Some Musicals with a Social Conscience

Reviews of recordings of ...
Annie, Barnardo, Love On The Dole, The Matchgirls and Spend, Spend, Spend

Annie
Book and lyrics by Alan Thornhill
Music by William L. Reed
Original London cast: Margaret Burton, Gerard Hely, Angela Richards, Bill Kenwright, Danny Bettis, Barry Monroe. Musical director: Ray Cook
Songs: A Cup Of You And Me; Mending Things; Open Your Heart; Walking Out; Good Morning; Knock, Knock; It Fair Takes Your Breath Away; Basinful Of Revolution; Betwixt And Between

No, not the Annie of 'Tomorrow' and all those orphans, but a Sunday School pulpit-musical that unaccountably ran in London for some 400 performances at the Westminster Theatre (July 1967). Produced by the Moral Re-Armament organisation, this musical sermon was loosely based on the life of Annie Jaeger, born in Stockport in 1875, who worked among the unemployed in East London and subsequently joined Moral Re-Armament. It was definitely a show with a message: the programme noted that 'Annie believed that the ordinary person is meant to be a remaker of the world. She believed that everyone can learn the art of changing people.' Unfortunately, these admirable theories were crudely expressed in this puny and moralizing piece. The Times tactfully thought that 'The cast itself is a strong one … And Margaret Burton [as Annie] works wonders.' She was supported by Angela Richards and Gerard Hely as the young romantics. One can scarcely imagine what they must have thought of the score, immortalised on two EPs, rarely found today. Nine numbers survive here, including Burton's open-throated 'Open Your Heart' ('a powerful and passionate song' said the Liverpool Post critic, who obviously didn't get out much) in which she lets releases her Sadler's Wells tones on a wonderfully basic aria while forsaking any characterisation. There is something irresistible about this pious nonsense, but for the less resilient there is the over-done homeliness of 'A Cup Of You And Me' (the thrill of drinking a cup of Rosie Lee) in which Burton lets down her prima-donna hair with Danny Bettis and Barry Monroe. It's all gloriously embarrassing stuff, as are the songs for Richards and Hely. They carol the joys of 'Walking Out', a sentiment with which perceptive audiences must have agreed. For Margaret Burton, Annie was a moment of personal glory in a career that had more than its fair share of disappointment. A great principal boy, her appearances in musical theatre were less lucky. Much wider of girth, her final appearance was in the British production of an American musical Marilyn!, in which she was reduced to a couple of lines of dialogue and chorus work. By this time, she was battling with alcoholism. Early in its run she came out of the show following a contretemps in the dressing-room with the chorus girls. The management let her return for the final three performances of Marilyn!. She never worked again.

Barnado
Book music and lyrics by Ernest Maxin
Studio Recording (1980) cast: The George Mitchell Singers and His East End Kids. Musical director: George Mitchell
Songs: London's East End; Lovely Hot Pies; Snuggle Up; Girls Are Luverly

This rubbish was not to be recorded by its London cast after opening at the Royalty Theatre in May 1980 to a totally damning press. Maxin's only outing as librettist, lyricist and composer for musical theatre displayed a complete lack of taste or talent, and was off after 43 performances. The idea that a mindless East End knees-up, with undigestible dollops of nauseating sentimentality, might suffice to tell the story of Dr Barnardo's struggle against poverty and child abuse was despicable. A full recording of this score by the original company would surely have resulted in the worst-ever musical recording; as it is, we have four numbers performed by forces led by George Mitchell, responsible for the musical delights of The Black And White Minstrel Show. This selection lacks a song called 'Cor', and 'My Son' sung on stage by James Smillie as the kind doctor holding his dead baby son in his arms. But we do have 'London's East End' in which the lobotomised ensemble celebrate the fact that 'Best things always come in … Share our Cockney fun in … Bargains can be won in London's East End' - and 'Fog is always thick in … You'll get done real quick in … Feel your heart tick-tick in London's East End.' An announcement in 1967 that Tommy Steele would be starring in a musical about Barnardo came to nothing.

