Review: The Greatest Musical the World Has Ever Seen by Randy Thatcher

It was a real privilege to be in the first audience for this new one man musical, 'The Greatest Musical the World Has Ever Seen by Randy Thatcher'. It may indeed be a long title for a short show, but it's a show that packs a punch way above its weight grade. Neurotic New Yorker Randy Thatcher is a lonely undergraduate riddled with anxiety and stalled in life by his inability to make friends. His mother helps him nurture his passion for musical theatre until he's inspired to write a musical about intergalactic warfare on the planet Cawdor. His writing finally helps him find a voice to express his tumultuous inner world through childish metaphor. So it is that Randy's problems become wish-fulfilled in the alien character of Gazandy, and Randy's sense of purpose in life gets dangerously wrapped up in the success of his first ever attempt at writing a musical show.

The strength of this show is the protagonist, performed with sympathy and compassion by New Jerseyite Matt Haughey, who, now living in New York, also wrote the show and has amassed over 10 million streams of his music across various platforms. Haughey's Randy is awkward and adorable in equal measure, faltering and funny in perfect balance. The songs largely all fall within the pop ballad/ musical theatre fusion associated with Pasek and Paul from their mega-hit Dear Evan Hansen, but references to Randy's obsession with that show are peppered throughout the script and beautifully detailed set. An Evan Hansen mug stuffed with pens, a collector's pin badge hidden among dozens on a pin board; these details helped us into Randy's world before a note was sung. The sound was also excellent, in particular the expertly timed dialogue between Randy and his mother.

The show heads up to Edinburgh in August. If you've missed it in Watford, I heartily recommend you catch it north of the border!

Watford details here

Edinburgh details here

Review: The Wind in the Willows

 

Local Watford actor Steve Smith has built himself a reputation for delivering top notch one-man plays which deal with challenging, troubling themes in a visceral and unsettling way. From the World War One heartbreak of Private Peaceful and the gothic horror of One Man Poe to the brutal alienation of Dog/Actor and Harry's Christmas, Smith has an enviable back catalogue when it comes to disturbing his audiences. 

And so it's utterly refreshing to see him present 'The Wind in the Willows' as part of this year's Watford Fringe Festival. He focuses exclusively on Chapter One: The Riverbank, but that was enough to completely transport me to the gentle, calming, undulating world of Kenneth Grahame's 1908 classic.

He sets the scene with a few careful chosen details, a picnic blanket, a stack of books, his Edwardian costume. I was particularly touched by the four garden ornaments representing Mole, Ratty, Badger and Toad, lined up in their order of narrative appearance, and looking well worn and well loved. Indeed, Smith shared with us that they've come straight from his mother's garden and reflect a strong family connection to the story which was one of his grandfather's favourites.

The use of music to create a sense of atmosphere is superb, moving us seamlessly between serenity, whimsy and danger. Composed by Joe Furey, the tracks are subtle and sensitive, enhancing scenes rather than demanding attention.

Smith's performance was equally sensitive. As narrator he drew us into Grahame's whimsical riverbank world with a confident charm, and in character he was lively and mercurial. Mole was, as ever, a rather hunched nail-fidgeting innocent, Ratty his rather more bombastic mentor. Badger makes a brief appearance as an anti-social curmudgeon while the oft forgotten Otter, frequently excised from adaptations, finally gets his moment in the spotlight.

In a theatrical landscape full of flash, bang and gimmicks, it's delightful to sit back and simply be told a story by a master of story-telling. Originally developed with Watford Council as a project to promote the River Colne, this production was first performed actually at the river side, which would have been magical to see. But even on stage at the Wellspring Centre, it's completely enchanting. I hope Smith goes on to dramatise further chapters. I for one would be very happy to spend more time in Mole and Ratty's simpler world.

Catch Steve Smith at three other shows during this Watford Fringe Festival:

The Apple of My Eye: The Steve Jobs Musical

A Montage of Monet

One Man Poe (several available)

And catch my brand new musical Love in Slough, 5.30pm on Friday12th at the Pumphouse Theatre.

Review: Sitting in Limbo

The shocking and appalling reality of The Windrush Scandal is brought to vivid life in this new stage adaptation of the groundbreaking BBC Drama 'Sitting in Limbo', produced by Left Bank Pictures. I remember watching the show when it was first broadcast and feeling utterly gut-punched by the frightening exploitation of power wielded by heartless state operators, specifically the Home Office, against innocent members of the Windrush Generation, who were made to feel like illegal immigrants in their own country.

