The Great British Musicals in Concert "could charm even the most hardened of hearts."

By Helena Payne

In the United Kingdom we are fortunate to have a real theatrical heritage. I can trace through performers, teachers and creatives I’ve worked with right back to Shakespeare. It’s always wonderful to honour this history and what better way than with a celebration of our great Musical theatre composers. Nicolas Parsons is a stalwart of the entertainment industry and The Great British Musical, a one-off evening recital and tour through this genre, could not have lucked out with a more appropriate host. Billed as a “glamorous evening” at the St James Theatre, this concert of old favourites and crowd-pleasers meanders along nicely. Neither astonishing or dreadful, this was a thoroughly satisfying event.

The stage was simple; grand piano in one corner and cluster of tall chairs at the back, the sort Westlife sit on before standing to denote a key change. Obviously we started with a bit of Gilbert and Sullivan, always a dangerous option as G&S fans will almost certainly sing along whatever the circumstances. Thankfully the warbling was mostly restricted to the stage as we plodded through the numbers. The Novello Singers, musically directed by Ross Leadbeater (who was the mastermind behind the evening as a whole) are a chorus of actor-singers with varying styles. Annatt Bass stood out for her earnest performance of Soldier Lad and James Charlton demonstrated a marriage of lovely tone with charm and cheek. I’m sure for many audience members the choice of repertoire hit home - a wistful recollection of a simpler time. But, by the time they were denouncing materialism and singing that “all they wanted was a room in Bloomsbury,” it felt a little out of touch. I certainly wouldn’t object to a room in Bloomsbury where one could do “sitting” and I could do……. “knitting”! It’s not too much to ask, surely? As the repertoire moved closer to the present day, the voices of The Novello Singers began to suit the songs more comfortably. This just comes down to the way musical theatre is taught now, catering for contemporary music.

West End leading man and lady, Jon Robyns and Louise Dearman, provided a real master-class in how to command the stage and convey a song. Confident in taking his time, crafting and choosing his moments, Jon Robyn won the audience with his understated and atmospheric performance of What Kind Of Fool Am I? The emotion was palpable in Dearman’s Lloyd-Webber bonanza, consisting of songs that are so often massacred; every realisation was fresh and her tone outstanding.

However, the undeniable star of the evening was Parsons, in his plush purple smoking jacket (that turned out to be his costume from playing The Narrator in The Rocky Horror Picture Show). His extraordinary anecdotes about the composers of these works, many of whom he himself had met and developed personal relationships with, made their work all the more accessible. His impression of Noel Coward whilst recounting a story about his mother, a rather amorous poodle and a bishop was the stuff of legend... but I can't tell it like he did so won’t even try. We are so fortunate that living legends like Parsons do not hole themselves up with their incredible stories and memories, but recognise they are part of a heritage that loves and values their extraordinary wealth of experience.

The Great British Musical was a fantastic celebration that, I’m sure, could charm even the most hardened of hearts. I would not describe it is as relevant or pertinent, but it’s equally as important to recognise, respect and celebrate our history. This concert does just that. I only wish I’d been able to see Simon Callow's performance as well. I’m sure that would have been equally splendid.

@postscriptjour

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