Love On The Dole
Book by Terry Hughes and Robert A Gray, based on the novel by Walter Greenwood and the play by Ronald Gow. Lyrics by Robert A Gray
Music by Alan Fluck
1995 revival cast: Lori Tingay, Jill Payne, Julian Wathen, Blair Shelmerdine, Brian Cockell, Nina Frearson, James Brockis, Marion Field, Caroline Charters, Nicholas Smithers, Maria Barrett. Musical director: Damian Le Gassick
Songs: Hanky Park; Is It Always To Be Tomorrow?; My Favourite Music; Long Trousers; Move Yourself Horse; The Pawnshop Door; If You Can't Trust Your Bookie?; You'll Never Get Out Without Me; The Spirits; That Clock; I'm On Your Side; I Don't Give Up Easily; There May Never Be A Next Time; Little Piece Of Paper; Beyond The Hill; Tiger By The Tail; Was She Once Young?

It was London's loss that this admirable adaptation of Walter Greenwood's gritty novel of the struggling underclass in Britain didn't get to the West End. Gillian Lynne's original production of 1970 at the Nottingham Playhouse had a first-rate cast headed by one of the most interesting of British musical actresses, Angela Richards (playing Sally) with Eric Flynn as her doomed lover Larry, Glyn Houston as Sam Grundy and Lila Kaye as Mrs Bull, the old woman who befriends Sally and helps her get out of the depressed Hanky Park to reach 'Beyond The Hill'. That production was never recorded. A quarter of a century later the archivisit and director Stewart Nicholls rescued the show from obscurity, and mounted a new production at the Rhoda McGaw Theatre in Woking. With some new material and an amateur cast, Nicholls recorded the score, and the result is an almost unremitting joy. There is no need here to apologise for its amateur status, for this is clearly the result of a terrific commitment by the company, and by a truly splendid orchestra conducted by Damian Le Gassick, who also contributes the excellent orchestrations. Above all, the sense of theatre is paramount throughout, with some very moving passages (particularly one thinks of Mrs Bull's passionate dream of what awaits the adventurer 'Beyond The Hill', and the closing moments of the play, with its truly wonderful orchestral swell). The cast respond with complete sincerity, and yield nothing to professionals. Lori Tingay wins our sympathy with a Sally who is clearly intelligent. She is firm and characterful. Listen to her describing the effect of listening to 'That Clock ' (a great number, beautifully performed here) and you will not believe this is an amateur effort. As the ultimately triumphing Mrs Bull, Jill Payne may not have the surest of voices, but she is thoroughly convincing. Love On The Dole seems to be the only score of Nottingham-composer Alan Fluck to have been heard; among the other musicals that were around in 1970 this seems no less than a masterpiece. It has god lyrics, some wit, strength and not a little brilliance about it. No one interested in the development of the British musical should be without this account of a work that has a real heart of its own. After all, here is a recording that puts to shame many more professional recordings in the same genre.

The Matchgirls
Book and lyrics by Bill Owen
Music by Bill Owen
Original London cast: Vivienne Martin, Gerard Hely, Marion Grimaldi, Cheryl Kennedy, Julia Sutton, Jan Colet, Kim Grant. Musical director: Ian Macpherson
Songs: Phosphorus; Look At That Hat; Look Around; Me; Men; Something About You; Mind You Bert; My Dear Lady; We're Gonna Show 'Em; Cockney Sparrers; Life Of Mine; Hopping Dance; I Long To See The Day; Comes A Time; Amendment To A Motion; Waiting

