Rodgers Revealed – St James Theatre Studio

Anna Francolini joined Edward Seckerson and Jason Carr for Rodgers Revealed at the St James Theatre Studio, London

Rodgers Revealed, with Anna Francolini, Edward Seckerson and Jason Carr, was performed as part of the London Festival of Cabaret at the St James Theatre Studio, London.

From the moment the piano started up with those well-known tunes deftly strung together by the pianist and composer Jason Carr, we knew we were in for a special evening, but not quite how special. The opening medley of Richard Rodgers songs played by Carr was performed with such assurance and musicality, as it unfolded with those unearthly sounds from the opening of ‘The Carousel Waltz’ through to the majestic theme from Victory at Sea.

Rodgers, we were told, composed some 900 songs and 43 Broadway shows from the years 1925–1979. His output of songs was greater than the prolific Franz Schubert, and, as our evening’s host Edward Seckerson quipped, with much better lyricists! He had in mind Hart and Hammerstein, as different as chalk from cheese, for whom in the first instance Rodgers wrote the tune first, then reversing the procedure.

Although Seckerson claimed the evening was ‘a total indulgence’, it was, infact, nothing of the kind. It was of an ideal length and pithily presented in a non-chronological format that moved and entertained by turn. The lively banter between Seckerson and Carr – the host tossing an idea to his pianist, and the musician’s rejoinder – brought a smile to the face as they painted an honest and affectionate portrait of a man who, almost unconsciously it seems, created some of the most sublime tunes of the 20th century.

Technicalities weren’t shirked either when song form and a favourite rhythm Rodgers employed came under scrutiny and were addressed in an enlightened manner. From the Hammerstein era, Seckerson chose as his favourite, ‘What’s the Use of Wond’rin’?’ from Carousel; Carr selected ‘Hello Young Lovers’ from The King and I, where Anna, the governess, recalls her late husband in the poetic introduction. By including the verses to all the songs, bar one, and all the song refrains, the show allowed singer Anna Francolini the means to characterise each role with great insight.

These included Adriana’s wistful waltz ‘Falling in Love With Love’ from The Boys From Syracuse, Morgan Le Fay’s running commentary on the ways and means of bumping off her various husbands in ‘To Keep My Love Alive’ from A Connecticut Yankee, and the wealthy socialite Mrs Simpson’s candid appraisal of her affair with her Pal Joey in ‘Bewitched, Bothered and Bewildered’.

Francolini’s theatrical background triumphed in her slight but telling gestures to underline a lyric, a graceful stage presence and above all an innate musicality that enabled her to sing through phrases with consummate ease. Her rapport with Carr was a joy to experience and the tempi he set for her on each occasion was spot on. His second piano solo, ‘Slaughter On Tenth Avenue’, was a tour-de-force of pianistic virtuosity. This comfortable studio theatre had the perfect atmosphere for such an evening. I was only sorry that there was no programme to take home as a souvenir of a memorable evening.

Adrian Edwards

Readers may also be interested in:

Adam Guettel – why the composer is drawn to cabaret – Interview

David Bedella & Friends – St James Theatre Studio – Review

Fascinating Aida – Charm Offensive – St James Theatre – Review

Julie Atherton – Tempting Fate – St James Theatre Studio – Review