Gary McDonald was a convincing and empathetic lead, portraying the disbelief and astonishment of Anthony at finding himself trapped in the ruthless mechanics of procedure, detention and red tape after a lifetime of calling Britain home. The reality of Theresa May's 'Hostile Environment' was made immediately visible with projected statistics about the political context of the time, and chilling audio of her uncompromising voice. Anthony's eager desire to ignore and downplay what was happening to him in the vain hope that it would sort itself out was all too understandable, and the anger beneath the surface, when it broke through, was visceral and moving.

His wife, played with stoicism and infectious energy by Doreene Blackstock, was heroic in her refusal to let her husband slip away, either under the weight of the cruelty of the state's dogged pursuit, or indeed under his own self pity. And their son, a spritely and charming Victor Masha Jr, brought a revolutionary edge to the narrative, refusing to be cowed by the police and contacting a journalist to get his father's story out to a wider public. 

Indeed, without the investigative journalism of The Guardian this scandal might have remained hidden to this day, hundreds of victims of government hounding feeling as if they were the only ones being persecuted. The Guardian was the first to expose the systemic and racist nature of the government's policy in action. At one point the question is asked: Would this have happened if you'd been from Australia, Canada or New Zealand? The obvious and resounding answer is: No.

Rich Dodd completes the cast, switching between a wide range of characters with consummate speed, shifting accents, mannerisms and costumes in a way that was a tribute to the magic of theatre. Overall, an essential and shocking story told with clarity and heart. Well done to the Watford Palace Theatre for creating the space to keep it being told.

Review: Sunrise, Sunset

 

This is the first year of the brand spanking new Chesham Fringe Festival, and watfordfringereviews.blogspot.com is delighted to be there in support, creating a space to kick off the conversation about the dizzying array of creative fare on offer!

The stated aim of this rather formal, traditional concert was to explore the theme of Sunrise and Sunset in music across the ages, and it met its own aims with carefully planned precision.

We began with the obvious: Sunrise, Sunset from the musical Fiddler on the Roof. A beautiful rendition, this song's poignancy was the perfect opener, setting the scene for a reflection on both the positive and negative interpretations of the twilight hours. It was also a lovely choice for showing off the power of the simple piano and voice combination, and the way it allows you to focus on melody, lyrics and technique with unobscured clarity.

We were guided through a multitude of sunrise and sunset songs, and given potted introductions to context. First, the French, mostly Debussy, who approached the theme with romantic inclination, then the English who infused their folksong with sun imagery. Next the introspective Germans, who saw the sunrise as a symbol of hope, the sunset as a symbol of sadness, before some Italian choices led us to the grand finish: Andrew Lloyd Webber's Sunset Boulevard.

Soprano Christine Cunnold had a lovely crystalline voice, perhaps attacking the higher register a little too hard but always controlling breath and pitch with consummate ease. Ably accompanied by pianist Richard Harker, they gave the impression of a long-standing and happy musical partnership.

When Cunnold stepped away from the music stand to deliver her introductions there was an immediate and delightful confidence and friendliness which warmed the whole room. It was a shame that she then returned to it for each song, as for the most part she seemed to use it as a comfort blanket rather than a memory prompt, and it definitely created a barrier between her performance and the audience. 

Overall, this was a charming set showcasing a delightful operatic voice. I hope they return to Chesham Fringe next year and give us another thoughtfully selected thematic set list.

X/twitter: @c_cunnold

instagram: @christine.cunnold

https://www.teatimeopera.com/sunrise-sunset

Review: Soul Vibe Band

 

This is the first year of the brand spanking new Chesham Fringe Festival, and watfordfringereviews.blogspot.com is delighted to be there in support, creating a space to kick off the conversation about the dizzying array of creative fare on offer!

The Drawing Room was the perfect setting for Soul Vibe Band, an eight person musical collective who gathered under the constantly extending and retracting awnings (the rain was on and off all day) to fill this cosy, eclectic outdoor space with their infectious soul-funk sound.

They opened with five original songs: Piece of Mind; Sweet Embrace; Rest in Peace; Unsteady; and Don't Get Me Wrong. All of them sounded professional and convincing, like they could have been long standing songs within their genre's back catalogue. My favourite was the bossa nova Unsteady which offered an opportunity for the band to play around with a mellower, jazzier vibe.

Next came a relentless list of popular soul-funk bangers from Luther Vandross' Never Too Much to Just The Two Of Us and Lovely Day. What lifted these choices above the quotidian was the inventive way they played with and reinterpreted them. Amy Winehouse's Back to Black was mashed with George Michael's I'm Never Gonna Dance Again, all to a thumping reggae beat. Good Times was morphed into a blink-and-you-miss-it medley of classics including Another One Bites The Dust, We Are Family, Le Freak and Uptown Funk. The band were so hot the occasional showers proved to be essential respite to cool the Chesham crowd back down. The encore (Ain't Nobody) was demanded with such immediate roars of delight that there was no doubt about how much everybody had enjoyed the set.

