Review of ‘From The Heart’: “Don Black musical revue has many aspects to love”

If you’re a regular theatregoer and new musicals have been on your radar in the last few years, you may have had the same thought: the genre is at its lowest. From forgettable scores that borrow too much from previous works and sound the same to thin plots and underdeveloped books, the flaws are as numerous as they are significant. Of all of them, lyric writing is probably experiencing the most painful agony.

That’s why it’s refreshing to celebrate the oeuvre of someone who, for over four decades, has honoured and perhaps elevated the craft on many levels. You don’t need to be a Broadway fangirl (gender-inclusive term) for the name Don Black to mean something to you. His legacy transcends London’s West End and New York’s Great White Way. Whether it’s a legendary pop hit or the unforgettable lines of the Bond film theme song, his contributions across all fields of entertainment are undoubtedly paramount. And this show does a decent job of acknowledging his accomplishments.

It’s not perfect, but it’s enjoyable enough to be worth a visit — or even two. Admittedly, there’s not much you can do with an anthology concert other than, well, sing a few songs and try to bring some cohesiveness in between them. From The Heart does it. Not in the most seamless or best-paced way. But the cast’s competence and, above all, the material’s quality somewhat make up for its small structural shortcomings.

Don Black’s disembodied voice echoes around a dark, unfurnished space, themed like a sound stage. Low-hanging spotlights, a peeling black-brick back wall, tables, and a few seats fill the room. At the front, an empty director’s chair reads the words “Don Black” on its sling. As Michael D. Xavier turns it around while his pre-recorded spiel takes over, his story begins to unfurl.

Anecdotes, fun facts, and professional reflections glue the show’s eclectic repertoire together. Sometimes, significant and streamlined; other times, slightly unnecessary and overwhelming. But what’s undeniable is that, despite these flaws, there’s magic onstage — imperfect and intermittent, but powerful enough to leave a mark on its audience. In the end, the production feels intimate, truthful, spirited, and occasionally soul-stirring. In other words (pun intended), it lives up to its title.

Its star-studded company is overall excellent. The only exception is Clive Rowe, whose voice suffers from pitch instability and whose acting falls flat — something even more troubling given that the concert commemorates the footprint of a wordsmith, so the text should be everything. Surprisingly, those issues disappear almost entirely during the big medley finale, suggesting some of his repertoire might be underrehearsed rather than due to fatigue or unpolished technique.

The evening blessed viewers with quite a few high points, however. Michael D. Xavier, Caroline O’Connor, and Frances Mayli McCann shone in nearly every number, brimming with naturalness and electrifying showmanship, while perfectly capturing each piece’s ethos and emotion. Shona McGarty earns another mention with her commanding presence and muscular, practically unblemished singing, culminating in a magnetic rendition of the iconic Diamonds Are Forever.

A cameo appearance by musical theatre darling Michael Ball, performing his signature hit from the contradictorily failed Andrew Lloyd Webber musical, Aspects of Love. Inevitably, at 64, his voice is no longer what it was: it doesn’t sustain as it used to, and its clarity has faded. But he’s still in tune and able to articulate the climactic ending notes without much struggle. Suffice it to say, he still wins general audiences over.

Its impeccable, atmospheric lighting and masterfully executed arrangements (featuring just a piano and a contrabass) are the final touches in this imperfect yet captivating tribute to the fine work of an indisputable national treasure. For all this, the London scene should welcome the return of From The Heart with open arms. Passionate, entertaining, and sometimes moving, this musical revue proves, above all, the endurance of its content — it’s not just for the summer or the spring, but for life.

All pictures credit to Eamonn B Shanahan.

From The Heart plays at London’s Garrick Theatre until 18 October. Tickets are available on the following link.

By Guillermo Nazara