Category: Reviews


The Sun’ll come out tomorrow.

Well, I certainly felt it had last week at the Birmingham Hippodrome.

Confession time. I’ve never seen the original Annie film or watched a stage version. I did sample the 2014 movie remake, though, which I thoroughly enjoyed but knew it differed in style to the traditionals. Therefore, I approached this show with an open mind of the unknown. I am happy to say then, I enjoyed this stage Annie from start to finish.

Beginning in the orphanage, we immediately see the magnificent stage presence which was to compliment a powerful song and dance performance by leading lady, Mia Lakha as Annie. A lovely vocal opener with Maybe was followed by a kick-ass rendition of Hard Knock Life, sung with attitude by all the orphanage kids. And it’s those kids too I must also heap great praise on. Zara Bench (who was amazing as little Molly), Kacey Agwuegbo (Duffy), Dulcie Allsop (Tessie), Marie Peedle (Pepper), Saskia Salmon (July) and Sophia Smith (Kate) were all outstanding. What young talent, indeed. Great dancing, too.

Then, we had the entrance of the top-billed actress and Jodie Prenger (as Miss Hannigan) gave a five-star performance. A great character throughout, delivering comedy alongside impressive vocals, particularly during the gloriously over-the-top, Little Girls.

In the role of Daddy Warbucks we had Alex Bourne and like Prenger, he led with a commanding and likable character. Also supporting well though was Carolyn Maitland (Grace), Richard Meek (Rooster) and Jenny Gayner (Lily). Then we had the remainder of the cast who are too many to mention but all were of the highest quality.

Song highlights other than those already mentioned were Hooverville, I Think I’m Gonna Like It Here, You Won’t Be an Orphan for Long, You’re Never Fully Dressed Without a Smile and I Don’t Need Anything but You. A special mention must also go to the brilliant Easy Street and I cannot review Annie without singling out the iconic Tomorrow.

Although an old musical now and set in 1933, there was a real contemporary feel to this Annie which is a credit to production who kept it fast-paced all the way through. The cast and crew can be well proud and each of them fully deserved their ovation at the end, especially Little Orphan Annie.

For this production, the director was Nikolai Foster with excellent choreography by Nick Winston and musical direction – Daniel Griffin.

Not knowing what to expect is always the risk when going to the theatre, especially when the previous visit to the same venue was the appalling Joseph and his Awful Technicolour Dreamcoat. However, not only did Annie deliver the entertainment, I rank it as the best and certainly most enjoyable show of the year so far.

Cheers.

Antony N Britt

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My only previous experience of Rainbow Pantomimes was their excellent 2017 Cinderella; therefore, I had no hesitation in seeing what else they had to offer.

Music on My Mind was written by Producer and Musical Director, Danny Teitge, and staged to raise awareness for dementia. Plus, it was an excellent showcase a wealth of local talent.

Blending poignant narrative with well-chosen songs, Music on My Mind took us on a journey of one man’s life. Jimmy, played with sensitivity by Nadine Sandle, has memory problems in his later years and seeks help from a therapist (Jonathan Poutney) to re-live and experience the full impact of his life.

I must admit, the opening sequences were very dark indeed. However, this is a method I totally approve of, bearing in mind the subject matter. The opening chorus number (Let the Sunshine In) had a surreal effect and set the scene well. I did find some of the dialogue a bit stilted and awkward on occasions, with instances of dead stage times, but again, maybe this was needed.

Throughout, we were treated to great tunes delivered in top fashion by an enthusiastic and energetic cast: When I Grow Up, With You, Tell Me it’s Not True, Nicest Kids in Town and What a Wonderful World were just a few examples of this. Top of the night for me, though, was the full cast version of From Now On, led in powerful style by Jack Rubery (Young Jimmy).

Supporting well we had Helen Holis (Dora), Jodie Bragan (Lily), Amy Cooper (Rose) and Laura Stevens (Debbie).

At the end of the show we’ve come full circle with a reprise of the opening number and this time it’s more upbeat, a celebration, and life is like that when looking back. No matter how hard the times, there should always be something to smile about. A good message for all.

Also on the production team was Amy Louise, responsible for the excellent choreography, and she brought the best out of a predominantly young cast.

Rainbow’s next show sees them return to their pantomime roots with Babes in the Wood early next year. I highly recommend a trip to see it.

Cheers.