If you're looking to book a band to play your party, wedding or event, you'd be more than confident in selecting this professional crew. With their thumping rhythm section, amazing vocalists and stand out saxophonist, you'd be guaranteed to fill the dance floor. But me? I can't wait for their first album. With such sincere and polished original material, it surely can't be too far away.

https://www.instagram.com/soul_vibe_music

Review: Kirsty's Sing Along Party

 

This is the first year of the brand spanking new Chesham Fringe Festival, and watfordfringereviews.blogspot.com is delighted to be there in support, creating a space to kick off the conversation about the dizzying array of creative fare on offer!

My last show of the first day of the festival was Human Jukebox Kirsty Newton's Singalong Party!

Like karaoke with the pressure to single yourself out taken away, this was a raucous night of fast paced, high energy, immersive entertainment where everyone felt fully included and had the chance to sing their hearts out without having to take that sometimes scary step into the limelight.

Kirsty was masterful at creating a party atmosphere, encouraging whoops and cheers, throwing out funny lines of well-rehearsed banter, snipping songs short when they'd done their job and mashing tunes together in an unrehearsed, give-it-a-go fashion that she called Deadly Medleys. Our themes were jungle, sex and birthdays, of which there were 3 in the crowd (birthdays that is), all having a wonderful time. The whole show is a manic, frenzied pleasure boat of fun which, under Kirsty's careful captaincy, stays merrily afloat and blissfully dismissive of the rules of navigation.

Indeed, Kirsty employs a cast a background help to support with the onerous task of following the rules, and the funny interplay of her both leaning on them and dismissing them helps create the glorious sense of madcap anarchy that characterised the show. Her best friend of 30 years was on lyric duty, desperately trying to keep up with displaying lyrics on a projection screen as Kirsty dashed haphazardly from one song to another. There's no set list, but the barman was called on to refer to a waiting list of songs that ticket holders could submit via email, and they were called out from top to bottom, from bottom to top, from anywhere at all. Finally her young brother was the Time B*stard, calling out random reminders of how much time she had left.

By the end, all rules were out of the window and the polite Chesham audience were up on their feet dancing, drinking and having a whale of time. Liberation and anarchy through poptastic sing-along; this was a revolutionary tonic for the soul and long may Kirsty reign!

Review: Jordan Nash

 

This is the first year of the brand spanking new Chesham Fringe Festival, and watfordfringereviews.blogspot.com is delighted to be there in support, creating a space to kick off the conversation about the dizzying array of creative fare on offer!

My second show to see was psychedelic pop pioneer Jordan Nash performing a selection of his original songs at The Drawingroom, a cosy, eccentric venue which is part bar, part cafe, part art gallery... a bohemian vibe perfectly suited to Nash's laid back, mellow melodies.

The gig was outdoors and benefitted hugely from the glorious weather, with saturated Nash's chilled out vibes in the golden glow of summer, the perfect accompaniment for his beach-ready tunes. Dressed in white T shirt, ripped jeans and wide sunglasses, he wouldn't have looked out of place on the American West Coast, and many of his songs reflected similar themes. In Ocean, his opening song, he sang of 'living the dream of being a rock star, smoking and weed and driving fast cars', while in later tracks he quipped he's 'made a bit of money, now I'm covered in gold' and 'the worst things in life come free'. Youthful observations that, while timeless, chime especially with the Insta generation.

His guitarist Mopher was splendid, grinning raffishly and lounging idly at the side of the stage, but filling the air with precise, clear accompaniment that allowed each of Nash's songs to cut through the buzz of the day. As an outdoor gig, they were battling with the sounds of the DJ in Market Square, but after five minutes in their hands the dancing rhythms of the street were entirely forgotten and we were in residents of chill-ville. Amazingly they'd only met a week prior; the groove they captured together felt far more long established.

Nash generously shared some space for another local performer Angelica Evening, which enhanced the community-focused feel of the gig. There was lots of support from his local family and fans, and while he opened with a song he said made him feel super vulnerable to get rid off the nerves, he closed with a number he'd written only a few weeks earlier, letting us into the challenge of remembering fresh lyrics and deciding key changes.

Thus was a supremely delightful gig for a summer evening. If he's back next year with another set he ought to be one of the hottest tickets in town.

https://www.youtube.com/@Freejordannash