Martin 'The Falsetto' Milnes

Martin Milnes is a unique talent – with an exceptional voice and good vocal technique to go with it. His pianist, quiet and unassuming, supports him well, and shines in his own right. Why this pair feel the need to include laughably bad jokes, an incongruous set and costumes and desperate linking dialogue, I can’t understand.The introductory sequence, Martin’s stock gestures and idiosyncratic French which welcomes you (Bien VA NOO), could have been struck quite happily. It was not a good start, but then he opened his mouth and let one soaring, spine-tingling, body-thrilling sexy high note out – and the show really began.This is a high-class talent that deserves to be repackaged as such. There is huge potential here to ditch the gimmicks and cheap comedy and go for class. The quality of the performance demands that the plastic buttons and flowers be replaced with more cut crystal. Martin’s vocal presence is amazing and wins the audience over. The pianist successfully helps build the rapport with the audience. Martin runs the gamut of Operetta (Gilbert and Sullivan) Musical theatre numbers (Gershwin to Bernstein via Rogers and Hammerstein), and Opera (Traviata, Fledermaus, etc.). It’s a good mix of well-known familiar tunes and some lesser-known gems. To sing at high energy, giving off firework after vocal firework, with only a small break in between, for an hour, without the aid of a microphone thankfully, finishing off with one of the most technically demanding arias in the coloratura repertory, and to do it night after night is impressive. There is definitely scope for improving things – the duets were less than crisp in terms of articulation and timing. Characterisation was one-dimensional and all Milnes. Far more emotional colour was needed. The humour of Fledermaus was indistinguishable from the pathos of Nancy’s As Long as He Needs Me and the emotional tone of Pie Jesu. But all Martin has to do at this stage in his career is hit a high note and you forgive him everything. And when he goes into belt quality, the sound hits you like a hot stone massage – invigorating, revivifying, regenerating. It’s definitely a show to catch, and if you catch Martin this early in his career, you’ll want to follow him all the way through.