Antony N Britt

Joseph and the Amazing Technicolor Dreamcoat was the first Tim Rice and Andrew Lloyd Webber production to have an audience, arriving in 1968. Therefore, considering my love of musical theatre and the amount of shows I go to, it’s criminal it has taken me until 2019 to see this.

I won’t go into detail, but the story is based around the Joseph saga from that famous work of fiction, The Book of Genesis. Basically, Joseph is the favourite son, which angers his brothers who throw him in a pit, then sell him into slavery. However, the tables are turned when Joseph rises to a position of power and the brothers end up begging him for help.

Including recognisable numbers like Any Dream Will Do and Close Every Door, Joseph has been wowing audiences for years. So, would it do the same for me? Sadly not.

It’s a pity, because it started so well with great sound from the orchestra in the overture, and that’s where the fun ended. Heavens (Forgive the pun), it’s a dull show. The songs are not particularly interesting with poor lyrics and a flat storyline. To be frank, this Bill Kenwright production was drab. I expected a myriad of colour but got a stripped-back offering with the minimum of set. There were a few decent Egyptian pieces in Act Two, but that’s about it. Costumes looked cheap as did many of the props. Cardboard talking camels and a likewise Sphinx spring to mind. Not funny or clever. I’ve seen school productions put more effort in. Okay, I do have to say the cast were amazing, but you can only work with what you’re given, which wasn’t much.

To start with, we had a choir of 40 children who were great in the entr’acte and probably so all the way through. However, the sound was not balanced once in competition with the cast and you could barely hear the kids. Such a shame as they put in so much effort, all to be sadly let down. Then we have the character of Joseph. Union J singer Jaymi Hensley did a good job vocally, but I had no empathy for the character. Joseph is supercilious throughout, even when he is down on his luck, and if I was one of his brothers, I’d have probably flung him in a pit as well. And left him.

Another disappointment was the choreography, or rather, lack of it. It all seemed basic and having attended a dance school performance the previous week, I know which I’d award top marks for.

However, worst of all had to be the song parodies. A Country and Western dance … really! I know this and others were also in earlier versions, but they simply don’t work. Anubis’ who looked like grid iron footballers and Joseph’s family dressed as Parisians, complete with striped shirts, berets and neck-scarves. To complete this, we had a pop-up Eifel Tower, just in case you weren’t sure they were supposed to look French. I’m surprised we didn’t have a full house with them sporting a string of onions. Pathetic. But the icing on the cake as far as supreme tacky went to the Elvis impersonator. Again, this has been part of the show before but on this tour, you get the full Vegas experience (Oh, I kid you not). After Song of the King, Joseph asks Pharaoh if he can sing it again. I don’t think those around me expected to hear the stifled cries, of, “Oh, please don’t.”

But none of this was the fault of the cast, as I’ve stated, and in addition to Hensley as Joseph, we had a magnificent performance from Anna Campkin as the Narrator while supporting well on the night were: Henry Metcalf (Jacob/Potiphar) and Andrew Geater (Pharaoh).

Direction for Joseph was the responsibility of Bill Kenwright with Choreography from Henry Metcalf and Gary Lloyd, plus musical direction by Jeremey Wootton.

Now I’m all for reinvention and updated versions, I look forward to them, but this wasn’t a good one. What may have set out to be a clever idea looked more dated than it would have been 30 to 40 years ago. I really think in 2019 we can do better. I also have to say I feel sorry for the folk for whom this was their first musical experience, because they may not come back.

Cheers.

Antony N Britt

Great Wyrley was the setting for Keeling School of Dance’s showcase of talent. Titled, Dancing Through the Decades, the show was exactly that.

Keeling School of Dance was established in 1934 by Beatrice Keeling at the age of 14, operating from her parents’ house before continuing in the area, finally moving to Aldridge in 1976. Sadly, Miss Keeling passed away in 2014, having taught until 2012. It is great, though, that the school has continued, run by former pupils: Sarah Beckett, Elaine Wigfield, Clare Cooksey and Jane Eardley (whose daughter, Fran Eardley, is also a teacher at the school). Classes begin from age 2 up to advanced level and adult beginners. Now, I’ve a huge fondness for this dance school on two counts. One, it’s where I rehearse every week in my attempts at musical theatre. Two, Keeling is where my mom and dad attended during the 60s and 70s and were rather more proficient at dance than I’ll ever be.

