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            Howard BLAKE 
              (b.1938)  
              The Snowman – The Live Stage Show (1982/2000) 
               
                
              The Snowman – Brad Madison and Remy Martin; James, The Boy – Lewis 
              Coppin; Coconut, Jack Frost – Giuseppe Lazzara; Dad, Father Christmas 
              – Matthew Graham; Banana, Soldier, Fred Astaire – Pier Carlo Gozzelino; 
              Pineapple, Cowboy – Darren Murphy; Badger, Scotty, Reindeer – Hannah 
              Flynn; Cat, Teddy, Penguin – Raquel Gaviria; Mum, Fox, Reindeer, 
              Dance Captain – Carly Best; Ice Princess, Rabbit, Music Box Ballerina, 
              Chinese, Reindeer – Emanuela Atzeni; Squirrel, Jolly, Reindeer – 
              Jeanna Blease; Badger, Arab, Reindeer – Alessandra Mazzetti; Teddy, 
              Penguin, Cat – Emily Ayers; Music Box Ballerina, Reindeer, Chinese, 
              Ice Princess, Rabbit – Tiziana Carta; Walking in the Air 
              sung by Susan Monnox; Narration by Joanna Lumley  
              Jeremy Young (piano and music director); Costas Fotopoulos (keyboard 
              2 – Strings); Louise Hunt (keyboard 3 – woodwind and brass); Clare 
              Findlater (flute and piccolo); Sam Walton (percussion)  
              Director: Bill Alexander. Designer: Ruari Murchison. Choreographer: 
              Robert North.  
              Bonus feature: Interview with Howard Blake  
                
              SONY MUSIC CDR 81267  [80:00] 
                 
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                  When Raymond Briggs’s delightful book The Snowman was 
                  published in 1978 who could have guessed at the worldwide phenomenon 
                  it subsequently became. A cartoon film was made in 1982 – the 
                  first commission from a newly created Channel 4 – which is shown 
                  every year on that TV channel, and is available on DVD. This 
                  was then expanded into an hour long ballet and finally into 
                  the full evening stage show, which achieved its final form, 
                  as presented here, in 2000. It has played every Christmas at 
                  the Peacock Theatre for 13 years, so far, making it the longest 
                  running Christmas show in London. It is booked in for a further 
                  nine years. What we see here is far removed from the original 
                  book, and equally far removed from the cartoon film, for two 
                  reasons. First of all, there is insufficient material to sustain 
                  a whole evening’s entertainment in the film and secondly, there 
                  was a need for a dramatic situation to create variation and 
                  contrast, hence the invention of Jack Frost, as a real pantomime 
                  baddie, and the Ice Princess, as the Snowman’s love interest, 
                  in Act 2.  
                     
                  It’s easy to see why The Snowman has become so popular 
                  and why it retains its hold on audiences – and it’s not just 
                  children who are entranced by it; I have seen it some ten times 
                  and I always boo the villain, cheer Father Christmas and, it 
                  must be said, shed a tear towards the end when the Snowman melts. 
                  Keep that bit to yourselves, please, for I have a reputation 
                  as a hard–headed music critic to maintain. The music is a potent 
                  factor in the show’s success. It is very cleverly integrated, 
                  and on a subconscious level this registers with an audience, 
                  without it being either acknowledged or understood, and there 
                  is no need for it to be, for this score is as skilfully written, 
                  and woven, as anything Puccini or Wagner created for the stage. 
                  The song Walking in the Air holds things together – it’s 
                  there almost all the time – and what a tune it is! A once in 
                  a lifetime tune, as the composer has said, and it has now achieved 
                  the status of folk music.  
                     
                  So what do we have here? The Snowman – The Show is a 
                  real hybrid, comprising ballet, modern dance, movement, mime, 
                  vaudeville and music hall. There are solo dances (a word I use 
                  for want of a better one), pas de deux and ensembles – there’s 
                  a particularly funny dance with the family cat, with the feline 
                  between the boy and the Snowman, I presume that this is the 
                  original meaning of the ballet term entre chat! Instead 
                  of trying to explain what has gone into this show, I leave it 
                  to a little girl, who told me, in the theatre, exactly what 
                  the show contains; turning to me, as the lights went up for 
                  the interval, she said, “well, that’s hip–hop, now we get ballet!” 
                  She knew what was going on, it wasn’t a staid old people’s event 
                  it was really fun and had something for everyone. And that is 
                  the important thing. You can take your children and they can 
                  enjoy it for they can relate to the boy who has one of the lead 
                  parts. They can relate to the excitement of snow and the building 
                  of the snowman. The adults can relate to wanting to fly away 
                  and meet Father Christmas and dance with various Snowmen from 
                  around the world.  
                     
                  Whether you’ve seen the show or not, this is totally enchanting. 
                  Filmed over four days – hence the cast listing – it’s as spontaneous 
                  as you could wish. Sony have, quite rightly, left an amount 
                  of audience reaction on the soundtrack, for, without it, it 
                  wouldn’t be quite as sparkling; I know the composer loves sitting 
                  in the theatre listening to the children’s reactions. The stereo 
                  sound is fabulous, with a good balance between the five players. 
                  The show is available either as it is seen in the theatre or 
                  with a narration by Joanna Lumley, which I find odd because 
                  here is a book, film and show specifically tailored to not require 
                  a storyteller! But I expect that it will be useful for smaller 
                  children who cannot follow the story through the music and action 
                  alone.  
                     
                  As a bonus there’s a short interview with the composer who explains 
                  how the film and the show came into being. Great entertainment! 
                  And remember, The Snowman is not just for Christmas, now it 
                  can be for the whole year!  
                   
                  Bob Briggs  
                    
                   
                   
                   
                 
                
				  
                  
                  
                  
                  
                   
               
             
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