Today this could be / The greatest day of our lives...

The following was written for my Critical and Editorial Writing class I'm currently taking; we had to write a music review. Given the obvious theater connection, I thought I'd share it here.

Kerry Ellis is no stranger to the stage. For the past two and a half years she starred as Elphaba in “Wicked,” and was the first British actress to play the part both in London’s West End and on Broadway. Her previous roles include Fantine in “Les Miserables,” creating the character Meat in “We Will Rock You,” and understudying Eliza Doolittle in “My Fair Lady.” In December of 2008, Kerry sang her rock version of “Defying Gravity” on the Royal Variety Performance,” with Brian May accompanying her on guitar.

But at her first solo concert, singing “The Great British Songbook,” at the Shaw Theatre, she revealed her big fear: Talking.

“I should tell a joke, but I don’t do jokes,” she rambled after completing three songs, while the show was temporarily stopped due to technical difficulties. “Not funny, don’t do banter, don’t do talking. All night, I’ve been here, ‘Don’t make me talk, don’t make me talk.’ What do they do? Make me talk. Brilliant.”

And yet her nerves disappear the second she starts singing. Immediately after the technical issues were fixed, Kerry jumped right into the frantic “Lost in Translation,” a song from the new musical “Lift”: “She went to Paris/ Can you believe it?/ She just woke up and f-cked off to Paris.”

Small gasps were heard throughout the sold-out audience. To many of Kerry’s fans who know her primarily from the family-friendly musical “Wicked,” it came as a bit of a surprise to suddenly hear her curse. (And for those who missed it the first time, the word came around again a minute later.)

But that was the beauty of the concert. For once the audience wasn’t seeing Kerry as one of her characters. She could finally be herself on stage, and choose the songs she wanted to sing. Knowing her strengths, Kerry said she would “let the music do most of the talking,” and the result was a truly unforgettable show in which she both connected with the audience and showcased her incredible ability to sing anything and sound amazing.

Kerry Ellis was the second artist to participate in the Shaw Theatre’s “Great British Songbook” series, which features songs written by British composers and lyricists. She was originally scheduled to perform for only two nights, but the demand for tickets was so great that an additional two dates were added. With only 400 seats, the small theater made for a much more intimate atmosphere than Kerry’s previous stage performances.

The night began with Take That’s “Greatest Day.” As the band onstage played the opening notes, members of the audience craned their necks and tried to peer into the shadows of the stage, anxious for Kerry’s appearance. Still lurking out of view, she began to sing, the lyrics surely striking a chord with many of her fans: “Today this could be the greatest day of our lives/ Let’s make a new start, the future is ours tonight.”

At the start of the second verse she suddenly emerged from the back of the theater, and was greeted by a standing ovation and massive screams. Kerry fed off of the enthusiastic audience throughout the 90 minute concert, responding to shouts of “We love you Kerry!” with a flattered, “Aw, I love you too!”

An Andrew Lloyd Webber medley in the first half was included as a nod to her musical theater background. It began with a slow a cappella verse of “Unexpected Song,” her rich vocals completely captivating on their own: “I have never felt like this/ For once I’m lost for words/ Your smile has really thrown me.” The medley ended with an all-out rock version of “Memory” that would fit in right alongside her rock recordings of “Defying Gravity” and “I’m Not That Girl,” which are found on her “Wicked in Rock” EP.

Two more medleys followed, one of various Bond themes (during which the spastic light display partially blinded the audience), and one featuring Annie Lennox. The first act ended with “Rule the World,” (“Yeah you and me we can light up the sky/ If you stay by my side, we can rule the world”), and Kerry scampered back up the stairs to the back of the theater, to exit in the same fashion as she entered.

The second act opened with Duffy’s “Rain on Your Parade,” featuring four young, male back-up dancers. Although Kerry mostly swayed as they danced sensually around her, her stage presence and confidence ensured that she remained the center of attention. Next came an calming acoustic version of Goldfrapp’s “A&E,” in which the simplicity of Kerry’s smooth voice with a single guitar came together in a haunting melody.

