Almost exactly a year ago, I wrote here about the fact that though there were lots of Broadway musicals lining up for the West End then (as there still are now), there was little sign of any original British musicals on the horizon for the West End. That situation, a year on, is also little changed, though the British-created (but Indian/Finnish composed) Lord of the Rings – then about to open in Toronto – is heading for Drury Lane this May.
Last year, I saw one glimmer of hope in a one-night cabaret event, Not(es) from New York, and last night I saw another, also thanks to a late night cabaret outing. At the Prince of Wales’ Delfont Room, a West End cast led by Avenue Q’s Jon Robyns presented a ravishing showcase of the work of a bunch of young British composers, which proves, at least, that there are several out there. Only one – Laurence Mark Wythe – was able to present work that had already had a theatrical outing: his show Tomorrow Morning was seen at Hampstead’s New End last year, and is now awaiting further development. But as another of the showcased composers, Matt Brind, said last night, “We all need this in London – so much of it goes on in New York”.
As Oscar Hammerstein II so sagely put it in a lyric in The Sound of Music, “A song is no song till you sing it.” And a show is no show till you produce it. A whole generation of aspiring British composers are being denied the valuable opportunity to learn and grow through production. But last night, at least, we heard that a few of them can at least write good songs, like Craig Adams – juggling a night job performing in the tour of Mamma Mia! – Susannah Pearse, Ian Sapiro and Charles Miller.
But if they all jostled to share the same one-hour bill, another promising young talent gets an evening all to himself this Sunday and Monday at the Arts Theatre, when the work of Leighton James House is presented in a show called A Little House Music. Actually, he’s been promising for quite a long time now. I remember seeing his first show, Lifts (written when he was just 17) at the Edinburgh Fringe in 1998. I missed his more recent Edinburgh entry, Only You Can Save Mankind, based on Terry Pratchett’s novel that was seen on the fringe in 2004 – but can he save the British musical?
Someone has to rescue it from our endless preoccupation with recycling old pop hits as new musicals, of which the latest – Never Forget, based on the repertoire of the recently reformed boy band Take That – was announced yesterday. I have always hoped, perhaps forlornly, that the man would be Howard Goodall (whose Days of Hope comes back next week, when it is revived at the King’s Head). But though he writes glorious music, he’s yet to strike it big with a musical. Instead, we’re losing him to the Classic FM airwaves, where Alfie Boe’s beautiful rendition of Goodall’s setting of ‘The Lord is My Shepherd’ is currently riding high on the playlist.
Thank you for your appreciation of Alfie Boe's new album, from which "The Lord is My Shepherd" comes. Indeed Howard Goodall arranged this for Alfie and we are all extremely pleased with the result. Undoubtedly, Howard Goodall does indeed write glorious music.
I understand that Goodall is working with Jimmy McGovern on a musical for the Lowry later this year. It's called King Cotton... might be interesting.
I was at the concert last night and was thoroughly disappointed on the whole. No wonder most shows at the moment are movie-cals, transfers from NY or catalogue shows. Only Matt Brinds work stood out. Most other works seem to take the lead from composers such as Jason Robert Brown. That isn't to say that there aren't any British composers with potential. I look forward to hearing Leighton Houses show and it was a shame to be at Conor Mitchells recent concert and to see it only half full when his work was the most original I've heard in a while.
If you're looking for some new British musical talent Mark, the Union Theatre will be premiering new musical 'A Karaoke Wedding' from 3 - 21 April - music and lyrics by Royal Academy and Cambridge University composer Harry Blake...worth a look i reckon (posted by a cast member!)
It was quite clear to me and the people I was with that the outstanding work of the evening was from "Tomorrow Morning" - and this seemed to be the mood as I could sense it at the end. Indeed, it was the only show that had been produced, and you could tell it was further developed than others - and as I understand it, it is not awaiting development but in pre-production as it will return to London later this year.
Most of the other songs at the New Writers evening all blended into one, and while I agree with the other comment that Matt Brind's songs were good, on the whole the standard was not consistently high; many of the songs were too long and derivative - many indeed seemed overly influenced by other shows.
Laurence Mark Wythe's musical "Tomorrow Morning" must surely be emerging as the front runner to lead the way for new British musicals, as this small production at the New End was superbly cast, brilliantly directed and an extremely exciting new score.
Based upon the New Writer's cabaret, there is definitely the talent out there in Mr Wythe, Mr Brind and also Craig Adams had some good ideas in his songs. But what we need is British shows in the West End not just on the fringe or in cabarets - and these shows must be supported and embraced by the audiences, press and theatrical community. Only this way can we resurgence of British musical theatre flourish in a world of US imports and tribute shows.
I for one will never buy a ticket for a musical about "Take That"!
Whats the point of having any new British musical talent if the so called talent comes hot off a reality TV show and can barely do four or five shows a week let alone eight.
Dear Mark
Thanks for your genuine concern about British musical theatre talent. It would be great to have you along to join the positive debate and development which is happening with Musical Theatre Matters - the network of emerging producers and creatives who are dedicated to the nurture and production of the next generation of musical theatre. It is an exciting time, with new brainwaves for funding musical theatre work, and some true talent coming through. Now is the time for us all to join together and show that musical theatre matters.
Have a look at www.musicaltheatrematters.org.uk, and do give me a shout - it would be great to have you with us.
Cheers
Chris