Did The Matchgirls deserve more than its paltry, ill-attended 119 showings (Globe Theatre, March 1965)? Its title was a gift to critics announcing that it was not a show to set the town alight, despite director Gillian Lynne's ground-breaking and much praised choreography, but Owen and Russell's musical glimpse of the Matchgirls strike of 1888 had much to recommend it, not least Russell's attractive, somewhat jazzy score, shown to advantage against the small orchestral arrangements. Here and there, The Matchgirls can even thrill: listen to the winning 'Hopping Dance' and the first-act closer 'We're Gonna Show Em' as the matchgirls set themselves against the might of the factory-owners. The piece, weak in book and too often commonplace in lyric, was much helped by a sterling leading performance by the much neglected Vivienne Martin in the leading role of matchgirl Kate, fighting the intolerable conditions (and fatal 'phossy-jaw') found in the infernal Bryant and May factories. Martin's gutsy determination translates well to the recording, but there must be regret that she was not given more distinctive stuff. When her big second act number 'Comes A Time' arrives, one senses what Martin could have done with stronger material. Elsewhere, there is almost a surfeit of cockney boomps-a-daisy in Russell's score. Gerard Hely was a competent, unstarry leading man, making a strong contribution in his anthem of selfishness 'Me' and in his driving duet with Martin 'Life Of Mine' (one of the show's big tunes). As the socially conscious Fabian Annie Besant, Marion Grimaldi I appropriately urgent and sings strongly, soaring to a prolonged and passionate climax in her second act aria 'I Long To See The Day' (another 'If I Ruled The World' imitation). There is never a doubt that Owen and Russell have the very best of intentions towards their subject, for The Matchgirls has integrity and sympathy. If there is a musical after-life, this pleasing, determined little show should find a place in it.
Remarkably, Strike a Light!, another musical about the matchgirls strike of 1888, followed The Matchgirls into London in July 1966 (Piccadilly Theatre), with Jeannie Carson as the starring matchgirl Sarah Chapman, John Fraser in his only musical as hero Tommy, and Evelyn Laye, instead of Marion Grimaldi, now representing Annie Besant with no more conviction than Grimaldi had mustered. Even the pleasure of welcoming the neglected Carson back to London could not disguise the thin reception the piece received. It was gone after a mere 30 showings, but had at least enjoyed a lengthy pre-London tour. Carson's recording of two of the show's numbers are the only remembrance.

Spend, Spend, Spend
Book and lyrics by Steve Brown and Justin Greene, based on the book by Viv Nicholson and Stephen Smith
Music by Steve Brown
Original London cast: Barbara Dickson, Steven Houghton, Rachel Leskovac, Jeff Shankley, Lorraine Chappell, Susan Fay, Jane Fowler, Marjorie Keys, Craig Nicholls, Stuart Nurse, Stuart Pendred, Robin Samson, Nicola Sloane, Duncan Smith, Jamie Somers, Mary Stockley, Paul Thornley
Songs: Salon Mystique; I'll Take Care Of Thee; Upstairs In My Room; Sexual Happening; Special Day; The Boy Next Door; Scars Of Love; John Collier; The Win; Two Rooms; Spend Spend Spend; Miner's Arms; Garforth; Drinking In America; Canary; Who's Gonna Love Me?; Suits/ Pieces Of Me; A Brand New Husband; Spent

I'm sure that Spend, Spend, Spend, the story of poor old Viv Nicholson who won the pools and lost it all, works well enough on stage. As I write (August 2000), the show is about to close, having opened at the Piccadilly Theatre in October 1999. It won various critical awards. Were they deserved? On the evidence of this perfectly adequate recording, the writers can come up with deft and effective material, but it does go on and on. The lyrics are interminable. It might not matter if they were consistently clever, but they are not. The songs are weighed down by inordinate strings of words, when it might have been more sensible to come up with a really good melody now and again. When numbers seem to be getting into their stride, the lyricist puts his oar in, and back we go. Still, things begin promisingly enough, with Barbara Dickson as the present-day Viv working in a beauty parlour 'tup North, recalling the pleasures of the past. It sounds as if it might be captivating, but the thing never gets going. The shadow of Blood Brothers looms large over it all. Matters aren't helped by the fact that the recording is generally very studio bound, without the theatrical zing that might make it catch fire in sound. The performers do what they can, and there's nothing embarrassing about them. But they don't convince. Barbara Dickson looks too much like Germaine Greer to make us believe she could muck up her life so effectively, and she doesn't get much that's worth singing. Apparently, 'Who's Gonna Love Me?' should be one of the show's big numbers, but it's a let-down. Rachel Leskovac as the young Viv has a very modern voice that quakes a little too much for comfort. The rest of the cast sound as if they are acting, with generous lashings of what they think are Northern accents.

 

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