The world’s most flickering concert series starts a new episode with their latest rendition of some of the most popular theatre tunes. Guillermo Nazara shares his views on the show, to let us know if he dared trust the music of that night.
Those who work in the creative side are often warned (specially, by solitary critics – self love, as you see…) not to tamper with the classics. But would such notion also apply when it’s the classics themselves that are playing the trick? It’s not the first time that the gimmick has been made, though. From educational TV programmes (the image of elderly, humorless fiddlers in Grease wigs will haunt me for the rest of my days) to more complex, somehow daring proposals, the blend of ‘serious’ music (picture those quotation marks as big as possible) with nostalgic, people-pleasing showtunes never seems to lose the spotlight – or any kind of light, for that matter.
The Candlelight experience has managed to built up a name for itself in the last few years – its productions expanding all over the world through countless versions of the same idea. It’s easy to understand why. A charming repertoire performed in a carefully chosen venue, resulting in an experience than, though not as transcendent as the title may suggest, does ensure and evoke an essence of its own through its ethereal visuals. Add in, in this case, a bit of Lloyd Webber, Elton John and even Dolly Parton and the recipe is unlikely to fail when presented to an audience hungry for catchy melodies.
As high-brownishly arrogant these observations may sound, the truth is that the commercial appeal (and safety) of this concept in particular should not, in principle, avoid room for intellectual sophistication. And it doesn’t in practice either, due to the generally sublime arrangements that (with the exception of 9 to 5 – sorry, Dolly, Jolene asked me to write that) create an uplifting, almost heavenly atmosphere through the richness of its ariose textures and harmonious intricacy – mixing the pop culture spark of its song collection with a romantic undertone that ranges from the thunderous Baroque’s Vivaldian style to a more grand, yet delicate Strauss-like approach.
Ardently interpreted by a string quartet, whose passion rumbles with awe-striking force all through their hypnotized delivery, their palpable love and commitment to their performances do not fully translate to its technical aspects. Though showing promise and regaling us with some moments of nearly flawless display, the execution of many excerpts still feels unpolished, with the phrasing not fully articulated and featuring an excessive use of the rubato dynamic – thus, creating an uneven and unsatisfactory rendering when it comes to the more uptempo, strongly rhythmical numbers. In addition, the playing of some ornaments (as well as, all in all, the purity of its sound) is yet to achieve its final stage – as of now, not entirely arousing the whole potential of beauty and sentimentality that both the material and its instrumentalists are surely able to emanate.
With a brilliantly envisioned idea and a troupe that’s managed to carry out the task to some competence, Musicals by Candlelight has avoided the rain on their parade through a properly chosen hit list and its charming enunciation, but it’s still some bars away from becoming the funniest girl in town. A more refined, spotless enactment will be the key to make of it the triumph its score yearns for – which could be even heightened through a more cohesive, structured storytelling device serving as its guiding thread. Gimme, gimme, gimme one firmer hand to that already throbbing heart, and surely then you can’t stop the beat.
All pictures credit to Danny Kaan.
Musicals by Candlelight plays at Covent Garden’s Actors’ Church until 2 December. Tickets are available on the following link.