First night nerves got the better of her as she began one of her scripted song introductions out of place, starting to talk about her time in New York before her Musical Director quickly corrected her. “But we’re not talking about that bit yet,” she amended with a cheeky grin, “First night and all.”

She smoothly continued into talking about her love of “boy rocker bands,” and lamented that she never gets to sing their music, but “tonight, I sing what I want.” The medley included “The Scientist” and “Fix You” by Coldplay, and her theater background shone through as she openly displayed the emotions from the songs. The overactive lights aided in helping it to feel like a real rock concert, but were a little too much for the small theater.

It was then time for her New York medley, which included perfectly chosen songs that reflected back on her own five-month stay in city. “Englishman in New York” is a catchy, upbeat song about being a “legal alien” in another country: “I don’t drink coffee I drink tea my dear/ I like my toast done on one side/ And you can hear it in my accent when I talk/ I’m an Englishman in New York.”

Her personal connection to the songs was clear to the audience, many of whom had likely spent her time on Broadway counting the days until she’d return. This connection was most acknowledged during “Without You,” which continues with another upbeat melody: “Tell me what I’ve always known/ Life is love and love’s at home/ Wonder if they miss me in London,” was met with huge cheers and screams from the audience, assuring Kerry that she had most definitely been missed.

One of the largest highlights of the night came at the end of the second half, where she finished with a Snow Patrol medley that combined “Chasing Cars” and “Run.” As the evening’s close was rapidly approaching, it felt as though Kerry were saying goodbye through the song: “I’ll sing it one last time for you/ Then I really have to go/ You’ve been the only thing that’s right/ In all I’ve done.” She effortlessly riffed her way through the score, her powerful voice filling the theater.

But the night wasn’t quite over yet. Following two minutes of continuous cheering, with intermittent chants of “Kerry! Kerry! Kerry!,” she returned the stage to sing Queen’s “Who Wants to Live Forever.” And she still had one more surprise up her sleeve: Brian May.

As soon as his prominent profile was spotted as he stepped forward into the light, guitar in hand, the crowd went crazy, jumping to their feet and screaming loud enough to drown out Kerry’s singing.

The two had met and become friends while working on “We Will Rock You,” and Brian May is now producing her album. It’s truly a sign of how much respect May has for Kerry, that he joined her onstage during the encore for not just one, but two songs (“I can’t drag Brian out here and just get him to do one song,” Kerry exclaimed when the applause for the first finally died down).

And so the night finally ended with “A Crazy Little Thing Called Love,” in which Kerry danced around, played air guitar, and shared smiles with Brian May. The audience joined in on the fun, clapping along, and even singing a few lines after encouragement from Kerry. While watching her perform it’s easy to forget her flustered song introductions, for she gives the impression that she was simply meant to be on stage.

Although “Kerry Ellis Sings The Great British Songbook,” ran for a mere four nights in June, Kerry has expressed her hopes to someday take the show on tour through the UK. Recently she has appeared in various other concerts throughout England, and is continuing to work on her debut album with Brian May.

In the Theater Business ...Kinda

This past weekend I worked my first shift as an usher at my school's theater. I was in need of an on-campus job to make some extra cash, and heard from a friend of mine they were hiring. So I figured, why not?

Somehow it ended up reminding me quite a bit of my summer jobs as a ride attendant at amusement parks: You work while others play. My "uniform" for the night (white shirt, black pants, red tie) is admittedly a big improvement when compared to the affectionately named "Taco Bell Reject" outfit I used to wear, or the one that made me look like a Forest Ranger. But whether you're working at a theme park or a theater, excellent guest service is a must to make sure your guests are happy. (It's the Disney in me - they're "guests," not "customers." I also still always point with two fingers.)

I stood by the entrance doors, smiling and scanning tickets, telling people to enjoy the show. And I felt like I was back at Disneyland, giving directions and answering questions, trying to keep that smile on my face. I was glad to have my amusement park days behind me, so it was strange to be so strongly reminded of them.

