Review: Don Black’s From The Heart (Garrick Theatre)

Review by Sam Woodward

⭐️⭐️⭐️⭐️⭐️

If you had asked me before last night whether I’d heard of Don Black, unfortunately my answer would have been no. If you’d played me any of his songs, however, I would have recognised any number of them instantly. As Black himself laments in his show, From the Heart, playing a limited engagement at the Garrick Theatre, that is a lyricist’s cross to bear: not having his name up in lights for all to recognise. The ever unassuming Black seems not to mind this one bit, and has built a career based on clever wordplay, a quiet persona, and a truly magnificent ability to craft lyrics that can move, impress, and amuse. Featuring some of the most memorable tunes from stage and screen, his canon is recognisable, distinctive and heartwarming. In a cabaret-style show featuring his best songs, stunningly effortless singers, and even some brand new songs from Black himself, this revue was a joy to review.

With a career spanning over six decades, Black’s works have included numerous musicals, film and television themes and hit songs. For musical aficionados like myself, Black is perhaps best appreciated for his collaborations with Andrew Lloyd Webber, which span an incredible musical catalogue from Sunset Boulevard and Aspects of Love to Tell Me On A Sunday. Black is responsible for five of the most recognisable James Bond theme songs, including Shirley Bassey’s classic, 'Diamonds Are Forever'. He has provided lyrics for the likes of Michael Jackson, Barbra Streisand, Robbie Williams, Meat Loaf and Lulu, and clearly has no intention of slowing down, given the numerous new songs that feature in From the Heart. As Black, at 88, graced the stage at the end of his most ambitious incarnation of From The Heart yet, his modest and humble demeanour made it clear why he has been so successful. Not only supremely talented, but devoid of any pompousness or arrogance. It was an honour to hear his stories of a career well lived and to listen to his words of wisdom, both in spoken word and through his tremendous lyrics.

Produced by Black's own son, Clive Black, alongside Neil Marcus, it is clear that a lot of love and passion has been channelled into this show. Styled as a traditional musical revue, there is no real plot to speak of; instead, the show strings together new songs and well-known hits through simple comedy sketches and topical satire. There are some smartly choreographed moments and clever uses of the stage, but the show shines thanks to its simplicity: listen to the music, enjoy the lyrics, and watch the cast take just as much pleasure in performing them. The musical rigour and restrained staging were made even more apparent by the visually impaired man sitting next to me, who was unable to see the stage at all, but enjoyed every second of the show as he became lost in the wit, momentum and emotion of the music and lyrics. Much of this success comes from the creative development, direction and choreography of Nick Winston. Letting the work of Don Black shine, Winston stages the show around a large piano and bass cello, on a raised golden stage designed by Sophia Pardon, surrounded by bistro tables and chairs which feel like an extension of the auditorium. Whether on stage or in the auditorium, everyone is gathered in a New York speakeasy, a London bar or a French café, enjoying the music, sketches and experiences of the characters performing their stories.

And what a phenomenal cast of five powerhouse voices. Not necessarily led by one particular performer, each earns their right to be at the front of the stage, yet never tries to outperform the others. There is a clear admiration and appreciation for each other, and ensemble numbers are often the most impressive as these voices come together magnificently. Caroline O’Connor is a celebrated performer whose career spans over four decades across the West End, Broadway, global stages and the screen. Her impeccable voice provides the traditional grit of a leading lady, and her performances, from a giddy widow and a reluctant movie star to a turn as Norma Desmond with an immaculate rendition of ‘As If We Never Said Goodbye’, are truly remarkable. It is difficult to draw your eyes away from her perfect timing and theatrical presence, or to avoid being blown away by her vocal prowess. O’Connor brings power, humour and emotion in spades.

Her fellow actresses, Shona McGarty and Frances Mayli McCann, are equally impressive. McGarty has a soulful, rousing tone that lends itself perfectly to ‘Diamonds Are Forever’, and a nod to her time on EastEnders with a rendition of ‘Anyone Can Fall in Love’ was perfectly executed. McCann gets to be the ingénue, lamenting her small hands and big dreams with a distinctive, clear and expressive performance. When the three women come together over a bottle of white wine to bemoan the lack of eligible bachelors available to them, the audience are at the table with them. It is a testament to the three women’s ability not simply to perform with such impressive vocals, but to invite audiences in through such a small, quick comic sketch.

The men on stage bring a huge dose of comic timing, dynamic vocals and commanding presences to their performances too, matching perfectly the richness of the words being performed. Supported by musical director Joseph Church on the piano, as well as Oliver Copeland on the bass, Michael D. Xavier and Clive Rowe work astonishingly well together. Whether promising to become healthier and drink only ‘Fizzy or Still’ from now on, or delivering more moving renditions of ‘Ben’, ‘Everything But the Blame’ and ‘I’d Go to Bed Earlier’, these men demonstrate an immense amount of talent, both vocally and visually. This was made even more impressive with a surprise appearance from Michael Ball, who joined the company not only to pay his own tribute to Black, but to sing his seminal hit, ‘Love Changes Everything’, for which, of course, Black had written the lyrics. Put together, these five resident performers and special guest were simply magnificent. When vocals are as exquisite as this, and performances are so effortless, there really doesn’t need to be a complicated storyline, large set, or huge ensemble. This small cast has it all.

Ben Cracknell’s simple lighting makes the most of the bare stage backdrop, particularly towards the end of the show, when bright lights illuminate the entire stage and provide an impressive visual. It would have been nice for these moments to be more frequent throughout the show, but when they arrive they are particularly striking. Sophia Pardon, who was credited earlier for her work as set designer, is also responsible for the costume design, and her work here is simple, smart and effective. Black and gold costumes work well, and have an elegance that suits the New York speakeasy setting. There is certainly an argument for a more lavish and luxurious set, costume and lighting design if the creative team wanted to push it further, but it truly is unnecessary. The resourceful, aesthetic and smart creative choices provide the perfect atmosphere for the show to unfold and leave sufficient space for Black’s genius to shine.

Black's fast, sharp, clever and funny lyrics are given top billing, and rightly so. Through hilarious rhymes, amusing plays on words, as well as some nods to a bygone time, this show easily does the life and work of Don Black justice. The medley at the end of the show brings this all together magically. Nick Barstow’s arrangement of Black’s most beloved and famous songs is handled ingeniously, cleverly merging songs from stage and screen in a final number that truly brings the house down and evokes many awe-inspired calls from the audience during the prolonged standing ovation.

As the audience take their seats for a final moment, Don Black himself takes centre stage at long last, surrounded by his adoring cast. His reflections on his illustrious career are both humble and provocative, and a joy to hear in the regular voiceovers during the show and in person at the end. This version of From The Heart at the Garrick Theatre is perfectly judged: flawless vocals, comic sketches, moments of reflection, and effortless performances bring together Don Black’s storied career in an evening of unbridled joy. You may not know much about Don Black, the man behind the lyrics, but you certainly know his songs, whether a musical number or a pop megahit, and watching these moments come together on one stage is a feast for the eyes, and for the heart. 

Don Black’s From The Heart plays at the Garrick Theatre until 18th October. Tickets from https://allthatdazzles.londontheatredirect.com/concert/from-the-heart-tickets