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CD REVIEWS Masquerade Just when you thought
you'd heard it all before out of the blue up pops a recording that is just that
little bit different. Into that category falls In The Red. Not that
the story or setting is particularly radical - Northern England at the start
of the 20th Century has already featured in The Hired
Man, Love On The Dole and a handful of others. What allows the
recording of in The Red to claim the epithet "different" is the
backing, which is provided by the Williams Fairey Brass Band. Sounds a recipe for
disaster? Well that was my immediate reaction but I was proved wrong. It is
surprising what a variety of effective backing sounds a brass band can
provide. And above all it offers a perfect backdrop for the tale of the rise
of socialism in a working class community (it is adapted form Robert
Tressell's The Ragged Trousered Philanthropists). Written by Michael Brand
and Ian Chippendale, all concerned have pushed the boat out with this
recording, calling on the services of West End luminaries Stephanie Lawrence,
Peter Polycarpou, Carl Wayne, Scott Fleming and Jane Milligan and what sounds
like a large though unidentified chorus. As a result we are treated to a
lovely recording, clear and warm and expensive sounding. Mind you, the
performers have some pretty good material to work with. Wedded Bliss
and If She Were Mine are a couple of fine ballads, while there is no
lack of rousing numbers culminating in the anthem Don't Come Monday Words and Music
January 2000 And now for something
completely different! In The Red is the work of a pair of talented new
British writers, Michael Brand and Ian Chippendale who between them are
responsible for the book, music and lyrics. I must mention the
inspired idea of getting the Williams Fairey band to provide the exemplary
musical backing - it's amazingly effective and adds much to the proceedings.
As for the songs, Jane Milligan scores with the haunting Wedded Bliss,
while How Could I? is the perfect vehicle for Peter Polycarpou's fine
voice! There are a couple of well placed and rousing ensemble pieces - Misery
and Politics! Politics! - and Stephanie Lawrence's outstanding solo Time's
No Longer On Your Side makes a great 11 o'clock number. Add to the mix a
couple of excellent duets (Happy Times and Making Ends Meet)
plus the closing Oompah Band and what you have is a piece that shows
considerable promise. An auspicious debut and well worth sampling. I'm sure
we're going to hear more of Messrs Brand and Chippendale in the future. Musical Stages 5/12/99 Review by Matti Aijala A tale of socialism,
religion and brass bands. All of this is a new musical called In The Red,
which is loosely based on The Ragged Trousered Philanthropists by
Robert Tressell. A tyrannical factory leader, Hunter (sung by Carl Wayne) and
also a religious preacher (or simply a hypocrite) confronts a new doctrine of
socialism in the guise of a new kid on the block, Easton (Peter Polycarpou)
and his unhappy wife Ruth (Jane Milligan). This conflict is the major
building block in this new musical, which manages to fuse a lot of true
sentiment in its politically and socially conscious anthems. A new musical about brass
bands and socialism? At first it seems like one of those weird concoctions
that one comes across from time to time in the world of musical theatre. This
new British musical by Ian Chippendale and Michael Brand has been issued on
the Dress Circle label and in a way I am quite surprised by how well it
really works. My initial reaction to this CD was a mild oh, well…, but now
that I have spent more time listening to it again and yet again it has grown
immeasurably in stature in the best possible way. Layer by layer one keeps
finding new levels in it and that is in my opinion the very basic premise for
this type of musical. Brand and Chippendale have weaved together a most
original work, which happens to work a lot better than most new things I have
heard lately. The most surprising thing
about In The Red is the absolutely captivating orchestral sound that
really sounds quite fresh to me. Nothing new about brass bands a such, but it
just seems so right for this tale. The first time around I was more concentrating
on the story and the sometimes derivative lyrics, but now the most striking
feature seems to be the orchestration as played here by the Williams Fairey
Band and conducted by Geoffrey Brand. Sometimes it brings back familiar
sequences from such musicals as The Music Man and the lot lesser well
known Over There which brought the Andrews Sisters to Broadway along
with a young lad called John Travolta. Both works have been among my
favourites for a long time and this new one will eventually find its place in
that same league as well. This is definitely not Sondheim, but happily it is
not Lloyd Webber either. Neither is it Brecht, but it has some faint echoes
