musical – Page 2 – A SPURDLE reviews

So now for my second review of this Broadway trip and the first of the three musical scheduled for the weekend. The first being the Great Gatsby playing at The Broadway Theatre. Like many shows and especially musicals I very rarely have seen the film or book in which the production is based on. This production is no different. Like my other musical reviews I will provide a quick synopsis overview before reviewing the musical production areas in more detail.

The Great Gatsby opened on Broadway on 29th March 2024 and currently has not posted a closing date. I can totally understand why, I expect this show to run and run and do not expect a closing date anytime soon. I would expect them to announce a principle cast change before long. The production is considered one of the bigger newly opened musicals on broadway. Mainly because of its title leads of Jeremy Jordan and Eva Noblezada. Both in my eyes considered current Broadway megastars. For my production I had the pleasure of whitnessing the understasudy for Jay Gatsby who was played by Alex Prakken, more on this stella cast later. It has music by Jason Howland and Lyrics by Nathan Tysen and is directed by Marc Bruni.

It was another 19:00 show start which seems to be a new thing on Broadway. Again not an issue for me and somewhat prefer an earlier start. I took my seat in the Broadway Theatre in seat Orcherstra Row O seat 1. The last time I was in this particular theatre was for King Kong the musical back in 2018/2019.

Many may already know the story of The Great Gatsby, as mentioned before I did not and for anyone who doesn’t, here is a quick run down of the synopsis.

The show opens with Nick Carraway (Noah J. Ricketts) visiting his relative (Cousin) Daisy Buchanan (Eva Noblezada) with her husband and their friend Jordan Baker (Samantha Paula). We quickly learn that her husband Tom Buchanan (Pascal Pastrana) is having an affair with Myrtle Wilson (Ryan Nixon), the local garage owners wife. On one of their regular trips to the city, Nick becomes witness to Toms violent side. This prompts Nick to take up the offer from his neighbour and local rich guy Jay Gatsby (Alex Prakken) who is known for throwing lavish grand parties in his mansion. Jay Gatsby wants Nick to organise a meeting with his cousin Daisy. As Jay and Daisy met and fell in love five years prior before the war. And only recently realised that both are still alive and live locally. Act one ends with a successful meeting of Gatsby and Daisy organised by Nick after seeing Toms true side. At this meeting Nick and Jordan appear to also fall in love and are seen entering his cottage together. While Act one concludes with Gatsby and Daisy in bed together.

Act two opens to a flurry of excited and in love couples narrated by Meyer Wolfsheim (Eric Anderson). A party is arranged so Gatsby and Daisy can relive the night they fell in love five years ago. During this time we learn that Gatsby has obtained his fortune from dodgy dealings being facilitated by Meyer Wolfshiem. During the party tensions increase between Gatsby and Tom for obvious reasons. As the tensions grow they decide that Jay, Daisy, Tom, Nick and Jordan should travel the Plaza in the city. Gatsby and Daisy have confessed there love for each other and Nick and Jordan become engaged. It is at this point the story’s takes a Shakespeare tragedy esc style ending. With many turns of events which conclude with Jay and Daisy vehicle hitting a killing Myrtle who was pregnant with Toms baby as a result of their affair. On hearing the fatal news, Myrtle husband (Paul Whitty) who is now aware of the baby assuming it is Jay Gatsby’s kills Jay and then himself. The story concludes with Nick having to leave town and Daisy who also leaving with Tom to start a new life.

Left: Alternative cover Right: Modern cover

Now for the musical theatre part of the review.

Let’s start with set and prop design. Which are simply outstanding some of the grandest and best set design i have seen on broadway (Apart from Moulin Rouge which was in a league of its own). The set design was so clever with amazing use of some top quality projection. It meant that the set on stage seamlessly blended with the back screen making it appear even more grander than it was. I have not seen this quality of projection and ability to merge with the onstage set before. The use of projection was also used to portray rain which somehow seemed to cover the whole stage without the use of actual rain. Lights and projection were also used to make a stationary car appear to be moving. With lights on the wheels and the screen falling away behind it gave such a good illusion of a moving car. In some way they did not even need this trickery as the two cars on stage were amazing props. They were full size cars which moved independently of the staging. It allowed the actors to actually drive them back and forth and around the stage. Again something I have never seen on stage before. They were like life size children’s toy battery cars. Simply amazing props work and highlights the size of stage that the Broadway theatre has. Not only these amazing cars but the level of details on the set and props was outstanding. You were able to see inside details of the cottage through the door even though we never went inside for a scene.

A quick note on the costumes, which were as grand and glamorous as you expect for this 1920s themed story. But again the detail was so impressive with no costume being repeated in any of the scenes. There was even a quick change on stage.

