 ‘Alex Loveless has crafted a
sophisticated piece of musical theatre. A canny West End producer could do far worse than
to tweak this fine show for a transfer’.
Fiona Mountford, Evening Standard
– The Remains of the Day
‘The adaptation flows sustaining the mood of the times with music that is melodic in
its songs yet lively enough for the dancing… It is all woven together in fluid
strokes. It is a gem…a jewel… that shines its light and lingers on. Export to
the West End, Lincoln Center, BAM, Kennedy Center, etc.
Blanche Marvin's London Theatreviews
– The Remains of the Day
‘It’s somewhat surprising that writer and composer Alex Loveless decided to turn
Kazuo Ishiguro’s The Remains of the Day into a musical. What’s even more
surprising is that, by and large, his radical transformation of this story works… the
songs are almost always well-integrated, intelligently written, and subtly
performed.’
What’s On Stage – The Remains
of the Day
‘Fine ballads… An engaging libretto.’
The Stage – The Remains of the Day
‘…a well-acted and sensitive reworking of Kazuo Ishiguro's elegant
Booker-winner. Alex Loveless writes a nice tune…’
Time Out – The Remains of the Day
‘Poignant in the extreme… deeply moving. The entire book, music and lyrics is
credited to the young (and extremely gifted) composer Alex Loveless.’
Musical Stages – The Remains of the
Day
‘It was difficult, at first, to accept the idea of Kazuo Ishiguro's wonderful book as
a musical. The Merchant Ivory film was as close to the book as I imagined it was possible
to get with Anthony Hopkins making the role of the quintessential butler, Stevens, very
much his own among a brilliant cast. Yet the key theme of declining British hegemony, as
played out in Darlington Hall at key moments just before the Second World War in 1935,
looking back through the eyes of Stevens (Stephen Rashbrook), from around the time of the
Suez Crisis in the 1950s, is rendered perfectly on stage in this musical production.
The complexities of the political machinations of 'gentlemen amateurs' like Lord
Darlington (Alan Vicary), who seeks to forge European alliances with the Nazis, is, yes I
know it's hard to believe, sung in thrilling ensembles such as 'The French' in Act I and
'Democracy' in Act II. The American challenger Mr Lewis/Mr Farraday (Reuben Kaye) becomes
Stevens' master at Darlington Hall, just as the Americans take the lead as world
superpower from the British after the Suez Crisis, and sings 'Divide and Rule' to the
gathered European politicians, taking on the tactics which allowed Britain to remain world
leader for so long.
A combination of dramatic dialogue, singing, and dancing brought the characters to life
with an emotional subtlety that bewitched the audience in the Union Theatre.
When Stevens follows Lord Darlington's directive to dismiss the two Jewish servants in the
household, Miss Kenton's argument on their behalf and their leave-taking in 'Close Your
Eyes' is really moving, and beautifully sung by Gemma Salter and Katia Sartini as Sarah
and Ruth.
The music, composed by Alex Loveless, was divine and worthy of attendance by itself.
I didn't expect a work of such understated quality to be rendered well in a musical but it
was a true success. An all singing, all dancing Remains of the Day seemed a questionable
enterprise, but I enjoyed every moment of it and left excitedly discussing new angles of a
book and film I had thought it would be impossible to improve on. However, new wine in old
bottles can sometimes be a very good thing.’
Extra! Extra! – The Remains of
the Day
‘One might be forgiven for hesitating to see a musical version of the
celebrated novel The Remains of the Day but this production, like a well-kept house,
handles each and every aspect skilfully and is deserving of praise. The historical
grounding (though largely fictional) is well grounded and the interesting time is handled
unpretentiously by Loveless's script and lyrics. The Remains of the day tugs at the
heartstrings with such strength that one wishes this was staged in a larger space, with
more people able to experience it.’
Remotegoat – The Remains of the Day
‘…it is good to welcome a musical version of “The Remains of the Day”,
perhaps because it doesn’t ruin one’s recollections of the book or the film.
