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Falling Stars

Online a stream.theatre

Reviewed – 23rd November 2020

★★★★

“Sally Ann Triplett’s gorgeous, velveteen voice covers many of the ballads with a sensual warmth, rich in emotion”

In today’s current climate people are either pushing forward towards a somewhat uncertain future or taking a stroll down Memory Lane. The latter is invariably a journey accompanied by nostalgia, and it is through Peter Polycarpou’s rose tinted glasses that we are invited to view a snapshot of the music and the spirit of the 1920’s. Subtitled ‘A Celebration of the Golden Era’, it packs into an hour a treasure trove of melodies; a mix of the familiar with the obscure and in the process, we discover some real gems.

We are told, in the opening credits, that the production was cancelled on day one of rehearsals due to the lockdown, but that Polycarpou was determined to reach his audience, so in the space of three days he recorded the show for streaming online. A timely reminder that the explosion of creativity being celebrated here came out of a world reeling from the aftermath, not just of World War I, but also the third (take note!) wave of the ‘Spanish Flu’ pandemic. It is a century since such adversity gave way to the Roaring Twenties and the Jazz Age, and it is shows like Polycarpou’s song-cycle that give us hope that history will come full circle again and there is always cause for celebration.

“Falling Stars” is clearly a labour of love. The premise being that while killing time before a matinee show, he wandered into an antique shop, discovered a battered songbook and bought it for a song. Literally. Polycarpou’s excitement is infectious as he leafs through the pages and recruits Sally Ann Triplett to perform extracts and full-blown numbers from the songbook, translating the dusty, monochrome dots on the page into a multicoloured, multi-layered revue.

It is quite a whirlwind of a tour and comes across as a rather indulgent history lesson at times and, although fascinating, it is sometimes hard work to keep up with the rapid-fire catalogue of composers, lyricists, songwriters, performers and songs. It works best when Triplett and Polycarpou turn away from the camera and interact with each other. But better still when they melt into the songs. Polycarpou oozes personality and joie de vivre while Sally Ann Triplett’s gorgeous, velveteen voice covers many of the ballads with a sensual warmth, rich in emotion.

The title number, “Falling Star”, penned by Meredith Wilson and Charlie Chaplin, is one such fine example. It is quite a revelation to learn what a prolific and talented composer Charlie Chaplin was, particularly on other numbers too, such as the duet, “Now That It’s Ended”, and “Smile”, performed by Polycarpou accompanying himself at the piano. The evening contains a diverse set of numbers that shines a spotlight on many unfamiliar tunes as old favourites, intimately performed by the duo with Musical Director Mark Dickman on piano. Andrew Exeter’s lighting beautifully evokes the setting, merging the shadows of the antique shop with warm washes that tease the sentiment out of the lyrical content. But even in a bare, characterless backroom of a shop, Triplett could evoke the yearning and the passion of these songs, as she shifts from the plaintiff “Why Don’t You Leave Me Alone” to the upbeat duo “Tea For Two” or Buddy De Sylva’s “You Ain’t Heard Nothing Yet”.

The show closes with the achingly beautiful Irving Berlin number, “What’ll I Do?”, a bittersweet eulogy to lost love and faded dreams. It is countered, though, with a final echo of Chaplin’s inimitable verse; “You’ll find that life is still worthwhile, if you’ll just smile.” A bit mawkish, perhaps, but exactly what we want right now.

Reviewed by Jonathan Evans

Photography by Paul Nicholas Dyke

Falling Stars

Online until 29th November via stream.theatre

Recently reviewed by Jonathan:

St Anne Comes Home | ★★★★ | St Paul’s Church Covent Garden | August 2020

A Hero Of Our Time | ★★★★ | Stone Nest | September 2020

Buyer and Cellar | ★★★★ | Above the Stag | October 2020

The Great Gatsby | ★★★★★ | Immersive LDN | October 2020

The Last Five Years | ★★★★★ | Southwark Playhouse | October 2020

The Off Key | ★★★ | White Bear Theatre | October 2020

What a Carve Up! | ★★★★★ | Online | October 2020

Little Wars | ★★★★ | Online | October 2020

Right Left With Heels | ★★★★ | Online | November 2020

Marry me a Little | ★★★★ | Online | November 2020

Click here to see our most recent reviews

Godspell Online in Concert

Online via Hope Mill Theatre

Reviewed – 26th August 2020

★★★★★

“The music speaks for itself, the lyrics speak for everyone, and the singers’ voices speak of the future for our industry. If this concert is anything to go by, it looks bright.”