Now for the music and lyrics which were amazing. Some proper real broadway musical theatre. There were amazing ballads from both male and females and not only the two leads by others as well as well as great ensample pieces. This orginal principle cast has already completed a cast recordering which can be found on all major platforms. I have already downloaded the whole cast recodering album. Out of the 23 tracks my stand out by far, a song which I have already replayed six times on my walk from the theatre to my hotel bar where I am writing this review is “For Her” which is sung by Jay Gatsby. On the recodering it is Jemery Jordon but for me especially for the first time hearing it while live Alex Prakken did not dissapoint and is a perfect example of why understudy’s are amazing in any production. Even though there were so many amazing songs for me “For Her” just stands out and really gave me goosebumps on the first time hearing those notes. A snippet of the song along wither another can be found on this YouTube video.

Includes my favourite track For Her

Now to delve into the actors. I have already mentioned how impressed I was by the understudy of Alex Prakken, there are some very large Jeremy Jordan sized shoes to fill but he filled them and some. The next is Eva Noblezada who if you watched the above link you would have seen and may recognise due to her multiple award nominations over the years. Again she did not disappoint the passion and vocals were breathtaking. I was sum what surprised that it seemed the main character was in fact Nick and not Jay Gatsby as a result Noah J. Ricketts had a lot more time on stage and some great dedicated songs more than I was expecting which was performed effortlessly. While browsing the cast list before the show, the name of Eric Anderson stood out to me as I watched him in the original broadway cast of Pretty Woman a few years ago. I was surprised that he was not as heavily used in this production especially in the first half but was pleasantly surprised when he opened the second act as Meyer Wolfsheim. Overall all four main characters as well as the supporting roles and ensemble were faultless.

Overall this is an amazing new Broadway musical with everything you expect from a broadway spectacle with amazing ensemble pieces, duets, breathtaking solos. With amazing music and lyrics that hint at the 1920s era but somehow keep a very Morden broadway musical theatre feel. All using an amazing set and prop design.

I give this production 4.5 out of 5 stars. A must see for the incredible set and prop design and amazing music and lyrics. I expect to be rewatching this when it undoubtedly transfers to the West End.

Further information of “The great Gatsby broadway musical” can be found on their website.

My next review and my first musical review for this site and comes in the form of “Cake: The Marie Antoinette playlist” currently (only just) playing only just at “The Other Palace”. I say only just as unfortunately this production which was originally scheduled to finish on the 10th November 2024. Is now having to close early on the 29th September. As a result it means there will no longer be an opening (Press) night. Only opening on the 13th September means this was an extremely unexpected short run and I was so glad I managed to catch it while I could.

Playing at “The other palace” which has been a great fringe theatre space especially for musicals ever since its “St James Theatre” days under ALW (Andrew Lloyd Webber) where I have seen many productions including “The last five years”. Now under Bill Kenwright company they have not stopped this tradition of showcasing emerging musical theatre.

I have to be honest I am no history buff and have very limited knowledge of Marie Antoinette and the stories that surrounded her. The only thing I did know going into this production was that Zizi Strallen was in a title role. As a musical theatre fan I had to take this opportunity to see the 2020 Olivier award nominated performer in person. Achieving this nomination for her stand out role in Mary Poppins this was a very different role all together.

The show is scheduled for 1 hour and forty five minutes with no interval. A format which is becoming more and more popular within the west end and especially within new musicals. It is a format a personally enjoy as I believe it keeps the audience engaged and forces the story to be more punchy and condensed which fits the newer musical concepts very well.

I took my seat in row F seat 13 within the other palace auditorium. Every time I step inside this main auditorium I also forgot has intimate the space is and even a side seat on the last row will still have an amazing view. The seating chart is always very misleading however I can guarantee you can book any seat with confidence that the view and experience is the same as every other seat. Within my seat I was only a few rows back and centrally located which gave a perfect central view of the whole production.

It wasn’t until fifteen minutes after the scheduled “curtain up” that the action got underway. Around ten minutes after the originally start time we had a house announcement apologising for the delay and for us to remain in our seats. It was at this point that I was concerned that this may be my first show that got cancelled on the night. However I am pleased to say this was not the case at the show did indeed commence. After seeing multiple broadway productions having a ten to fifteen minute delay was not unusual.

As this is a musical production I am going to approach my review slightly differently by proving a more condensed synopsis before then going into the details of the musical production and its performers.

The show is based around the four step plan of our narrator Jeanne (portrayed by Renèe Lamb) to get the money back the money her family had in her eyes taken away from them. The backdrop is Paris in 1783 on the midst of the revolution. The show progresses through these four stages as Jeanne successfully completes each one. First getting into the palace to see the queen. Which is made successful with the help of the much corrupt and in love cardinal (played by Travis Ross). Once in the palace it is time to befriend the queen Marie Antoinette and obtain one of her dresses. Which after a rather comical toilet scene is successfully. The next stage is to use the dress to convince the cardinal to give his beloved queen a large sum of cash to use as a deposit on a very expensive piece of jewally. This stage is successful this time with the help of Nicole (brought to life by Millie O’Connell, more on her later). With the large cash secured Jeanne has the choice to take it and run or go ahead with the plan and help the revolution. After securing the jewels with the deposit and unable to pay the jewellers the finale of the production is a court scene. In which all the characters are accused and taken down for trial. The fate of each now lays with Jeanne in which she names Marie as her guest partner in crime. In the conclusion Jeanne tells the audience this is “a spark that could change history” and if she has this power then why can’t you as the audience make your mark on history a light the fuse. A really rallying and motivational finale. Which given the target audience of the younger generation such an inspiring way to end the show.

