The West End Men in Concert

Glenn Carter received a rapturous response in The West End Men in Concert. Picture: Poppy Carter

Playing at the Vaudeville Theatre until June 22.

The West End is awash with fantastic tunes – from current musicals to the classics of previous years – but a show in which the music is the star also needs to offer something a little special. Although, at first, none of The West End Men in Concert seem to have the jovial showmanship of a performer such as Michael Ball, there’s is more of an understated confidence on display that takes a little while to warm up.

But once in the groove, this is an entertaining and powerful production that showcases the talents of a quartet (and more) of musical theatre performers who are clearly passionate about their craft.

After opening the show together, the men break into solo performances – and the rendition of ‘Music of the Night’ seems noticeably boy band in its execution. The reason soon becomes clear on the realisation that it’s Matt Willis of Busted fame on vocals. His personality comes to the fore in ‘Year 3000’, an old Busted hit, in which he really takes command of the stage. His delivery is unashamedly pop, but he presents it in a slightly comical, Robbie Williams-style – who, like Willis in this arrangement, is the comparatively cool one who doesn’t take things seriously and knows how to dance.

Lee Mead then takes the solo spot with ‘Close Every Door’, acknowledging that Joseph and the Technicolor Dreamcoat is what he is best known for. It is always a welcome moment to hear Mead sing tunes from this show – he inhabits the role with such ease – and yet it’s a nice, unexpected twist when he then launches into Coldplay’s ‘Fix You’, grabbing the audience’s attention with a truly moving rendition. On the evening in question, particularly in Act II, Mead’s voice didn’t seem to be firing on all cylinders, which is a shame, but he coped with the added pressure admirably.

You can see why David Thaxton was awarded his (frequently mentioned) Olivier – his version of ‘’Til I Hear You Sing’ from Love Never Dies is sublime and Glenn Carter is equally impressive as he re-creates ‘Gethsemane’ from Jesus Christ Superstar. The notes he hits are astonishing and his performance receives a deservedly rapturous response.

Act II has a well-timed injection of girl power, which is much more convincing than what’s on display down the road in Viva Forever, when Kerry Ellis swings by to jazz it up with Etta James’ ‘At Last’. Ellis’ presence (and later in the run it will be Carley Stenson’s turn) was acknowledged as unusual – a leading lady in a show called The West End Men in Concert – but although incongruous, her breathtaking vocals soon outshine any doubts about her role in the proceedings.

Ultimately this is the kind of evening in which fans of the musicals can really indulge themselves and also get a glimpse of the personalities behind some of the West End’s leading actors. Sure, it’s scripted, and consequently a little bit cheesy at times, but it is light-hearted fun and frequently emotional too. Surely there is room in the West End for a bit more of that?

Catherine Usher