Fifty years ago, “Godspell” made its Off-Broadway debut as a play with music: a retelling of the Gospel of Matthew set in modern-day New York City. The writer, John-Michael Telebek, was inspired by the lack of drama, conflict and resolution in the conventional religious services he witnessed at the time. Congregations were bored. His aim was to create a religious experience that would be theatrical, and that would ‘move’ people. An entertaining way to approach a serious subject matter. It was to be another year before Stephen Schwartz’s music was introduced into the show and the barriers between music and religion were being torn down. Even so, it is a piece of work that constantly needs updating and revitalising for it to remain relevant or interesting to audiences of today.

This fiftieth anniversary ‘concert’ production, directed by Michael Strassen has completely done away with Telebek’s text, leaving just the magic of Schwartz’s score to spread the message. A necessary ploy for the purposes of this production but one that is truly satisfying and refreshing. It is a far cry from being a ‘live’ experience, but what is communicated to the audience is the joy of the performers and their spell-binding performances. Although filmed and pieced together from the cast’s own homes, the sense of community inherent in the material manages to break through the screen.

The song cycle loosely retells a series of parables from the New Testament that lead up to the crucifixion of Christ. Despite all the undercurrents, it is a driving message of hope for a brighter future, made all the more relevant by cleverly splicing images of our world in lockdown into the final frames of the broadcast. Stephen Schwartz himself provides a poignant introduction to the concert; paraphrasing a couple of the central questions that the musical asks: “will we tear ourselves apart? Or can we come together as a global community?” It is a heartfelt opening with nothing whatsoever mawkish about the sentiment. We are then asked to ‘enjoy the show’.

And enjoy it we certainly do, even if the thought of another online event is starting to irritate that itch to get back to live theatre. The host of leading lights from Musical Theatre, under George Carter’s musical direction, give wonderfully fresh and novel interpretations of the numbers; from Jenny Fitzpatrick’s a Capella opening verses of “Prepare Ye the Way of the Lord” through to the finale. It does come across at times as an extended music video, but it is a delightful journey as we are steered through the songbook. One of the highlights has to be Ruthie Henshall’s risqué routine during “Turn Back O Man” which puts a whole new spin on performing “within a bubble”. Lucy Williamson and Shekinah McFarlane team together for an entrancing “By My Side”. Darren Day gives a wonderful turn as Jesus in “Alas for You”, evoking an underlying anger at injustice that hasn’t really changed since biblical times. Danyl Johnson’s spirited “Light of the World” oozes optimism, but the true spine-tingling moment comes as a kind of encore, after the finale. During “Beautiful City” Jodie Steele’s crystal voice emerges from a bruised soul, clinging to a hope that she wants to impart on us all. “You can give up bitter and battered, or you can slowly start to build.” “Yes, we can”, the chorus responds.

Irrespective of the intrinsic religious messages, this anniversary concert carries its own message. A message made much clearer by the sheer talent of the voices delivering it. The music speaks for itself, the lyrics speak for everyone, and the singers’ voices speak of the future for our industry. If this concert is anything to go by, it looks bright.

Reviewed by Jonathan Evans

Godspell Online in Concert

Online until 29th August via Hope Mill Theatre

Previously reviewed by Jonathan:

Nearly Human | ★★★ | The Vaults | February 2020

Tell It Slant | ★★★ | Hope Theatre | February 2020

The Importance Of Being Earnest | ★★★½ | The Turbine Theatre | February 2020