A nostalgic celebration of golden age musicals
Sitting in the ornate surroundings of Richmond Theatre last night, I couldn’t help but feel like I’d wandered into someone else’s love story. Some Enchanted Evening, a concert dedicated to the golden age of Broadway and Hollywood musicals, certainly had its charms, but it also felt like it was meant for an audience with a different set of memories.
From the moment the 26-piece English Musical Theatre Orchestra struck up the first notes, it was clear this night was a celebration of a bygone era: Carousel, West Side Story, South Pacific, The Sound of Music, shows that once defined the height of stage romance and drama. As the conductor, Gregor Reid, warmly noted between numbers, this concert might just be the only one in town featuring a full, live orchestra of this scale. And it’s a sobering thought. With most modern productions relying on a mix of synths and reduced string sections, hearing a true full-bodied sound in the room felt rare, and genuinely moving.
Reid himself was the heart of the evening. With clear love for the genre, easy humour, and a knack for storytelling, he kept the audience gently smiling and leaning in. His presence was a steady thread through the evening, and his introductions gave weight and warmth to the music that followed.
The vocal performances were led by Roy Locke and Lisa Jane Kelsey. Roy brought a classic Broadway polish—smooth, dramatic, and clearly at home with this repertoire. Lisa, meanwhile, gave us crystal-clear soprano tones and a parade of glamorous costume changes that added a touch of dazzle to the stage.
But while vocally strong, something felt missing. There was a distance between Kelsey and the characters she sang—an emotional gap that left the more theatrical numbers feeling just a little flat. For those unfamiliar with the original musicals or the backstories of the songs, it was hard to connect. There was a sense that Kelsey remained Kelsey, and the characters never fully came to life. That emotional disconnect also impacted the chemistry between the two performers, particularly in duets where romantic tension should’ve sparked, but didn’t quite ignite.
There were also technical hiccups throughout the evening: occasional sound glitches, unbalanced microphones. At one point, it looked like Kelsey was struggling with her in-ear monitor, which she powered through with grace, but it was noticeable.
On the plus side, the lighting design was tasteful and atmospheric, adding soft accentuation and drawing focus where needed. It complemented the richness of the live orchestra beautifully, without overpowering the simple elegance of the staging.
The evening was clearly designed for an audience who grew up falling in love with musical theatre when shows like The King and I and South Pacific were the cultural events of the decade. In that sense, it hit its mark.
While I didn’t leave humming the tunes or racing to rewatch Oklahoma!, I did walk away with a deep appreciation for the care and musicianship that went into the evening. If nothing else, this show was a heartfelt reminder of an era when music was lush, love was big, and orchestras were full. As Some Enchanted Evening heads off on a national tour, I hope it continues to find the audience it was made for—because they’ll absolutely adore it.