Close Up - Review

Menier Chocolate Factory, London

****

Written & directed by Ben Elton

Elena Skye

It’s a tad ambitious for Close Up to be described as a ‘musical’ written by Ben Elton. It is indeed a cutely observed biopic of Lesley Lawson aka Twiggy, Neasden’s most famous daughter and the world’s first supermodel - but in reality it’s an Elton playlist drawn from the 1940s through to the 80s, with the writer interjecting short bursts of dialogue to link the numbers.

But credit to the man - Twiggy’s story is a fascinating one and set against Elton’s choice of songs, the end result is an evening of slick and polished entertainment. More than that, Elton must have had his dreams come true in directing the show, for not only is his show’s playlist a banging complication, the cast that he has assembled are simply outstanding.

Elena Skye leads the line as Twiggy, capturing the woman from gauche teenager through to her global (albeit troubled) stardom. Shamefully there’s no songlist printed in the programme so there’ll be few song specific credits in this review. Suffice to say Skye takes the role and makes it her own, with her act one closer of Lesley Gore’s You Don’t Own Me proving a moment in the show that is as moving and poignant as it is powerfully performed.

As her working-class parents (and Elton deftly comments on Britain’s class system) Norman and Nell, Steven Serlin and Hannah-Jane Fox are a treat - Serlin capturing the humility of the man, while Fox mastering the complexities of Nell who suffered PTSD following the 1940 Blitz of London and post-natal depression some 9 years later with Lesley’s birth. Serlin also turns in some cracking cameos of David Frost, Woody Allen and Melvyn Bragg.

There is equally fine work from Matt Corner and Darren Day. Corner  as Justin de Villeneuve, Twiggy’s first love and the Svengali-influence who managed and manipulated the early years of her career, while Day plays Michael Witney, the American actor who Twiggy married, presaging his slow descent into alcoholism. 

All of the cast sing flawlessly, accompanied by Stuart Morley’s 7-piece orchestra. The acoustics of the Menier can sometimes prove unforgiving but Gregory Clarke’s sound design works magic from his talented singers and musicians. Similarly Jonathan Lipman’s costumes catch the zeitgeist of the Swinging Sixties with Jacob Fearey’s choreography making fine work of the Menier’s space.

In a show that’s most likely to appeal to Twiggy and Ben Elton’s age groups, Close Up is an unpretentiously fabulous evening of musical theatre.

Runs until 18th November

Photo credit: Manuel Harlan

The Beautiful Game

Union Theatre, London

***

Music by Andrew Lloyd Webber

Book & lyrics by Ben Elton

Niamh Perry

The main focus of The Beautiful Game is Northern Ireland’s Troubles; more crucially though and through the generic tale of an amateur football team making it big, this musical actually speaks to us about the broader human values of loyalty, intimacy and trust.

In the first UK revival since the musical’s West End premier in 2000, it’s easy to see why the show hasn’t garnered more frequent outings. While there are a number of touching portraits as a generation of players and their female admirers take their final steps into adulthood, rhymes such as ‘life/wife’ seem sinfully obvious and lyrically, 'Clean the Kit' is a particularly irksome number. The cast however respond appropriately, through a tapestry of gently nuanced gestures. The occasional convincing stare, or off-beat ‘tut’ and a whole-hearted cheer, bring a refreshing truth to an otherwise often cheesy and sometimes rather over-earnest show.

Although some important moments are shielded behind pillars, Lotte Wakeham's production generally uses the Union's compact space with flair. Presented in a traverse staging, with both back rows reserved for jeering ensemble members, the audience are pitched into "opposing stands", adding a modest flavour of football rivalry to the evening.

At times ensemble members hold up washing lines, suggesting a thrifty domesticity at play and reminding us how much the central characters are a product of their society and throughout, David Shields’ designs work well. Ladies in authentic leather panel skirts and sleeveless jumpers, with the protagonist football team kitted out in patterned shirts that simply scream “peace and love”.

The production itself may be made of less intriguing material, but Niamh Perry and Ben Kerr bring a zeal to the relationship between Mary and John. Married, John drifts from playing field to incarceration as Mary drifts from the sidelines to motherhood. Backed by a strong ensemble, both actors give standout performances, furnishing the maturing relationship with their own language of physical intimacy.

The man of the match award for this production however goes to Tim Jackson. Taking a very literal approach to the sport, Jackson choreographs a scene that cements the excitement and passion of football and the energy and dedication of its players. Dramatic red lights are punctuated by stark drum beats as two teams tumble around the stage. At moments, it’s graceful - the sweetest goal is scored; seconds later, as the teams clash, there’s bloodthirsty passion in their movements. Truly an exercise in coordination and teamwork and a beautiful interpretation of the beautiful game.

Runs to 3rd May 2014


Guest reviewer: Amelia Forsbrook