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How do you start a review for a show that covered some of the best musicals ever written, staged in honour of possibly one of the greatest musical producers of this century and featuring a cast of singers, dancers and musicians that any West End and Broadway theatre would die for. Well, as the show featured Julie Andrews, "Let's start at the very beginning"!
This was not your ordinary run of the mill show, therefore it was perhaps appropriate that it was staged at The Lyceum Theatre, a grand Victorian building just off Covent Garden with imposing Roman pillars outside and an incredible auditorium inside. Fifteen millions pounds has recently been invested to bring this incredible venue back to life. Ironically, after the restoration they covered much of the arch and boxes with brown paint and scaffolding for the run of Jesus Christ Superstar! This now been removed revealing the theatre in all its glory: a mass of dark crimson, red, gold and painted friezes. When the Victorians built this theatre they certainly went to town - the theatre itself is an event! And to think that the entire theatre was almost pulled down for an office development - well done Apollo Leisure for saving this stunning venue.
At the start of the show there wasn't a curtain, instead a mini archway sat in the middle of a black screen covered stage. As the lights went down so the archway expanded, the pillars on either side and the arch itself growing bigger and bigger before our eyes, gradually revealing the City of London Philharmonic orchestra playing at the back of the stage. A simple but very effective visual image - that helped set the scene for all that was too follow.
Our first treat was the overture to Cats, quickly followed with the Workhouse Children from Oliver! singing 'Food Glorious Food' - and not just a few children, but somewhere in the region of 60 in full costume, trooping in from the back and sides of the stage. The hanging bridge, used so effectively in Oliver, was used to great effect as were two sets of stairs on either side. I soon realised that all of the hallmarks of a Cameron Mackintosh production were here tonight: perfect timing, perfect attention to detail and faultless production. Oliver! seamlessly flowed into My Fair Lady which featured an energetic ensemble piece for 'Get Me To The Church On Time', I now also realised that we were also going to be treated to some excellent choreography as well. Next, a clever introduction for Julie Andrews and the first really massive round of applause. Yes, she's British and we're proud of it! Ms Andrews formally introduced us to the performance and the first medley from a wide variety of shows - The Fix, Little Shop of Horrors, Godspell, Anything Goes, Song & Dance, The Boyfriend, Lauder and Five Guys Named Moe - a selection that guaranteed a great deal of laughs and great performances from Ellen Green in L.S.O.H. and Bernadette Peters in S. & D. (more of Ms Peters later) to name but a few.
Although the scenery was limited, all of the performers were fully costumed and in character and this made each song very authentic.
Next, onto Oliver!, Russ Abbot as Fagin and Sonia Swaby as Nancy giving an emotional performance of 'As Long As He Needs Me'. Julie Andrews then returned to introduce 2 songs from Martin Guerre. We were also informed that M.G. would be back in a new version later in the year. As this is one of my favourite shows (4 visits including the First Night re-launch) I looked forward to the two songs, but was disappointed. Perhaps those associated with M.G. are annoyed it had to close as the new version of 'I'm Martin Guerre' is fast, angry and, I felt, far to heavy! Then maybe I'm just too used to the original. Maria Friedman sang the second song, 'How Many Tears', proving that she is one of our greatest stage singers. A selection of songs from Miss Saigon followed, another great ensemble piece for 'This Is The Hour' and a stunning performance from Jonathan Pryce singing the 'American Dream' again accompanied by great choreography and lighting. Act One ended with 3 songs from Phantom of the Opera, very well created with dramatic lighting, dry ice and the boat floating across the stage. Colm Wilkinson reprised his role as the Phantom, both menacing and able to command sympathy from the audience. It was perhaps appropriate that such a dramatic production should end the first act, leaving us waiting eagerly for Act 2…
Act 2 opened with 'Broadway Babies' from Follies with the stunning trio of Maria Friedman, Julia McKenzie and Bernadette Peters before progressing to Oklahoma! and Carousel.
These 2 musicals gave the orchestra the opportunity to excel with the beautiful music of Rodgers & Hammerstein and an emotional rendition of 'You'll Never Walk Alone'. And on the show seamlessly flowed into the next great medley - Sondheim. I confess to being a Sondheim novice, but even so, this section was eagerly anticipated.
And what a selection of songs and outstanding performances. At times, delightfully funny ('You Could Drive a Person Crazy' and 'You've Gotta Have a Gimmick') at others painfully sad - Judi Dench provided one of the evening's highlights with a heartfelt rendition of 'Send in the Clowns'. Another of the evening's highlights shortly followed with Bernadette Peters singing 'Being Alive' from Company, this was perhaps the song and performance that literally had the audience begging for more, the applause seemed to go on forever.
Next an incredibly witty interlude from Steven Sondheim and Andrew Lloyd Webber both playing piano to the tune of 'Send in the Clowns' but with new words especially written to send up (kindly) Cameron Mackintosh. This was shown on a large screen. Another fun section followed with Tom Lehrer signing 'Poisoning Pigeons in the Park' - I think this gave many Londoners in the audience a few ideas!
Cats followed with a visually stunning dance introduction accompanied by special lighting effects. Elaine Paige singing 'Memory' was another highlight, although I often wonder if she's fed up singing it by now!
And on to the finale, which of course, just had to be Les Misérables. The now famous cloud/smoke screen image introduction brought a round of applause from the audience and we were treated to Ruthie Henshall singing 'I Dreamed a Dream', Philip Quast with a powerful rendition of 'Stars', Lea Salonga singing 'On My Own' and Colm Wilkinson signing 'Bring Him Home'. Unfortunately, this stunning song was shortened to only one or two verses (which I thought was a great pity) before merging into the exhilarating 'One Day More, the final rousing song to end a stunning evening.
Of course, the standing ovation was almost guaranteed from the start! There were so many performers they only just managed to fit onto the stage, and, as we had all anticipated, Cameron Mackintosh was there to take his bow (and sing a song!). The evening ended with the entire cast singing 'Old Friends' to much applause and cheering from an exhilarated audience.
At three and a half hours, it was an evening to remember, not just for the stunning performances (too many too mention), but also to marvel at the production skills. This was a production that would only be performed twice and yet it was timed to perfection, faultless and a joy to watch and listen to. Living in London I'm lucky enough to visit the theatre every few weeks and have been to many special anniversary performances, the occasional First Night, the Les Misérables 10th Anniversary Concert at the Royal Albert Hall and just recently the ALW Birthday Celebration, again at the R.A.H.. Very often I leave shows honoured to have been able to see such stunning performances, last night was certainly one of those nights and definitely one to remember.
