Programme: This was the fourth live performance in Northern Ireland Opera\u2019s Salon Series. The venue was the New Orpheus which is located above the Harp Bar in Belfast\u2019s Cathedral Quarter. This is a partial recreation of the Orpheus Ballroom in York Street in Belfast which opened in 1932 and has since been demolished. The live performance featured a number of songs from cabaret and music theatre.<\/p>\n The strap line for the live performance was \u2018The Lost Boy\u2019 and it explored a younger man\u2019s journey into maturity with themes of hope, lack of youth, and songs impressed by unrest and struggle. The theme of misplaced boys dominated the early a part of the 20th century from J M Barrie\u2019s Peter Pan<\/em> to the misplaced technology of younger males depicted so movingly within the poetry of Wilfred Owen, Siegfried Sassoon and others. Cameron Menzies\u2019s set consisted of a single soldier\u2019s boot surrounded by clocks, pink drapes and tasteful lamps. Prior to the beginning of the live performance, one heard the ticking of a clock getting step by step louder after which ending abruptly. The vocalist, Conor Quinn, was wearing a white frock coat, sparkly trousers, vibrant black buckled sneakers, lengthy white socks and an ornamental white shirt over his shirt. The costume had an androgynous Harry Styles sort high quality. There had been a couple of costume adjustments because the night progressed and the music turned extra sombre.<\/p>\n In the opening tune, \u2018Wait for Me\u2019, Quinn veered seamlessly between speech and tune. He introduced this dramatic monologue powerfully to life and solid an instantaneous robust connection together with his viewers. He introduced a brooding darkish vocal high quality and wonderful phrase colouring to \u2018I Don\u2019t Care Much\u2019 from Cabaret<\/em>. The construct as much as the climax was nicely calibrated though there was a little bit pressure on the high of the vocal vary. \u2018Tenterfield Saddler\u2019 explores the horror of PTSD and the way in which during which it affected troopers within the Australian theatre of World War 2. Quinn gave an affecting extremely lyrical account of this tune which was very touching. In \u2018German Miserere\u2019 Quinn introduced out the biting, satirical high quality in Brecht\u2019s phrases very successfully though the ultimate part of the tune might have maybe been a little bit hotter and extra reflective. One of the excessive factors of the night was \u2018I\u2019ll Make a Man of You\u2019. Conor Quinn threw himself into the efficiency with an outrageous camp sensibility that was paying homage to Dame Maggie Smith\u2019s well-known efficiency. It clearly went down a storm with the viewers who responded with enthusiastic applause.<\/p>\n The subsequent tune was one of many nice staples of the repertoire, \u2018Empty Chairs at Empty Tables\u2019 from Les Mis\u00e9rables<\/em>. In the opening part, Quinn captured the stark barren scene very successfully. He injected the phrases with darkish vocal colors and the tune constructed to an impassioned climax. The postlude on the piano and backing band was extremely atmospheric. That band introduced vitality and sparkle to Cole Porter\u2019s jazz-inspired \u2018Miss Otis Regrets\u2019. Conor Quinn\u2019s efficiency was additionally excessive in vitality, and he did a superb job bringing the tableau depicted within the tune to life. Cy Coleman\u2019s \u2018With Every Breath I Take\u2019 is a slow-moving ballad which acquired an atmospheric account right here. Quinn displayed appreciable vocal energy on the climax to the tune. \u2018Only Heaven Knows\u2019 with its intricate piano half ended the programme on a reflective be aware. Conor Quinn and the band carried out \u2018The Parting Glass\u2019 as an encore offering a shifting tribute to all of the misplaced boys.<\/p>\n This was a extremely pleasant night and a extremely achieved efficiency from Conor Quinn.<\/p>\n Robert Beattie<\/em><\/strong> \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/em><\/p>\n<\/p><\/div>\n [ad_2]<\/p>\n","protected":false},"excerpt":{"rendered":" [ad_1] United Kingdom The Lost Boy: Conor Quinn (vocalist), Darren Day (piano), John Gillen (drums), Thomas Alford (double bass), Cameron Menzies (director). The New Orpheus, Belfast, 23.2.2023. (RB) Conor Quinn in \u2018The Lost Boy\u2019 \u00a9 Neil Harrison Photography Programme:Ana\u00efs Mitchell \u2013 \u2018Wait for Me\u2019 (Hadestown)Kander and Ebb \u2013 \u2018I Don\u2019t Care Much\u2019 (Cabaret)Peter Allen \u2013 […]<\/p>\n","protected":false},"author":1,"featured_media":74720,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[35],"tags":[],"class_list":{"0":"post-74718","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-theatre"},"_links":{"self":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/posts\/74718","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/comments?post=74718"}],"version-history":[{"count":0,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/posts\/74718\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/media\/74720"}],"wp:attachment":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/media?parent=74718"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/categories?post=74718"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/tags?post=74718"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"United](\"https:\/\/seenandheard-international.com\/wp-content\/plugins\/world-flags\/images\/flags\/24\/gb.png\" "\\"United")
United Kingdom<\/span><\/span><\/span> The Lost Boy:<\/span><\/strong> Conor Quinn (vocalist), Darren Day (piano), John Gillen (drums), Thomas Alford (double bass), Cameron Menzies (director). The New Orpheus, Belfast, 23.2.2023. (RB)<\/p>\n![\"\"](\"https:\/\/seenandheard-international.com\/wp-content\/uploads\/2023\/02\/NIO-3228-scaled-e1677605754224-500x333.jpg\")
<\/strong>Ana\u00efs Mitchell \u2013<\/strong> \u2018Wait for Me\u2019 (Hadestown<\/em>)
Kander and Ebb \u2013<\/strong> \u2018I Don\u2019t Care Much\u2019 (Cabaret<\/em>)
Peter Allen \u2013<\/strong> \u2018Tenterfield Saddler\u2019
Hans Eisler and Bertold Brecht \u2013<\/strong> \u2018German Miserere\u2019
Charles Chilton \u2013<\/strong> \u2018I\u2019ll Make a Man of You\u2019 (Oh, What a Lovely War<\/em>)
Boubil and Sch\u00f6nberg \u2013<\/strong> \u2018Empty Chairs at Empty Tables\u2019 (Les Mis\u00e9rables<\/em>)
Sara Bareilles \u2013<\/strong> \u2018Orpheus\u2019
Bonnie Raitt \u2013<\/strong> \u2018I Can\u2019t Make You Love Me\u2019
Cole Porter<\/strong> \u2013 \u2018Miss Otis Regrets\u2019 (Hi Diddle Diddle<\/em>)
Cy Coleman and David Zippel \u2013<\/strong> \u2018With Every Breath I Take\u2019 (City of Angels<\/em>)
Alex Harding \u2013<\/strong> \u2018Only Heaven Knows\u2019 (Only Heaven Knows<\/em>)<\/p>\n