I have a passion for musical theatre and dance features heavily in that. There is also nothing better than seeing youth with its potential for the future. And what talent we saw. Dance is a fantastic medium to develop confidence and skills, all within a friendly environment.

The audience were dazzled by groups of various ages and it was fascinating to witness the skills within each age band. It’s obvious to see, children currently seven and under will in a short time progress to where those eleven and beyond are now. Numbers from The Greatest Showman, Oliver and High School Musical were among nearly fifty performed with excellent choreography and well-chosen music which blended seamlessly.

I can’t praise enough the standards on view from all. I had also a great amount of pride watching the musical theatre group, many of whom did such a fantastic job for me in my 2018 pantomime, Sleeping Beauty, at the same theatre. And it was also particular pleasing to see the innagural star pupil award go to Rosie Harris, who was a pleasure to work with in that same panto of mine. Well done. It’s too long to list everyone on stage, so I’ll settle for a page of the programme.

I can’t recommend Keeling School of Dance enough. Dancing Through the Decades was a fabulous afternoon, and it was the commitment and spectacular performances from all which made this a truly remarkable event.

Cheers.

Antony N Britt

I see many amateur productions throughout the year and decided it was time to experience BMOS Musical Theatre Company in action. Therefore, following reading about last years’ award-winning Chitty Chitty Bang Bang, I had no hesitation going. Of course, musical societies differ in terms of profile, budget, size and location, so the smaller can never compete with one who can hire the New Alexander Theatre. Therefore, BMOS must deliver and I’m pleased to say they did just that. What a marvellous, professional company. Amateur in name but nothing of the sort in terms of evidence on stage.

Half a Sixpence is the tale of Arthur Kipps, a shop assistant who comes into an inheritance which leads him to a choice of love for Ann, or the more socially acceptable, Helen. To be honest, I found the plot rather pedestrian with some superficial characters who are redundant at times, and the occasional song lacking that extra something. But then I remembered this was not the more recent Cameron Mackintosh revival, but the 2008 Warner Brown version. It didn’t matter. BMOS managed to drag the mediocre up to the higher echelons of musical theatre with quality of cast and production throughout.

In the lead role of Kipps was Daniel Parker, and what a pro. Magnificent from start to finish, particularly in numbers such as My Heart’s Out There and Half a Sixpence. Equally supporting with excellence was Annabel Pilcher as Ann who was outstanding with I Know What I Am.

There was also a fantastic performance from Jake Genders in the part of Harry Chitterlow, a strange character who seems to serve no purpose other than being the solution to Kipps’ problems at the end. Could do with a deserving subplot, especially in this production as Genders was amazing.

Rounding off the principals were great displays from Carys Wilson (Helen), Jo Smith (Mrs Walsingham) and Lee Navin (Walsingham). Supporting these in marvelous fashion we had the shop staff in Alex Nicholls (Pearce), Neil Ward (Sid), Andrew Treacy (Buggins), Morgan Bebbington (Kate), Rosie Harvey (Flo), Charlotte Boyer (Victoria) and Patrick Pryce (Shalford). Other named parts included: Lucy Homer (Laura), Adam Wheeler (Deckchair Attendant & Mayor), Keir Poutney (Photographer & Dog Model Maker), Sian Patterson (Gwendoline), Aaron Hollyoak (Young Kipps) and Sophia Patel (Young Ann). The two younger versions were also played by Harry George and Olivia Brookes for half of the run.

At the helm in production was Stephen Duckham (Director), David Easto (Musical Director) and Suzi Budd (Choreographer).

Half a Sixpence is a great show for the chorus and there was plenty on view, full of energy which travelled through to the audience, especially in Flash, Bang Wallop! BMOS return to the Alexander Theatre in November with A Christmas Carol and on the evidence of Half a Sixpence, it will be well worth a visit.

Cheers.

Antony N Britt

I’ve had five previous encounters with Singin’ in the Rain, making it one of my most watched musicals. However, I’d not seen Quarry Bank Musical Theatre Company before but had read about their high pedigree. It was also a nice surprise to see a number in the cast from the nearby and excellent, Third From the Right Productions, therefore, expectations for me were high.

A slight negative (not with the company, I add) is that Brierley Hill Civic Hall has an atmosphere not best suited for musical theatre, however Quarry Bank more than made up for this with an excellent show. Filled with easily recognisable tunes, Singin’ in the Rain portrays the advent of talking pictures through its central characters.

