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Tag Archives: jason robert brown

The Bridges of Madison County (Menier Chocolate Factory)

The 1995 film is one of my all-time favourites, with an easy and passionate chemistry between stars Meryl Streep and Clint Eastwood.

Now, under the direction of Trevor Nunn (who was in the house last night), the musical version by Jason Robert Brown and Marsha Norman has set up shop at the Menier Chocolate Factory with Jenna Russell as Francesca and Edward Baker-Duly as Robert.

Jenna Russell and Edward Baker-Duly in The Bridges of Madison County

This story of middle-aged soulmates finding each other too late and for too short a time has lush melodies, but lacks the passionate aspects of the tale and clogs the show with too much extraneous material such as Francesca’s family at the fair, Robert’s waitress ex-wife, and a totally unnecessary opener to act two which has the feel of a country hoedown.

The Bridges of Madison County should sink or swim on the relationship between the Italian housewife who feels taken for granted and the freewheeling photographer who finds himself lost in her driveway: you don’t need anything else.

Gillian Kirkpatrick and Paul F Monaghan in The Bridges of Madison County

The songs are good, here and there, although I felt Russell struggled now and then with both the accent and some of the range. She also, sadly, lacked the yearning and emotion which should be present in Francesca, even we see in flashback how an early personal tragedy pushes her into a marriage of convenience.

Baker-Duly does better as Robert, although his portrayal is rather one-note, a bit cocky and far too like EE’s Kevin Bacon in his straggly hair and ever-present smile. He feels more calculating than conflicted, and I didn’t really engage with him until his final solo number.

Although there is undoubted talent in the character parts – Gillian Kirkpatrick as nosy neighbour Marge, Shanay Holmes as the ex-wife Marian who sings in her waitress uniform, Paul F Monaghan in fine blues voice as Charlie – the show still needs a judicious trim from 2 hours 45.

Jenna Russell and Edward Baker-Duly in The Bridgesof Madison County

The set, by Jon Bausor, is far too complex, busy, and given to distracting noises at changeover and during quieter moments. It also requires half the audience to look over their shoulders for some scenes. Better, when you see through the clutter and the projections, is Tim Lutkin’s understated lighting design, full of warm purples and passionate reds.

Edward Baker-Duly in The Bridges of Madison County

Curious, too, was the absence of music in Francesca’s house. A woman of her ability to feel would not be content with just the weather report! I also felt the loss of key scenes between the leading couple that would make us care a bit more.

Ultimately, I wasn’t sure why this material has gone from novel and film to a stage musical. Nunn has form with the musicalisation of novels for the stage, but The Bridges of Madison County has more of the notorious 2008 production of Gone With The Wind about it than the mighty Les Mis.

The Bridges of Madison County continues at Menier Chocolate Factory until 14 September. Photo credits by Johan Persson.

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Honeymoon in Vegas (London Palladium)

The London Musical Theatre Orchestra presented a special concert version of ‘Honeymoon in Vegas: The Musical’ last night at the London Palladium, conducted by the composer, Jason Robert Brown.

honeymoon

Based on the 1992 film, this musical teams a rather silly story with an old-fashioned but punchy score from Jason Robert Brown, who also penned the lyrics, which are sometimes clever but now and again straying into the area of corn (a ballad ‘Out of the Sun’ provoked giggles across the auditorium with its SPF references and it didn’t quite hit the funny/touching vibe I suspect the song should have).

The book by Andrew Bergman is slight but keeps the action moving, and even in a concert version, images of Vegas showgirls and parachuting Elvii (a definite showstopping number referencing the stance and vocal inflections of the King) are effortlessly conjured up.

Arthur Darvill’s Jack opens up proceedings with one of those delightful list songs, ‘I Love Betsy’, which references all the things his girlfriend likes (“she likes hockey, no, I swear / she likes guys with thinning hair’) while celebrating his love for her.  He puts the song across well, with good engagement with the audience while acting out the text.  His singing was a nice surprise as well, with an old-timer charm.

Betsy is played by Samantha Barks who is slinky and playful, but stronger in her solo numbers (especially ‘Betsy’s Getting Married’ which sizzles and fizzes) than in her duets with Darvill.  Having said this, the whole cast feel more relaxed and comfortable in their roles and in the concert format as the show progresses, and everyone essentially does a good job.

Gangster sleazeball Tommy, who sees in Betsy a resemblance to his dead wife, is played well by Maxwell Caulfield, who makes up for a lack of singing ability with the right characterisation of a wealthy man who thinks he can buy happiness but eventually knows when he’s been bested – by Betsy!  Rosemary Ashe does her best to steal scenes as the ghost of Jack’s mother, while Simon Lipkin is both the Bublé-like lounge singer and the hip-shaking leader of the flying Elvises. 

This show, directed by Shaun Kerrison, is a lot of fun, with the kind of music that makes you want to tap your feet and click your fingers, while the songs move on the action just as they did in the golden age of stage musicals.

The London Musical Theatre Orchestra, now in its second full year, is packed with excellent musicians who can do anything from put on the jazz to provide a beautiful melody.  Their vision is to have fun with music, and also to develop new professional players, and they do both with aplomb.

Thanks to Premier PR for arranging this night out.


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