“the mash-ups, although technically brilliant, follow what seemed a strict pattern”
For classical music aficionados seeking the music they love with a tasty pop twist, this is the perfect show.
Edmund, Daniel, Chris and Trevor are ‘Well-Strung’, a New York based string quartet with an impressive track record and number of celebrity endorsements under their belt. Their set, a mixture of classical-pop ‘mash-ups’ and their own take on a range of well-known pop greats, is at least entertaining, allowing the audience to marvel at the collective’s skill on strings, and, at times, the players themselves. It was a simple set-up at The Crazy Coqs, an intimate cabaret bar complete with luscious red curtain and mirrored ceiling. Despite an early set back (Ed’s D-string broke!), the group powered through admirably.
There were obviously classical music fans in the audience. Many gasped and sighed with happy recognition as certain numbers were mentioned, and bemused laughter was to be heard as the audience began to recognise some of the pop hits being played. Highlights include an energetic take on Do-Re-Mi (yes, from the Sound of Music) and Britney Spears’ Toxic.
The novelty of the enterprise however soon wears thin. Song choices are a little too easy at times, and the mash-ups, although technically brilliant, follow what seemed a strict pattern (classical piece begins – interrupted by pop song – back to classical piece) and failed to convincingly recontextualise the songs enough to make hearing them seem more than just an exercise in seeing how we can have fun with a string quartet. Perhaps this is enough for some, but this reviewer felt discomforted by the earnestness of the whole show and wished for a dash more irony (or at least, a stronger recognition of the audience, and slightly less awkward ‘banter’).
But the skill of this group is impossible to ignore. Adept string instrumentalists and (mostly) strong singers make this a fun evening out, and a taste of something new for those well-accustomed to BBC Radio 3.
“impeccable vocal agility, faultlessly-measured interpretation and just enough audience engagement”
Musical theatre has long been a defining part of West End nightlife. Shows of all genres come and go – classics, new creations, film adaptations and jukebox musicals – but always with the glossy, brightly-lit image of the actors, singers and dancers and the glamorous lives they seem to live. Alexander S. Bermange’s revue ‘I Wish My Life Were Like A Musical’ is an antidote to this glittering, colourful illusion. His inventive, comic songs with their witty lyrics take us backstage through the trials and tribulations of starting out, the bitter sweetness of working on stage and the adrenalin and emotion which make it all worthwhile.
Cosily hidden on its lower floor, Brasserie Zedel offers us an intimate, cabaret-bar venue for this peep into the personal reality of these performers. We sit in the dimly-lit, carmine-coloured glow; Bermange takes his place at the piano; the singers appear and make their way round the tables, setting a satirical scene and kicking off the evening with ‘The Opening Number’, cleverly concocted from well-known opening numbers of shows.
During the songs that follow we are delighted and dazzled by four impressive voices, each distinctive but blending beautifully together. Madalena Alberto and Suzie Mathers stun us with power and sensitivity, Cedric Neal’s smooth tones take some surprising technical turns and we are charmed by Lucas Rush’s lyrical expression. With impeccable vocal agility, faultlessly-measured interpretation and just enough audience engagement, they tell of the precarious career path with ‘Audition’, ‘Guest Spot’ and ‘The Diva’s in the House’, as well as anecdotal tales such as ‘The Key Problems’, ‘The Kiss’ and ‘When a Fan Loves a Woman’. They shape scenarios and characters to describe the obsessive nature of performers with their remedies and routines, the hard work behind the scenes, awkward moments, pleasant surprises and the ultimate magical feeling.
Derek Bond’s direction of these four talented and experienced artists and Bermange’s original insight into the world of showbiz make this classy pastiche a welcome alternative to the blockbuster blowout.