For Don Lockwood on stage we had Richard Cope who played the part to perfection. Magnificent vocals with equally good dance to complement as shown in the title number. In the role of Kathy Seldon was Francesca Handley who matched her partner in love on stage with a stand-out and flawless performance, including a terrific rendition of Would You? Then we had Louise Griffin as Lina Lamont. It’s one thing to get vocals and diction right, but when these are meant to be awful for the character, this involves some skill and Louise pulled it off, especially in What’s Wrong With Me?

Now, I hate to pick out favourites but occasionally can’t help it. Danny Teitge as Cosmo Brown made the stage come alive every time he appeared. Always some mannerism or change in tone of voice to give us a marvellous character performance. And brilliant in Make ’em Laugh.

Other good numbers included All I Do is Dream of You, Beautiful Girls, Moses Supposes, You Are My Lucky Star and the familiar, Good Morning. Then we have the dance spectacular in Act Two with Broadway Melody.

Supporting well on the night among a fantastic chorus were Lee Connelly (Sid/Rod), Sarah Coussens (Zelda), Keshie Herbert (Dora Bailey), Mike James (R F Simpson), Jo Tranter (Miss Dinsmore) and Jake Winwood (Roscoe Dexter). A sign of a good society is how much energy and enjoyment projects from the stage into the auditorium, or in this case – hall, and there was plenty of that on offer by Quarry Bank.

The direction for Singin’ in the Rain was in the hands of Steve Ganner with musical direction by Richard Ganner and choreography from Donna Jones. Job well done by all.

Singin’ in the Rain has some great moments, and Quarry Bank gave us real rain on top of these. I always like the studio scene with the microphone in the bush and the pre-recorded films had great comic moments. However, I do find the opening backstory from Don a bit tedious that early in the show, but I guess you can’t have everything.

So, sixth time seeing Singin’ in the Rain and was it a good experience? 6 out of 6 as far as I’m concerned in terms of top performances.

Cheers.

Antony N Britt

 

© Antony N Britt 2018

Is it worth the waiting for, if we live ‘til 84?

I’ve become a huge fan of Bournville Musical Theatre Company in recent years, so I particularly looked forward to their latest presentation – Oliver. And not only did I see the show, I made four separate trips. This meant I could evaluate the performances from both casts of children which had been separated for the run.

Now, anyone who has knowledge of musicals will recognise Food Glorious Food, Got to Pick a Pocket, I’d Do Anything, As Long as He Needs Me, and … the list goes on. And if you think you are not that well up on the show, you’d be surprised how many songs you actually do know: It’s a Fine Life, Boy for Sale, Where is Love, Be Back Soon, Reviewing the Situation and the title song – Oliver. In addition, to those made famous by the 1968 Carol Reed film, there are some great tunes missed out in that medium: That’s Your Funeral, My Name and I Shall Scream. All of these were delivered without exception by a fantastic cast throughout, be they principals or chorus who excelled during Consider Yourself, Who Will Buy and Oom-Pah-Pah.

In the lead roles we had James Whatmore and Billy Stait as Oliver with Hayden Stocker and Jack Smyth (Artful Dodger). As for the rest of the children which included Flynn McBride-Hogbin and Cameron Dews as Charlie, I could not separate which was the best as each were of a high standard. And the same can be said for the entire performances. All top quality. The only criticism I could have would be a lack of inclusion with the children restricted to only boys.

Of the adult roles, I must lay great praise for Sophie Wood as Nancy with the ovations saying it all. Excellent in every department. Now, it’s easy to copy Ron Moody in the role of Fagin but Phil Snowe made this role his own with strong characterisation. As Bill Sykes, Jimmy Van Hear was a truly menacing figure, making me genuinely frightened at times whereas there was good support in the Nancy/Fagin scenes from Rhian Heeley as Bet.

Oliver is a different show in a way due to some scenes being more akin to mini episodes, which, in fact, was how the original Oliver Twist was published beginning in 1837. Of these segments, we first see the workhouse where Kris Evans and Jill Hughes were brilliant as Mr Bumble and Widow Corney. Then we had my favourite part of the show, the undertakers. Jonathan Eastwood gave a sublime depiction of the drunken Mr Sowerberry and was well supported by Karen Lane (Mrs Sowerberry), Natalie Buzzard (Charlotte) and Stuart McDiarmid (Noah Claypole). Finally, there was the Brownlow household with great rapport between John Clay (Mr Brownlow), Colette Preece (Mrs Bedwin) and John Morrison (Dr Grimwig). Credit must also go to the street sellers: Claire Brough, Rachel Fox, Adam Heeley and Lily Moore.

