Hermes Pan original as humanly possible.



Of course, as is to be expected of the "screwball comedies" of that era, the plot was as flimsy as can be - boy meets girl; mistaken identity means boy loses girl; boy's buffoonish sidekick (Clive Hayward as the bumbling "Horace Hardwick"), his battleaxe wife (the excellent Vivien Parry as "Madge", one of the show's best characters), the "comedy Italian" ("Alberto Beddini", played with gusto by Russell Leighton Dixon) and the wily butler (the dry-as-dust Stephen Boswell as "Bates") provide a humorous foil to the story; and all ends happily ever after.

The jokes were totally corny (although some one-liners were hilariously delivered) and no-one could ever expect anything as complicated as "character development". But who the hell needs those when what you want is to be swept away in the glittering visual spectacle of it all?



Our leads Gavin Lee (as "Jerry Travers") and Broadway's own Kristen Beth Williams (as "Dale Tremont") were positively faultless as they swept and swooshed and tapped their way through some of the best dance numbers of all time - the songbook of the maestro Irving Berlin.

All the great man's classics were here - Dancing Cheek to Cheek, Let's Face The Music And Dance, Isn't This a Lovely Day (to be Caught in the Rain)?, I'm Putting All My Eggs in One Basket and of course Top Hat, White Tie and Tails - and each was executed with a breathtaking show of dance genius.



The comic numbers (Dale's "vamp number" Wild About You, Horace and Madge's bitchy and bittersweet Outside Of That, I Love You and Beddini's Latins Know How being singular highlights) provided a fab contrast to the glitter, and the ensemble pieces (The Piccolino, the Venice ball and the hotel lobby scenes in particular) simply filled the stage with chiffon, exquisite tailoring and tight boys' buns. We like that.



One of the most spectacular musicals we've seen in ages, Top Hat was simply marvellous!

This show won three Laurence Olivier awards including Best New Musical, and the Evening Standard "Best Night Out" award. I cannot understand why on earth it has decided to close early, but yet again, maybe the typical West End audience is more interested in "jukebox musical" pop fluff and "star vehicles" than classy Hollywood glamour.

Their loss.

Top Hat closes in the Aldwych Theatre in the West End tomorrow (26th October 2013), but will embark on a nationwide tour thereafter.

I'm so pleased we got to see it...

Saturday, 12 October 2013

Heaven, I'm in heaven



BBC 2 seems to be having a bit of a "Fred and Ginger fest" today, bringing back the traditional idea of showing old classic black'n'white musicals in the afternoon (as they always used to when I was younger).

I am in the mood for the music of Irving Berlin and some beautifully-executed Art Deco dance scenarios (when am I not?), so without further ado let us indulge ourselves in the elegance of Let's Face the Music and Dance:


And here, from today's matinee Carefree is their wonderful "hypnotic dance" to Change Partners:


How life should be.

Fred Astaire and Ginger Rogers