of his ideas of socially conscious musical theatre and of course Marc
Blitzstein. In fact Blitzstein's The
Cradle Will Rock dealt with similar subjects causing one of the best
known riots on Broadway, which has now become the basis for a major new
feature film from Tim Robbins. The authors have wisely avoided any knowing
references to these works and this is exactly what makes this work so
enjoyable. Chippendale and Brand have an original voice of their own and I am
pleased to hear that coming through in their words and music. Personally I love the
opening a capella sequence, where Hunter is spreading out the word of God
only to be interrupted by Easton's new theories and doctrines. Wayne is in
great voice and sounds perfect for the part. His big solo number, Don't
Come Monday, later on in the first act is one of the best numbers in this
score. It contains a lot of true power as it deals with the character's inner
turmoil between his job and his religion. I love this moment when we actually
get to see inside his head and feelings in a kind of true inner monologue
mastered by master Sondheim in his works. The lyrics are quite good as well
and this song provides a high point for anyone looking for some insight into
the workings of the human mind. There are too many good
numbers in the score to mention here. Time's No Longer On Your Side
is one of the prettiest melodies and is powerfully sung by Stephanie
Lawrence. Peter Polycarpou and his singing chorus of fellow socialists have
one glorious moment with Politics! Politics!, which is the kind of
number that Bock and Harnick wrote for their Pulitzer winning musical Fiorello
(Politics and Poker). These are just some examples of this very
interesting and welcome score. I wish I could see it on stage asap and of
course hear more from Messrs Brand and Chippendale. They seem to be a major
new talent to be reckoned with in the modern musical theatre. Watch out comrades! The British Bandsman
23/10/99 Review by Martin Smith Musicals these days need
a message, and In The Red has certainly got a message! Loosely based on Robert
Tressell's The Ragged Trousered Philanthropists, it is a story of
hardship in England in the 1900s, and the conflict of personal standards
against day to day needs. This clever and often emotional score gives the
listener atmosphere from the start, and the use of a brass band as accompaniment
adds to this enormously. The theme allows for a
full range of musical writing from the intense Don't Come Monday,
to the light Oompah Band. Some good concerted numbers also carry great
depth of feeling - Making Ends Meet/Put it on the Slate. Good performances
from the singers, including Stephanie Lawrence and Peter Polycarpou in the
leads, balanced beautifully with sensitive playing from the Williams Fairey
Band conducted by Geoffrey Brand, making this recording a very entertaining
listen. Whilst the style of In
The Red reminds me in part of Les Miserables and Blood Brothers,
with a good helping of Hired Man thrown in, it does have the feel of a
contemporary work which brings together the musical genre with brass band
tradition. This CD, well produced and
with excellent performances from all concerned, is an ideal showcase for the
piece and a must for band fans with a penchant for the West End! Bucks and Berkshire
Observer 22/10/99 Review by Clare
Brotherwood An industrially set
musical featuring impoverished working class people works particularly well
with a brass band backing. The music not only conjures up the sooty, smoky
but close-knit communities of an industrial town, but also offers an extra
depth and a well-rounded sound. The songs are imminently
listenable - there are echoes of Blood Brothers, Les Miserables and
also, of course, Brassed Off, - though not as much of this as I had
imagined. Some of the numbers are
poignant and soulful, while others reflect the fighting spirit so prominent
in struggling communities. Misery for instance, sung by the workers
fighting the establishment, has a barbershop arrangement, while others are
lively and spirited and Oompah Band conjures up all the fun of Barnum.
And at one stage three songs are cleverly interwoven while keeping their
own identities. The singing cannot be
faulted. Backing the singers - who include Peter Polycarpou, who has starred
in Phantom of the Opera, Oklahoma and Miss Saigon, Stephanie
Lawrence, star of Evita, Marilyn the Musical and Blood Brothers
and Spike Milligan's daughter Jane Milligan, is the award winning Williams
Fairey Band. Others include Carl Wayne, former lead singer of The Move, and
Will Adams who have also been in Blood Brothers, Scott Fleming and
Phil Nicholl. In The Red is released on Dress Circle
Records and is available from the Dress Circle shop, 57-59 Monmouth Street,
London WC2H 9DG, tel 0171 240 2227. If you see any reviews
of
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