West End Does returned to the Cadogan Hall last weekend, bringing the third instalment of its star-studded concert series. Guillermo Nazara shares his views on the show, to let us know if this theatrical homage to the soundtrack of our childhood was either part or out of this world.
Regardless of how much the company might have screwed up recently, it comes off almost as a mathematical certainty that you can’t go wrong when you go for Disney. With the departure of Frozen from the scene, and still several weeks away from the opening of Hercules at its former home (will I be invited?… Well, kiss me, Kate), the feeling of void was getting too big for the waiting to persist. And so, the Cadogan Hall hosted a one-day performance last week, featuring a few familiar faces in the West End, as they blessed some poor unfortunate souls with the colours of the (wood)winds – and more.
A reconverted church, now serving as one of London’s most emblematic concert halls, it came as a no-brainer to begin with Menken-Schwartz’s epic opening song The Bells of Notre Dame. An obvious choice on paper which, however, didn’t land as robustly onstage – at least, partially. Delivered by Rob Madge as Clopin, and accompanied by the West End Does orchestra, both vocal and musical executions are highly enjoyable, the lively tone of the arrangement erases part of piece’s soul – while also not matching the dark essence of the material, despite the lyrics consisting of a mixture of the film and stage versions.
It’s not a massive flaw, but it creates an odd vibe as for the tone it tries to emulate. On the other hand, the removal of the spoken excerpts deprive the number of narrative sense. Yes, we’re not attending a full-scale performance of The Hunhcback of Notre Dame, but every act should tell a story on its own and let that come in full circle. Here, we are regaled with the beauty of its form but prevented from exploring the depths of its meaning.
You may find it excessive to spend two paragraphs critiquing one single rendition from a 24-song repertoire. But maybe the reason behind it is that, apart from a few technical glitches here and there, the show can still be considered a triumph. Beautifully put together through elegant staging and intricate arrangements, The Magic of Animation is an electrifying celebration of the genius behind some of the most iconic cinematic moments treasured in everyone’s memory.
The third installment in a series of cartoon-themed one-stands, the event took audiences on a musical battle between heroes and villains – with a song collection ranging from camp, tongue-in-cheek “evil guy” numbers to the uplifting, lush melodies that have defined every generation. It’s a treat to the ears that is generally supported by the compelling presence of some cast members – going the distance beyond their stunning vocals and bringing the whole film to life by letting the character speak through them.
West End fave David Hunter is the perfect example of this phenomenon. His effortless showmanship and inviting energy (the closest theatrical equivalent to the John Kransinki formula) make of his rendition the peak of the evening. In addition, Alistair Brammer makes a brief yet noticeable appearance, exuding charm in his portrayals by accentuating the importance of the text. Vocally, Rachel John and Sharlene Hector stand out through their arresting Prince of Egypt duet, while the highest praise goes to John Ellis for his intoxicating, technically perfect, and spirited execution of Through Heaven’s Eyes.
With some amusing passages starring host Simon Lipkin, and an overall satisfying homage to the legacy that animation has built upon every soul, West End Does’s latest gamble has turned to victory by conquering the hearts of those who still wish upon a star. Besides some questionable staging choices, with the dance sections serving little more purpose than an unnecessary distraction, the overtaking impression is of a shining gem. And though some extra polishing wouldn’t hurt, its return would nonetheless be welcomed by devotees and strangers like me alike. I won’t say I’m love. But then again, who do I think I’m kidding? Perhaps there was no miracle, but they did make us believe.
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Tickets for upcoming shows at the Cadogan Hall are available on the following link.