JACQUES
BREL IS ALIVE AND WELL AND LIVING IN PARIS
by Eric Blau amd Mort Shuman
Based on Brel's lyrics and commentary
Music by Jacques Brel
Venue: King's Head Theatre Club Islington 1995
Directed by Julian Woolford
by Eric Blau amd Mort Shuman
Based on Brel's lyrics and commentary
Music by Jacques Brel
Venue: King's Head Theatre Club Islington 1995
Directed by Julian Woolford
Cast
Michael Cahill
Alison Egan
Liz Greenaway
Stuart Pendred
| ACT ONE |
|
| MARATHON | Company |
| ALONE | Michael |
| MADELEINE | Company |
| I LOVED |
Liz |
| MATHILDE | Stuart |
| BACHELOR'S DANCE |
Michael |
| TIMID FRIEDA |
Alison & Men |
| MY DEATH |
Liz & Stuart |
| GIRLS AND DOGS |
Stuart & Michael |
| JACKIE | Stuart |
| STATUE | Michael |
| THE DESPERATE ONES |
Company |
| SONS OF... |
Liz |
| AMSTERDAM |
Stuart & Company |
| ACT TWO |
|
| THE BULLS |
Michael & Company |
| OLD FOLKS |
Alison & Company |
| MARIEKE |
Liz & Company |
| BRUSSELS |
Alison & Company |
| FANETTE |
Michael |
| FUNERAL TANGO |
Stuart |
| MIDDLE CLASS |
Michael & Stuart |
| NO LOVE YOU'RE NOT ALONE |
Liz |
| NEXT |
Stuart & Company |
| CAROUSEL |
Company |
| IF WE ONLY HAVE LOVE |
Company |
'This is an impressive show that has both intellectual and emotional appeal. May it run forever.' What's On In London
* * * * * * * *
Julian Woolford's production
broke fringe box-office records earlier this year. Catch it while it's
hot.' The Independent
* * * * * * * *
Review: The Stage
While I was aware of the cult
status this musical celebrating the life and work of the Belgian
song-writer Jacques Brel had attained, the first opportunity I had to
see it was in September last year at the Canal Cafe. Having enjoyed the
cabaret style revue first time round, it was interesting to see how the
same production would fare in the slightly roomier surroundings of the
Kings Head. I was not disappointed.
Brel's material has been criticised for being melodramatic, sentimental and even dull, but Eric Blau and Mort Schuman's concept for the show, together with their English translations of his lyrics, rarely fail on any of the above counts. True Brel was ambitious in his themes, tackling the highs and lows of the human condition with songs about everything from war to love and old age, but there was an inherent sincerity in his material that cannot be denied.
The cast was in good form. Liz Greenaway's passionate renditions of No Love You're Not Alone and Sons Of were full of intensity and emotion. Michael Cahill demonstrated his versatility by teasing the audience in The Bulls and then switching to feelings of deep loss during Fanette. Alison Egan came up with a beautiful interpretation of Old Folks, while she raised our spirits with the wonderful Brussels. And Stuart Pendred, more than anyone, took advantage of the extra space of the King's Head stage with performances of Jackie and Funeral Tango that were quite capable of stopping the show. Congratulations also go to musical director and pianist Ruth Alexander and keyboard player Chris Brooker.
It would have been nice to know more about Brel the man.
* * * * * * * *
Brel's material has been criticised for being melodramatic, sentimental and even dull, but Eric Blau and Mort Schuman's concept for the show, together with their English translations of his lyrics, rarely fail on any of the above counts. True Brel was ambitious in his themes, tackling the highs and lows of the human condition with songs about everything from war to love and old age, but there was an inherent sincerity in his material that cannot be denied.
The cast was in good form. Liz Greenaway's passionate renditions of No Love You're Not Alone and Sons Of were full of intensity and emotion. Michael Cahill demonstrated his versatility by teasing the audience in The Bulls and then switching to feelings of deep loss during Fanette. Alison Egan came up with a beautiful interpretation of Old Folks, while she raised our spirits with the wonderful Brussels. And Stuart Pendred, more than anyone, took advantage of the extra space of the King's Head stage with performances of Jackie and Funeral Tango that were quite capable of stopping the show. Congratulations also go to musical director and pianist Ruth Alexander and keyboard player Chris Brooker.
It would have been nice to know more about Brel the man.
* * * * * * * *
A web correspondent writes: It's
not strictly correct to refer to the Blau/Shuman lyrics across the
board as translations. In most cases, they are, if sometimes quite
loosely. But a few (eg Marathon) bear no resemblance to the
original French words, so English "version", "rendition" or some such
might be a better term.