Adding the songs in the way that Alex Loveless has done helps the story along mainly in a
through-composed way that explains both the thoughts and emotions of the characters
involved. The lyrics in “The Remains of the Day” are not banal but are still
conversational in the way that Stephen Sondheim writes in, say, “Company”,
“Assassins” or “Sweeney Todd”. The songs, a mixture of lively music
and more contemplative ballads, set the scene well and provide a suitable atmosphere for
the narrative. Scored for woodwind and strings, it has a delightfully plangent quality. It
is in essence a charming piece…It is not often that new musicals are instantly
successful. “The Remains of the Day” seems to be an exception that works from
first word to last.’
Classical Source - The Remains of the
Day
‘Alex Loveless has concocted a recipe of delicious songs… For example, the
starkly entitled number, The French, immediately conjures up the required notion of stiff,
upper-lipped Englishness, which is preceded beautifully by the gorgeous, string-drenched
melody The Remains of the Day. The lyrics of the song, sung by Stevens towards the close
of the play, finally expose the haunting undercurrent that pervades throughout, even
during rare moments of levity. Equally, one could not fail to be impressed by Miss
Kenton’s enchanting delivery of The Way That Once We Were. Needless to say, a
transfer to the majestic West End stage could only do a service to this already
distinguished production.’
Irish World – The Remains of the
Day
‘Loveless, who is making a fine name for himself on the fringe circuit, has used the
novel as a springboard for a multitude of his own ideas, and they're great ideas…
Though the ensemble scenes in this musical are well thought-out, Loveless has created a
musical that celebrates the individuality of each character, as proved by the memorable
scenes between Bradshaw and Rashbrook.’
Spoonfed - The Remains of the Day
‘Easy-on-the-ear songs… Alex Loveless’ music and lyrics… faithfully
convey the spirit of Bram Stoker’s novel and deftly build up the drama, which makes
for highly-enjoyable studio theatre entertainment.’
The Stage – Dracula
‘The music is atmospheric and delightfully melodic. Alex Loveless has the knack of
writing tunes that sound at the same time both fresh and familiar. In ‘I Am Great
Atilla’ there is a fine number in which Leigh Jones’s strong, fine-voiced
Dracula recounts his descent from the conquering Hun and ‘A Kiss Can Last
Forever’ is a lyrical love duet when Dracula is ensnaring Annabel King’s Mina.
[The production] doesn’t indulge in overblown histrionics or aim at spectacular
effects but gets on with the story and flows rapidly from scene to scene.’
British Theatre Guide – Dracula
‘It is this attention to the human aspect that makes this version [of Dracula] by far
the most successful that I have seen to date. The ‘epic’ style he has adopted
works beautifully… What is also effective is the cinematic style of underscoring the
dialogue, coupled with a number of memorable songs… at last someone writes a tune you
can remember the following morning... Alex Loveless’s Dracula is an intelligent and
memorable interpretation of the Stoker novel, a feat that has eluded many of those who
have tried before him. One hopes that this new musical will capture the attention of those
in a position to develop the piece as it is one of few new works that truly does have
potential to go further.’
Musical Stages Magazine – Dracula
‘It works, and it works mainly because of the quality of the songs… Alex
Loveless’ lyrics combine good rhyme with light irony… Creating an air of
menace/chill are the ensemble pieces. “The Seduction” – a number twice
reprised – binds the musical together. This is an alternative to the West End,
perhaps not so lavish but certainly not lacking in quality.’
UK Theatre Net - Dracula
‘The songs have good tunes and interesting harmonies, making good pop songs and
thankfully not being too slushy! The lyrics are excellent, often sharp and saying what
they want to, as well as being interesting and holding good clear messages. The book moves
at a good pace and the inter-cutting of scenes is skilful. He writes with wit, humour and
meaning’
Vivian Ellis Prize Judges’
comments – Sensation
‘Wonderful original music… Let’s have more!’
NODA (National Operatic & Dramatic Association) Magazine –
To Death & Glory
‘Closing in on Andrew Lloyd Webber… a cracking story line… The score is
quite marvellous with some good chorus numbers… and some songs that can stand up on
their own… The words are so good… there are some thrilling moments of drama in
this piece.’
North West Evening Mail – To Death & Glory
‘I think it is extremely well written with a good story about a fascinating part of
history… Clearly a talented writer .’
Sir Tim Rice – To Death & Glory
Address: 18 Rosebery Gardens, Ealing, London W13 0HD
Email: 
Website: www.alexloveless.com
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