The year is 1998, yes, 1998! As part of the online weekly showcase of Musical Theatre (at the moment exclusively that of Andrew Lloyd-Webber) called "The Shows Must Go On", this week's offering was a recodring of a special birthday concert given at The Royal Albert Hall to wish Andrew Lloyd-Webber a happy birthday by contemporary stars of his shows gathering to perform songs from his hit West End productions.
The stage was a large white musical ribbon which afforded some long, sweeping entrances down the staircases, and some swift and clever entrances and exits to the sides and a ramp at the front. The orchestra played in the V in the middle, and a large circle above the orchetsra in a glittery design which I actually thought might have been crafted in to a clever shape which would reveal itself towards the end of the concert - perhaps Lloyd-Webber's profile, perhaps a clever motif, maybe even the globe, but no; no such thing, it was just decorative.
The concert started (and bizarrely ended) with the title song to 'Whistle Down The Wind'. Sung here by Tina Arena. She may well be one of Australia's best loved performers, but here I didn't enjoy her performance at all. It was 'poppy' at best, and her breathing and phrasing was very poor. It did not bode well for the rest of the concert.
It didn't really get any better either for the next section, two songs from 'Joseph And The Amazing Technicolor Dreamcoat', since I am not a fan of Donny Osmond, who sang Joseph both here and on the West End. I find his interpretation and manner somewhat insipid.
Next to entertain us was Lloyd-Webber's brother, Julian, himself a world-renowned classical cellist. I own a few of his recordings with the great orchestra's of the world. Here he played movements from 'Variations' - Andrew LLoyd-Webber's set of variations on the famous Paganini theme which was danced by Wayne Sleep, and formed the first half of 'Song And Dance'. Julian Lloyd-Webber played exceptionally, obviously he has a unique understadning of his brother's writing. However, my criticism here would be that he didn't seem to have bothered getting washed and dressed for the concert, looking scruffy in a football t-shirt and slacks.
After this and we had extracts from 'Evita', with Elaine Paige and Antonio Banderas. Paige of course sang the famous 'Don't Cry For Me Argentina' here. This was followed by Ray Shell and rollerscaters upping the tempo with 'Light At The End Of The Tunnel' from 'Starlight Express'; before returning to the more profane. Two movements of Lloyd-Webber's 'Requiem' came here. First the very underused Dennis O'Neill sang 'Hosanna' which was brief but very welcome, which was followed by Sarah Brightman and young treble chorister Ben De'Ath to sing the duet 'Pie Jesu'. I have never really been a fan of Sarah Brightman, and here it wa clear to see why. Her articulation and enunciation was absolutely terrible. She certainly is capable of purity on the very high notes (perhaps the reason why the role of Christine in Phantom was written that way) and I like the sound she creates, but if I hadn't have already known the words, I wouldn't have had a clue.
Before the 'interval', Marcus Levitt sang the title song for 'Jesus Christ Superstar' and the ever-wonderful Michael Ball came on to sing the heart-wrenching 'Gethsemane' leaving the audience wanting more.
The second half continued in much the same vein. To begin we had the pairing of Antonio Banderas and Sarah Brightman to sing from 'Phantom Of The Opera', with again me levelling the same criticism at Brightman. This was followed by pop star Bonnie Tyler and her rendition of 'Tyre Tracks And Broken Hearts' from 'Whistle Down The Wind'. Two more songs from that musical followed as Boyzone put in an appearance to sing 'No Matter What' and Michael Ball finished the section beautifully with 'The Vaults Of Heaven' backed by The London Community Gospel Choir.
The first highlight of the evening came next. Two songs from 'Sunset Boulevard' which were sung (and acted) with utter aplomb by the superb Glenn Close. I had the absolute privilege and pleasure of seeing her perform this role on Broadway, and she is / was utterly electric. Following this Michael Ball once again with the Lloyd-Webber song which will always (for me at least) be synonymous with him, 'Love Changes Everything' from 'Aspects Of Love'. Elaine Paige then sang one of her 'standards', 'Memory' from 'Cats', before the second and final highlight of the evening; an appearance from Dame Kiri Te Kanawa who sang 'The Heart Is Slow To Learn', which has since become the main theme from his follow-up to Phantom, 'Love Never Dies'. Te Kanawa giving us a masterclass in concert singing.
After a short 'Happy Birthday' singing as Andrew Lloyd-Webber came on to the stage, he sat at the piano to accompany a singer I have never heard of before, Lottie Mayor, however I was verily impressed by both her vocal clarity and interpretation, as she sang the closing version of 'Whistle Down The Wind'. The concert ended with the orchestra playing us all out with 'Jellicle Ball' from 'Cats'.
The choreography was by Anthony Van Laast, the Musical Direction by Michael Reed, and the concert featured The Choirwood Children's Choir, The National Youth Music Choir, The London Community Gospel Choir, Capital Voices, and the orchestra was The London Musciian's Orchestra.
Reviewer - Chris Benchley
on - 2/5/20
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