The musical theatre star brings back her solo concert – with a repertoire featuring some of the most memorable showtunes that have concocted her career over the boards. Guillermo Nazara shares his views on the show, to let us know f this tribute to her bewitching journey ended up feeling a bit green.
Some of you would do anything to see her. So many treasure the fondest memories from her acts. You could have danced all day to the songs you’ve watched her perform. And to every one of you, in some way or another, she’s still is, and always will be, that girl.
Kerry Ellis has returned to the West End – not that she’s ever left it, though. But last Monday, London audiences got to taste the last version of her solo concert – a retrospective journey through the melodies that have built her path under the spotlight; a trajectory which has now surpassed two decades of existence.
The success of her career is more than justified. No words can be attributed to her voice other than those of praise. This latest endeavour, which will tour the UK from the end of summer, makes of that quality a solid statement. Every rendition is carried out in the most impeccable manner. Flawless technique, charming timbre, and exceptional vocal strength make of each number an explosive array – mixing perfectly honed craftsmanship with pure, blaring talent.
However, the show doesn’t come without a few noticeable imperfections – erasing part of the allure of a potentially standout event; and, on some occasions, becoming slightly off-putting. While her singing prowess is guaranteed to astound the most impassive viewer (and perhaps bring them to a semi-hypnotic state of veneration), many of the arrangements fail to compel anywhere near.
Described as an intimate performance, featuring just Kerry and a pianist onstage, the ongoing use of pre-recorded tracks creates an uninviting effect of artificiality that downsizes the entire appeal. There is no need for an epic, full-band sound when the heart of the concert is in a completely different place. A single instrument can offer countless possibilities – especially, if it’s a piano. And reimagined approaches to well-known works are always welcome as long as their artistry is preserved. Why ruin it, then, by adding a stroke of unnaturalness that will only blemish the whole picture?
Fortunately enough, the gig does offer some extraordinary moments when its identity is encouraged. Defying Gravity, admittedly one of Ellis’s anthems, soars in a new delicate adaptation that boosts the material’s emotional power — proving how true richness doesn’t come from ornamental opulence but the authenticity it exudes throughout.
You will come for the name. You will stay for the person. And you will be enchanted by the voice. With some interesting personal anecdotes serving as the piece’s guiding thread, and a repertoire of showtunes that’s certain to rock you, Kerry Ellis maintains her status as a queen of musical theatre through this simple, soulful tribute to her remarkable efforts. I dreamed a dream where accompaniments were solely live. Now that I’ve seen her, I wouldn’t raise a massive complaint. But when it comes to West End actors playing on top of their games, taped backings should definitely be someone else’s story.
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Queen of the West End will tour across the UK from 17 September to 23 November. Tickets are available on the following link.