Ronan Keating Label’s Once Debut “Liberating.”

If you’re a follower of Once, Simon Morris readers, you’ll have wondered how Ronan Keating did in his first night in the role of Guy; something he labelled “liberating.”

The Story of a Down-On-His-Luck Dublin Busker

As an adult, I’ve developed a passion for carefully crafted, thought provoking musical theatre which tells a captivating story, and accompanies it with a mind blowing score. There are few musical theatre productions that have piqued the interest of an adult Simon Morris the way Once has.

For those of you who haven’t heard yet, the story of Once chronicles the life of a down-on-his-luck Dublin busker named Guy. A man in need of inspiration, when he meets a woman who sparks his creative juices he stumbles on inspiration in spades, only to find out that she’s married.

Could Ronan Keating Hack it in the Role of Guy?

A modern day smash, Once has proved a hit with audiences around the world. UK musical theatre enthusiasts have proved no exception, as the West-End’s Phoenix Theatre production of Once turned out to be a runaway success.

That’s why I was a little apprehensive when I learned that former Boyzone frontman Ronan Keating was taking over the role of Guy. I honestly doubted he had the vocal prowess and onstage charisma to pull it off.

“The Most Liberating Experience.”

Yet if Keating himself is to be believed, his first night in the role of Guy left him feeling like a new man. According to the BBC, Keating labelled his performance "the most liberating experience."

Speaking in the wake of his debut, Keating admitted that at first, his performance was "all over the place,” but by the time the curtain fell he was left “feeling great.” He also said that "the stress and fear when I walked out was overwhelming," but once he got into it, “it was wonderful."

“An Extremely Creditable Account of Himself.”

And it seems the critics think he gave a decent performance as well. The Independent’s David Lister labelled it “surprisingly good,” whilst Fiona Mountford at the Evening Standard said that Keating gave “an extremely creditable account of himself” in the role of Guy.

In other words, he did pretty well for himself considering the fact that he’s a new comer to the West End stage. Maybe his liberating experience powered his performance and made him shine in the role of a down-on-his-luck Dublin busker!

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What Did the Critics Think of Made in Dagenham?

Now the musical has officially debuted on the West End stage, this week on the Simon Morris blog I ask what the critics thought of Made in Dagenham.

The Real Story of the Ford Sewing Machinists’ Strike of 1968

I’ve been waiting with baited breath for the release of Made in Dagenham. As I pointed out in a recent blog post, I held high hopes for it. The story is compelling and the score looked promising. In other words, it looked like a West End smash just waiting in the wings.

The musical, an adaption of a 2010 film of the same name, chronicles the real story of the Ford sewing machinists’ strike of 1968, when workers protested in hopes of securing equal pay. It stars accomplished actress Gemma Arterton in the lead role of Rita O’Grady; an ordinary woman turned into a leader by extraordinary events.

A Deeply, Unapologetically, British Musical

Made in Dagenham debuted at the Adelphi Theatre in London’s West End on the 5^th November. The reviews are in, and as ever there seems to be somewhat of a mix.

There was plenty to like about the show. Paul Taylor at the Independent labelled it "a big-budget, even more crowd-pleasing, British musical," whilst the Evening Standard’s Henry Hitchings called it “a deeply, unapologetically British musical with a quirky, big-hearted charm." It was generally praised for its mischievous lyrics, amiable production, gag-infested book and feel-good vibe.

Sanitised in the West End

Yet these positives left some critics feeling as though the production lacked the substance that a musical about the struggle for women’s rights in the 60’s needs to make it resonate.

The Guardian’s Michael Billington suggested that despite the show boasting some positive elements, it "suffers from its caricatures, relentless jokiness and a functional score." In other words, he’s saying that it makes a good stab at representing feminism, but lacks passion and ultimately, substance. This is something echoed by the Morning Star, which said the show was “sanitised” in the West End.

A Thrilling Night’s Entertainment in the West End.

Ultimately, it seems as though the critics are saying that Made in Dagenham is hardly going to make Germaine Greer’s must see list anytime soon. Nevertheless, it’s a fun, big-budget affair that should provide a thrilling night’s entertainment in the West End.

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A Bend it Like Beckham Musical is Happening!

Fans of the cult female football film will be amazed to hear on the Simon Morris blog this week, that a Bend it Like a Beckham musical is finally happening!

Bend it Like Beckham, a Cult Classic

As a young Simon Morris, musical theatre wasn’t my only interest. I was also a big film buff, and no film charmed me quite like Bend it Like Beckham; no wonder it’s a cult classic.

For those who haven’t seen it, here’s the run down. It’s about a girl living in a traditional Sikh family who yearns to play football professionally, like her idol, David Beckham. After she joins an amateur women’s team, she battles to make her dream a reality, whilst simultaneously falling in love.

What Do We Know About the Bend it Like Beckham Musical?

