Work in development: Something Something Lazarus

Before Lazarus rose there was Richard. Richard the First was the working title for the phase of development in 2015. This page shows excerpts from the workshop performances at South Hill Park in Spring 2015.

The show began life in Manchester, as Carter King, a chamber musical that bore a striking resemblance to Stephen King’s Carrie. Nine years later and it’s not only the names that have changed. While some lines, ideas and melodies remain, the majority of the show is entirely new. A happy meeting with Dan Phillips and Sharon Eckman at Devoted & Disgruntled 8 meant the creative fire was re-fused and the idea for a broken cabaret began to grow. It was first presented at South Hill Park as Richard the First in 2015.

From then on in, it was nose to the grindstone for a completely re-worked book and whole new set of lyrics, melodies and arrangements.


Let There Be Monsters excerpt

Vee rehearses Let There Be Monsters, the jewel in her cabaret crown, with a little directing from Daniel. While Jay, the latest bar man and bedroom distraction, who suggested they use the knife, seems less than interested. Della’s anger is just the start of a very dark hour.

How We Danced

The blast from the past is unwrapped and Daniel’s heart is beginning to crumble. So what better than a desperate tango from Vee, to remind her favourite man that it wasn’t always roses with Richard. Question is, will this make it better? Or will it only make it much, much worse?

The Opening Number

Rehearsal has not gone well. Battle lines have been drawn and crossed. There are victims. There are words that cannot go unsaid. And there’s a crime that will never be undone. But now the audience is in and the show, as we know, must go on. Time to make magic and start the resurrections.


 

Building the cabaret

Richard the First ended with the beginning of a cabaret show. But what if the show didn’t end here? What if our final song The Opening Number was the act one finale? And for act two… the full cabaret, with an emcee and songs? Lazarus plots song points and further character journeys for a cabaret that’s truly broken. A second act in which the crimes of act one infect the show until the flashing blue lights of the outside world finally break through.

Breaking the cabaret

We’ve already faced significant challenge with the broken cabaret concept. Knitting songs into the dialogue and using lyrics as natural argument is no easy ride in rehearsal. With development time and support, we want to finesse the approach. For us, the realism truly works when the blend of life and show is seamless. It’s also about respecting the traditions while creating something entirely distinct and new.

 




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