At the helm in direction was Terry Wheddon whose hard work was evident with the results on stage. Also, the fabulous choreography of Chloe Turner. Not an easy task with such a large cast but top drawer on the nights I was there. Chris Corcoran had the job of bringing together the vocals, backing them with a great orchestra. The icing on the cake for a magnificent show.

Now I always like the random and bizarre, and there was no better example of this than one of the street signs on the London cloth. Have you seen the industrious fleas? Okay … And then the voice from the audience during the rendition of I Shall Scream when a child shouted out, “Scream then!” Oh, little things amuse me.

Cheers.

Antony N Britt

Okay, the most popular musical in the world comes to town. Now, I’ve experienced Les Misérables in the West End so therefore couldn’t pass an opportunity to see the tour. However, the fact it is so popular means tickets are like gold and despite great efforts, my party was still in Row W of the Birmingham Hippodrome (Three from the rear of the stalls).

Now my only major gripe is with the theatre itself. Don’t charge over £50 for seats with what is essentially a restricted view. In Row W, you’re under the Circle and viewing the stage is somewhat akin to watching through a letterbox. Then, the sound. You’re in this claustrophobic area and the full audio experience doesn’t reach. Think ditching a surround sound system to use a transistor radio instead. There we have the big niggles, so on with the show.

From start to finish Les Misérables is everything you’d expect. Good staging and excellent performances in both acting and voice. Okay, the set is nowhere near as good as at The Queen’s Theatre, London and the revolving stage is sorely missed. But not every theatre is equipped for this, therefore I’ll give the tour the benefit of doubt.

I must first pay great praise to Killian Donnelly (Jean Valjean) and Nic Greenshields (Javert). Both are at the top of their game and could not have been better in the respective solos of Who Am I? Bring Him Home, Stars and Javert’s Suicide. Other great numbers on the night (Not that any were poor) included Master of the House, In My Life, A Heart Full of Love and A Little Fall of Rain. My favourite number, though, is always One Day More, having performed the Javert lines on several occasions.

The character of Marius was Harry Apps who gave a good rendition of Empty Chairs at Empty Tables. However, the appearances Marius’ dead friends were not as haunting as I’ve previously seen them. Cosette was portrayed by Bronwen Hanson and for once, it was lovely to see this character less of a Mary-Sue and more realistic as the young woman she would have been, given her upbringing. And a beautiful voice.

The unfortunate Fantine was Katie Hall who delivered I Dreamed a Dream the best I’ve heard. Then there were the Thénardiers (Martin Ball and Sophie-Louise Dann). These roles always add comic relief, surprising for characters so vile, and this occasion did not disappoint. Eponine has always been my favourite, though, so I was delighted with the excellent vocals from Tegan Bannister while Will Richardson was also in good form as Enjolras.

A couple of downsides with the show itself: I did wonder why Eponine changed ethnicity during puberty and it would also have been nice to know which child performers were in the roles on the night. Plus, the consequences of the barricade battle were a let-down without the revolving stage to reveal a tableau of broken bodies on the other side.

The touring production of Les Misérables was directed by Laurence Connor and James Powell while musical supervision and direction was in the hands of Stephen Brooker, Graham Hurman and Ben Atkinson.

So, which is better, the version in the West End or this one? If, I’m honest, I’d opt for the former, but this was still a fantastic show which I highly recommend.

Cheers.

Antony N Britt

My second helping of Sister Act in just over a year, primarily as a research trip as I may be doing it in 2020. However, Sister Act is also a fabulous show and I looked forward to seeing Willenhall Musical Theatre Company’s production.

Sister Act – The Dormiston Sports and Arts Centre – 11 April 2019 Photo © Antony N Britt

Sister Act is the story of Deloris Van Cartier, on the run from her crime boss boyfriend after she witnesses a murder. Having to give evidence against him, Deloris seeks sanctuary in a convent, disguised as a nun with Mother Superior the only member of the order who knows her identity. With music from Alan Menken and lyrics by Glenn Slater, plus book courtesy of Cheri and Bill Steinkellner, this is a fast-paced comedy which ticks the right boxes in terms of music, laughs and all-round entertainment.

