Masquerade

In practically every current review of his work Bernard J. Taylor is described as prolific. Now I would certainly agree with that; anyone who can produce five musicals, complete with recordings of each, in four year has to attract such an description.

But that is part of the story as Bernard is not just "abundantly productive" (as the dictionary defines prolific) but in the process has maintained a standard of work that is universally and remarkably superb.

The latest installment Is Much Ado, Taylor's musical of Shakespeare's play which reached a far wider nineties audience thanks to Kenneth Branagh's enjoyable and accessible film version.

Now Much Ado does not possess the majesty of Wuthering Heights or the eerie intensity of Nosferatu. But if you set aside sibling comparison and let it stand on its own feet, it proves to be yet another fine slab of musical writing, full of invention and, as with all BJT offerings, dripping with melody.

Much Ado has probably more in common with Pride And Prejudice than the others but yet possesses an identity all of it own. It is somehow more rambunctious than Pride and Prejudice with a distinctive hard edge, both musically and lyrically.

It also succeeds in capturing the mood of the period courtesy of a medieval English feel amongst the diverse musical influences.

Most of the performers are from the regular Taylor stable of talent with Barry James, Janet Mooney and a certain Miss Moore to the fore as always. But this time out Claire doesn't get the best of the ballads but is given the opportunity to get her teeth into some decidedly meaty lyrics, especially on "Disdain".

New to the scene, Paul McGann and Simon Burke (who was a guest on Nosferatu) and are well up to the standard the Taylor recordings have established. Both must have been delighted with the quality of the material they were offered with the likes of "'I'll Never Love Again" and "If I Could Write A Sonnet" - both grade 'A' Taylor ballads - gentle, flowing, melodious.

Much Ado displays an increased emphasis on chorus work. From the opening song, "Victory", with Barry James in sparkling form, to "The Officers of the Watch" (a clever pastiche of Gilbert and Sullivan's "A Policeman's Lot Is Not a Happy One") to the "Finale", the ensemble give their all.

Indeed my only criticism of Much Ado is that there is perhaps just too much of it, weighing in at 26 tracks, although repeated use of certain themes provide an audible link through the work. And surely too much of a good thing is hardly a damning condemnation.