Someone with a bit more history knowledge than mean would be able to assess how this fits in with the tales of history however for me who does not know that detail it was a great 90 minute walk down Paris history during Marie Antoinette reign.

Now to discuss something I do know a bit about the production and performers of this show.

Firstly the set or in this production case the staging. As the set consisted of one two tier podium which moved up and down the stage throughout the production normally manually manipulated by the ensamble cast. This is not unusual for production on the size of stage that is the other palace. Many scenes were set by using largest of three screensof in which was located at the back of the stage provided a backdrop throughout. The other two screens were located on stage left and stage right. The moving podium allowed the cast to become physically elevated during parts of the production. Each scene was set by reling on the song accomping it to set the scene. The lighting was used to add to the dance/ modern feel to the whole production with lots of strobe lighting to get the audience in the “rave” esc environment. Due to the limited size of the stage at the Other Palace the band which perched in the rafters at the top of the stage. With only the drummer, keys player and musical director visible. However having this limited playing space did not limit their performance which was able to also add to the overal modern party like environment the songs lent to.

There were no costume changes throughout the show apart from the odd detachable skirt here and there however with the fast pace and limited staging the lack of costume change did not have any negative impact. As it allowed a lot of the characters to remain on stage or only off for very shirt periods keeping the pace and intensity very high.

Now for the two main characters and to start with the (to me) surprise main character of Jeanne as mentioned before performed by Renèe Lamb. With the title of the show being called Marie Antoinette you would forgive me to be surprised when Renèe opens the show to tell us it is her story and continues to side bar with audience throughout. I have not seen Renèe in any other productions before however she was brilliantly casted for this role. When looking at her previous shows and roles it should not be a surprise the casting was so good for this production. With the credentials of originating Cathrine of Argon in Six and shows such as “Be more Chill”. The sass and power that Renèe had not only in the acting but the very large about of spoken word and dab that occurs throughout this production was brilliant.

As mentioned the title character Marie Antoinette was performed by the award nominated Zizi Strallen who was able to prove her musical theatre diversity by absolutely smashing this role. Really in capturing this quirky queen character this production interprets Marie. Zizi vocals were as expected spot on as wishes was really able to bring this show closer to more traditional musical theatre with my favourite song of the whole “Champagne Dreams”. I was so pleased I could see perform this song live. If you take anything away from this review it is you should listen to that one song. Having said that I do encourage you to listen to the whole cast recording which has been released and can be found on all normal music platforms. I have to admit the days following seeing this show I have had “Two birds One stone” and Champagne nights” on constant repeat. Both songs seems to summarise the style of this show in around 7 minutes.

It was no surprise to me when I learnt that both Renèe and Zizi originated these roles in the short Lyric run. I can see why they were reprising them as I couldn’t think of anyone better to perform these characters.

One other cast member I have to give a mention to is Millie O’Connell. Someone who I wasn’t aware was in the show but was very pleased to see appear as Nicole. Mollie has been on my radar ever since her Anne Boleyn days in “Six”. For me her role in Soho Cinders (2019) at “Charing Cross theatre” performing “Wishing for the normal” is an absolute Morden musical theatre standout. Once again Millie did not disappoint even though not having a title role the entry she brought to the stage and during her solo song of “Turn the lights down low” was brilliant.

Now to conclude with the music and songs themselves. As hinted during this review the songs and general vibe is not traditional musical theatre. As it mainly revolves around a lot of spoken word and rap style. Not normally my preferred genes. However as a whole package of the show within a few songs I adopted and by the end it become the norm for the show. However I was very pleased to get some light relief during some of the more traditional songs like “Chanpnge nights” which as mentioned was amazing and for me more traditional musical theatre.

Overall I personally give this show 3 out of 5 stars.

It’s a mix of Six and Hamilton with an essence of more traditional musical theatre. Which for me was ok but the standout performers really made it for me along with the high energy and feel good motivational ending. I believe it was unable to stick with the general London ticket buying audience because of the general Gen Z target audience. I think even myself aged early 30s was far too old for the show in general. And as I’m on the younger side of the London theatre ticket buying audience I fear this maybe the cause of the early close. I liked the intention of making a more musical theatre Six type of production however at some points feel it did loose its way and wasn’t quite sure what direction it was going in. But overall not a wasted theatre trip and I have a new cast recording to loop on repeat.

The fuse was officially light however in my eyes being extinguished far too early.

Tag Archives: musical

The Great Gatsby Musical

“Cake: The Marie Antoinette playlist” review