In the lead role of Deloris was Laura Autumn Rai who gave the perfect performance in this iconic role. With powerful voice and great timing, she owned this part. Then we had Juliet O’Brien, again giving all you’d expect and more as Mother Superior. Playing Mary Robert was Abbie Rai whose character grows in confidence during the show. Nothing confidence-growing about Abbie’s performance though as hers was stand-out all through the night. In the part of Eddie, we had Daniel Haddon. Daniel, as on two previous occasions I have seen him on stage, showed what a fantastic character actor he is. All three have been so diverse you only have the credits to tell you it was the same person. Also getting their characters spot-on were Rachel Chadwick (Sister Mary Patrick) and Nikki Rai (Sister Mary Lazarus). The talent runs deep at Willenhall.

Now, memory had the part of Monsignor O’Hara as being rather dull. However, Roger Stokes brought it to life, raising the comic aspect and thus making Monsignor a great deal more fun to watch. Adrian Smith was excellent as Curtis Jackson. Good voice and marvellous stage presence. And then the henchmen: Will Phipps (Joey), James Totney (TJ) and Dom Napier (Pablo). These three had my number of the night with Lady in the Long Black Dress.

Supporting well among a talented and enthusiastic cast we also saw Abbie Sellick (Tina), Megan Rai (Michelle), Jennie Rullan (Mary Theresa), Simon Williams (Ernie), Alex Jeffreys (Copper) and Carol Ann Burgess (Sister Mary Martin).

Further songs I enjoyed were Take Me to Heaven, When I Find My Baby, I Could Be That Guy, The Life I Never Led, Sister Act, Spread the Love Around and Raise Your Voice. And then there was It’s Good to Be a Nun. I’ll never understand why How I Got the Calling was dropped in favour of Good to Be a Nun, but Nun does the same thing and is still fun.

Directing Sister Act for Willenhall was Alf Rai who can be proud of his cast. Equally, Gladstone Wilson brought forth a wonderful wall of sound in terms of vocals and band. Finally, choreography was at the top of the league in the hands of Lindsey Grant.

At the end of the performance, a packed audience (not bad for a Thursday) rose to their feet for an ovation, which was good, because Willenhall Musical Theatre Company had earned it.

Sister Act – The Dormiston Sports and Arts Centre – 11 April 2019

Cheers.

Antony N Britt

I must admit, I don’t listen to contemporary pop a great deal these days. In a world full of X-Idols who’ve got talent and a nice voice, I’m happy to stick to my rock roots. And I’m not alone. I often hear comments about older music on the lines of, “Well, it’s better than the rubbish you hear these days.” And in most cases, this is true. However, when you least expect it, somebody comes along to shake the foundations and offer something a bit different.Album Review – Billie Eilish: When We All fall Asleep, Where Do We Go?

It’s difficult to describe Billie Eilish’s style. I guess a magical blend of good tunes, music and voice, then that rare full house of meaningful lyrics which hit home not only to the teen generation, but older listeners like myself. It’s a case of, “I don’t know why I think this is fantastic, but I do.” And any artist with an endorsement from Dave Grohl is going to be worth a try.

Billie Eilish comes from an acting/musical family and along with brother, Phineas O’Connell, produced When We All Fall Asleep, Where Do We Go? The album is a follow-up to numerous singles and EP, Don’t Smile at Me. Okay, perhaps EP is a misrepresentation for that first offering has a duration greater than most Beatles albums. At 17, Billie is the youngest artist to go direct to number 1 in the UK album charts. She comes across as a free spirit, an individual, and how can you not love someone whose middle name is Pirate?

Recorded in the home bedroom, the album has everything. From the kick-ass opening of Bad Guy, we are taken on a journey which states you’re going to have as much fun listening to it as they did in the making. An incredible use of multi-track vocals is nowhere better displayed than Xanny which states Eilish has never had or will have need for drugs. The previously released single, You Should See Me in a Crown, is massive in terms of impact as is the melancholy, When the Party’s Over. And then we have Bury a Friend, surely one of the best songs of the decade. This is not to say album tracks don’t match up. All the Good Girls Go to Hell could be played on repeat all day long as is also the case with My Strange Addiction and Ilomilo.

If you check out YouTube, there is video of the full set of a recent gig in London and you can see the effect on the young audience there. But I enjoyed watching it as well. Here we have a person with something to say, and long may she continue saying it.

Album Review – Billie Eilish: When We All fall Asleep, Where Do We Go?

Cheers.

Antony N Britt.

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