Of course, there are still many differences. I'm inside. With air conditioning. I won't be worried about fainting while operating kiddy rides. Hopefully sometimes I'll even get to sit inside and watch the shows. (This weekend I wasn't so lucky to get such a position.) And certainly it'll be interesting to see some of the behind the scenes operations.

With my rapidly approaching graduation in early December, I won't be there long. But I figure, if I want to write about theater, it can't hurt to work in one for a bit, right?

Musings of Two Movie-Based Musicals

Today the cast of 9 to 5 took their final bows, ending a Broadway run that lasted 4 months and 7 days. Rather than simply share my thoughts on 9 to 5 (which I saw during the LA tryout), I thought it might be interesting to compare it to another recent movie-based musical I’ve seen: Sister Act.

The two shows have quite a few similarities. Both were based successful comedic movies which had musical ties: “9 to 5” won two Grammys and was certified Platinum. Sister Act featured a large amount of singing throughout, and its soundtrack was certified Gold. Each musical also had large involvement and support from a star of the original movie cast; Dolly Parton wrote the music and lyrics of 9 to 5, while Whoopie Goldberg was a producer for Sister Act. And, to be frank, both feature rather outlandish storylines (kidnapping your boss and singing disco nuns??).

Having never seen (nor, that I can recall, heard of) either of the two original films prior to their musical’s release, I knew very little about the plot of either show. What I did know was gathered from online forum discussions, and the occasional online news article. And, to be honest, neither storyline alone was enough to really want to make me see the show.

My decision see 9 to 5 was based solely on the cast. Specifically, I went because of Megan Hilty (who I had previously seen as Glinda), and having Stephanie J Block was an added plus. Had I not been familiar with any of the cast, I doubt I would have gone.

All I knew about the cast of Sister Act was it included Katie Rowley Jones (who I had previously seen as Nessa), but I had no idea how large or small a part Katie played. My decision to go was actually made after seeing the cast perform “Raise Your Voice,” at West End Live in Leicester Square. I loved the song, the energy from the cast, and seeing Katie belt out her solo sure didn’t hurt. I was hooked, and a mere two days later went to see the show.

Both shows are the type to see when you’re simply looking to have fun and be entertained, and they both certainly made me laugh. Stephanie J Block has surprisingly good comedic timing, and Claire Greenway and Julia Sutton were standout among Sister Act’s nuns. However, both shows had their weaknesses as well, including a few songs each I certainly could do without. In 9 to 5 my attention wandered when the focus was on Mr. Hart or Roz, and in Sister Act I felt it slowed down when we were with Shank and his cronies for too long.

But when it comes to songs I really did enjoy, Sister Act takes the lead. Just about everything featuring the nuns was enjoyable, and especially entertaining to watch. Katie Rowley Jones ended up being one of my favorite parts of the show, and her “The Life I Never Led” is my most played of the cast recording.

Of the songs in 9 to 5, Stephanie’s big belting “Get Out And Stay Out” is the only one I really listen to repeatedly. The song I was most looking forward to having on the cast recording, “Out of Control,” ended up being cut from the show. While the songs work within the context of the show, I don’t find the majority very catchy, nor do I find myself with much of a desire to listen to them.

I could go on with comparisons, but overall, I left 9 to 5 with no real desire to see it again, except perhaps once on Broadway if I ever got the chance, just to see what changes were made. On the other hand, I would love to see Sister Act again if I had the opportunity. No doubt much of this is based upon my personal preference, as while I wouldn't call 9 to 5 a bad musical, by any means, I just didn't care much for the story.

Perhaps it’s not completely fair for me to compare the two, considering I saw 9 to 5 while it was still being worked on in LA, but considering the similarities, I couldn’t help but look at the two side-by-side. It will certainly be interesting to see how well Sister Act continues to do in the West End, and what type of reception 9 to 5 receives when it goes on the road next year.