Disaster nearly struck for this month’s edition of Daniel Koek’s West End Sessions at the recently refurbished Brooks Mews Bar in Mayfair. There was a problem with a lack of running water which almost forced the show to be cancelled, but some quick thinking on the venue’s part and generosity from a neighbouring establishment meant the show could go on, albeit with slightly longer rest breaks than usual!
A gorgeous evening out for musical theatre fans
And boy am I glad that it did. The stylish, intimate lounge space upstairs at Brooks Mews Bar is the perfect spot for this cosy, friendly cabaret. The dark blue walls and shiny red curtains create an immediately theatrical ambience while the shelves laden with bubbly provide a subliminal cue for everyone to relax and let their hair down.
Running here since February, the West End Sessions bring professional performers, from Tony Award nominees to current up and coming West End stars, out of character and into their own personal spotlight. The regular host is organiser Koek, who rose to stardom as one of the youngest performers to take on the role of Jean Valjean in the London production of Les Miserables. He was joined on the night I attended by Jenna Lee James, (who gave a sparkling soul version of Bridge Over Troubled Water, though amazingly without any ironic comment on the evening’s predicament!) and Zachary Miller, a young Australian who’d taken the night off from Book of Mormon to share some of his favourite tunes, including a pop song from the new Ben Platt album which he delivered with boy band twinkle.
Billed as a Pride Month special, the main nod to festivities was Koek’s jaunty version of I Am What I Am from La Cage Aux Folles, a long standing gay anthem. But there was plenty of camp humour throughout the evening, as well as fantabulous costumes from Kirk and James, and twinkish flirtations from Miller. With a show like this every month is a celebration of Pride and the space felt welcoming and inclusive.
My highlight was the opening Wicked/Phantom mash up. Witty, inventive and played for laughs, it showed off Musical Director Ollie Lincoln’s versatility on the keys with aplomb.
The evening had a distinctly rough around the edges feel to proceedings, with mics changing hands, accidental mutes, crackles from the speakers and fiddling with reverberation during songs. At points it felt more like a musical theatre open mic, and if it were I would absolutely have jumped up to sing! The key ingredient that raised it above that was the quality of the three singers, whose professional training was evident in every bar, and whose relaxed attitude carried a familial charm. It felt almost like a sneak peek behind the stage curtain, watching them play with favourite songs for the sheer joy of it.
Overall, a gorgeous evening out for musical theatre fans keen to see talented stage performers deliver old favourites alongside some more personal and surprising choices.