Yes, it may be cheesy, but it’s addictive, which is why I’m not really that surprised to hear that Bend it Like Beckham will be adapted to the West End stage. Even better, it’ll be written and directed by the same woman made the original 2002 film; Gurinder Chadha.

That’s one of the few things we know about the project at the moment; details are somewhat thin on the ground. We do also know, however, that with previews starting on 15^th May 2015, it will open properly on the 24^th June 2015 at the Phoenix Theatre.

A Totally New Kind of Musical

Chadha took the time to comment on the project. She said that "developing Bend It Like Beckham for the stage has been the most enjoyable creative process of my career so far."

She went on to say that "it was always my intention to build on the film and to present its themes and storylines to live audiences in an exciting new dynamic way. I believe we are presenting a totally new kind of musical - part West End, part London Punjabi, but whole-heartedly British."

A Once-in-a-Lifetime Experience

So we may not know much, but what we’ve heard from Chadha makes me really excited for a Bend it Like Beckham musical in the West End. It’s sure to be a one-in-a-lifetime experience!

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Nicole Scherzinger to Take Role of Grizabella in Cats!

With the recent announcement that Nicole Scherzinger will take on the role of Grizabella in Cats, I want to explain here on the Simon Morris blog why I think its inspired casting.

Nicole Scherzinger to Make West End Debut

According to the Independent, the former Pussycat doll has agreed to take a sojourn to the West End. She will be playing the role of Grizabella in Andrew Lloyd Weber’s Cats for a limited run at the end of 2014.

Of what will be her West End debut, Scherzinger said that “to have the opportunity to work with Andrew, Trevor and Gillian is a dream come true. I grew up listening to Andrew’s extraordinary music and was lucky enough, a couple of years ago, to record Cats’ beautiful song ‘Memory’.”

Does a Popstar Have Any Business on the West End Stage?

So is she right for the role? Let’s start with the elephant in the room. The uninitiated are probably thinking right now, ‘she’s a popstar, she has no business on a West End stage.’

Yet you read it for yourself, she’s already recorded the character’s (and the show’s) signature song. In fact, she has a musical theatre background, majoring in acting and musical theatre at Wright State University.

More to the point, she’s had experience, as she’s not only played the part of Velma in a production of Chicago, but she rose to the occasion when she took on the role of Maureen in a special production of RENT at the Hollywood Bowl in LA. Critically lauded, the latter was a resounding success.

Could Nicole Scherzinger Play Grizabella?

OK, so we know Scherzinger can hack it on a musical theatre stage, but is she specifically right for the part of Grizabella. I think she is, and it’s all to do with who Grizabella is as a character.

Despite her outward appearance as a past-her-prime glamour cat, complete with ragged worn out overcoat, black sequin dress and gold kitten heels, Grizabella is an outsider, just looking to be accepted and adored as she once was. Scherzinger’s own struggles, coupled with her penchant for glamour, mean she can identify with the character.

You Need to Find Something in the Character you can Identify With.

Ultimately, any successful actor will tell you that in order to pull off a part, you need to be able to find something in them that you can identify with. That’s why I think Scherzinger can pull off the role of Grizabella.

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The Versatility of the Musical Theatre Heroine

What fascinates me about the role of the heroine in musical theatre is that it comes in so many shapes and sizes, speaking to the audience on an array of differing levels, which is why on the Simon Morris blog this week, I want to explore the versatility of the musical theatre heroine.

The Societal View of the View of Women

To play a heroine on the musical theatre stage is no easy task. Women often get the hardest, most vocally challenging of numbers, the most elaborate of costumes, the most strenuous of dance routines. Technically, it’s an exhausting job.

However there’s also the added pressure of societal views of women to contend with. Society has a complex relationship with its perceptions of the female gender, with old stereotypes clashing dangerously with modern beliefs in the power of the strength of women. Often, heroines (especially in older productions) need to communicate both to the audience to fully capture their imagination, and this takes a truly gifted actress, no matter the type of heroine they’re playing.

Simon Morris Explores Every Shade of Heroine

There are several types of heroine that demand talent to truly communicate their complexity, and I want to examine a few to show the true versatility needed to play the role of a heroine:

·         Elphaba: Your classic modern woman in green skin, Elphaba is a sympathetic take on an archetypal villain and the trick to nailing the role is to balance the innate goodness of the character with the pain that allows others to perceive her to be the Wicked Witch of the West.

·     Mary Magdalene: A woman often damned and hailed in equal measure, Magdalene in Jesus Christ Superstar is both selfless and selfishly in love, and any woman taking on the role needs to be able to communicate the full spectrum of this most complex of emotions to make her even slightly believable.

·         Maureen: If Elphaba is the modern woman, Maureen is the post-modern one, all brash rebellion and pure intentions, an idealist and a dreamer. However the trick to getting Maureen right is to balance her bravery with the faint vulnerability that lies underneath and drives her insecurity.

·         Evita: If the first three are heroines with a shade of villainess, Evita is a villainess with a shade of heroine. The very definition of ambition, her actions are questionable and self-motivated but any effective Evita makes her believable by providing that balance that suggests that beneath the glaring blonde ambition lies at least some convoluted form of altruism.

What I hope to have shown you here, Simon Morris readers, is that there is no straightforward modern heroine. No black and white, good or evil, rather there are shades of all, and that is why the musical theatre heroine is the most versatile of roles any actress could ever hope to take on.

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A Reflection: We Will Rock You!

Musical theatre junkies were forced into mourning last week as it was announced that beloved West End staple‘We Will Rock You’ is set to close after 12 years. In tribute to the game changing show, I wanted to take the time to reflect on what made ‘We Will Rock You’ such a fan favourite.

After 12 years, ‘We Will Rock You’ is closing. The show was originally written by Ben Elton and is a jukebox musical; a production framed around the songs of a popular music act. In this case, it was obviously Queen.

 It became the longest running show at the Dominion Theatre and was one of the biggest West End exports of the last decade. People everywhere love it (I’m not going to reveal how many times I’ve been to see it, let’s just say it runs into the double figures.) So what was it about the show that so entranced audiences?

For anyone who’s being living under a rock, the show tells the story of a dystopian future where all music everywhere is banned. As a band of true bohemians lead the struggle to restore fashion, live music and freedom of thought to the world in which they live, we watch the characters learn, love and grow.

Not surprisingly as a jukebox musical of a band of which some members survive, two of those members, Brian May and Roger Taylor soundtracked the production. It meant that we got Queen classics such as ‘Another One Bites the Dust,’ ‘Radio Gaga’ and ‘Bohemian Rhapsody’ in musical theatre form.

It’s been phenomenally successful; it’s been seen by an estimated 16 million people. However it was actually never a favourite of the critics. When it was first released the Mirror famously declared that “Ben Elton should be shot” for ever putting pen to paper.

So why has it proved so enduring? The plot certainly plays a part in it. As human beings, we have a certain attachment to music; it brings out something in us that nothing else does. The idea of it being taken away seems gut wrenching and it makes us connect with the characters.

However this is one case where I would say the music outshines everything. Those Queen songs are loved by so many people and I think ‘We Will Rock You’ was so successful because it provided the audience with a new way of listening to and interpreting them.

‘We Will Rock You’ reminds us of the power of the jukebox musical. Like ‘Mama Mia’ before it, people went in wanting to be entertained in a new way by the songs they’ve loved for years. That is why everybody is so sad that the sun has finally set on ‘We Will Rock You.’

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Fiddler on the Roof: A Revival

With the news hitting Broadway blogs and columns last week that seminal classic ‘Fiddler on the Roof’ is to be revived on Broadway next year, I thought I’d take a look at the musical theatre classic. Why has it endured?

For anybody who doesn’t know, Fiddler on the Roof is a classic musical which first appeared on a Broadway stage in 1964. The production was such a hit that not only did it enchant audiences everywhere; it was nominated for ten TONY awards, was turned into a hit movie musical and has sparked numerous revivals.

The musical itself is based on ‘Teyve and His Daughters and Other Tales’ by Sholem Aleichem. Set in Tsarist Russia in 1905, a period of terminal decline for the regime, the musical tells the story of a Jewish family; a father and his daughters. The production chronicles the family’s attempts to honour their Jewish heritage as outside influences alter the way they live their lives.

The production itself is an intelligent exploration of what Jewish people faced at the time under the repression of Tsar Nicholas II. It produced musical numbers that have become standards of the genre, most notably ‘If I Was A Rich Man’ and it became so popular it was the first musical to reach the 3,000 performances mark. No wonder they want to revive it in 2015.

So, apart from the aforementioned reasons, why has it remained enduringly popular? Part of the credit for this sustained success has to go to the movie version of the musical. Released in1971, it was so good that one of its stars, Leonard Frey, received an OSCAR for best supporting actor.

However most of the credit has to go to the stage production itself. Fiddler is an immense musical that will make you weep and laugh in equal measure, and when done right, it can really capture the imagination. It also takes a grand theme such as the repression of the Jewish community in Tsarist Russia and frames it through the lives of ordinary people. This is, I believe, its ultimate key to success.

Audiences don’t tend to react well to grand themes that are beyond their ability to relate to. By framing the narrative through this village bound Jewish family, audiences can see how such prejudices play out in normal life. They sympathise with the characters and grow to support them in their struggles. It’s a similar way of framing a story to how the AIDS struggle was framed through the Alphabet City community of New York in ‘Rent.’

Fiddler on the Roof is a classic that has endured because despite the time it is set in, it tells a story that everybody can relate to. I have no doubt, Simon Morris readers that the 2015 revival will be just a big a hit with audiences as the 1964 original production was.

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