Newsies - Review

Troubadour Theatre, Wembley

***

Music by Alan Menken

Lyrics by Jack Feldman

Book by Harvey Fierstein

The cast of Newsies

On its first transatlantic crossing, Disney’s Newsies rocks up in Wembley’s cavernous Troubadour Theatre.

It’s a solid socialist yarn, founded upon history and telling of how at the turn of the 20th century New York’s newspaper vending kids ( the “Newsies”) challenged the capitalist owners and publishers for fairer trading terms upon which the papers were to be sold. It’s a fine premise, but the yarn doesn’t easily stretch to fill a two-act musical, with Menken, Feldman and Fierstein lathering on layers of schmaltz in their tunes, lyrics and book respectively, to give the audience their money’s worth.

To further paper over the cracks, Menken’s score is used as the groundwork for breathtakingly balletic dance work, where director/choreographer Matt Cole deserves plaudits for the imaginative deployment of his company’s bodies. However this is Cole's first time in the director's chair and it shows. There is a shallow, cheesiness to the show’s dialog from the get-go, with Cole lacking the heft to raise the words to a higher plane.

The actors are all terrific with Michael Ahomka-Lindsay and Bronté Barbé leading in their corny and improbable love story. Above the stage Nigel Lilley makes fine work delivering Menken's essentially forgettable tunes.

If you want to be stunned by lithe young performers performing breathtaking routines, then the show is unlikely to disappoint.

Runs until 16th April 2023

Photo credit: Johan Persson 

Oklahoma! - Review

Festival Theatre, Chichester


****


Music by Richard Rodgers
Book & Lyrics by Oscar Hammerstein II
Based on the play Green Grow the Lilacs by Lynn Riggs
Directed by Jeremy Sams

Emmanuel Kojo and members of the company

With Jeremy Sams’ production of Oklahoma! Chichester Festival Theatre are back producing some of the country’s most exciting musical theatre. Rodgers and Hammerstein’s classic, set amongst the prairies and cattle ranches of what was known at the turn of the 20th Century as Indian Territory (the state of Oklahoma only being formed in 1907), takes a story of love, action and passion set to some of the finest tunes in the canon. But for all the genius in Rodgers and Hammerstein’s writing, Oklahoma! is a desperately dated piece. It was a time when unmarried daughters were seen as very much their fathers’ property, while the biased frontier justice that is meted out in the show’s final act makes one realise just quite how sugar-coated the Broadway audiences of 1943 needed their stories to be.

But amidst this dated glimpse of a post-Civil War America, Sams and his creative team have delivered theatrical magic. In a bold casting move the two leading roles are given to relative industry newcomers. Hyoie O’Grady plays the cowboy Curly, smitten with a (mutual) love for Amara Okereke’s Laurey. O’Grady is a vocal delight, his opening bars of Oh, What A Beautiful Mornin’ stirring the Chichester audience into a foot-tapping frenzy. He needs to find a touch more gravitas to truly weight the role – but this will likely emerge during the run. As for Okereke, this blog has long followed her youthful genius and she makes a fabulous Laurey, capturing the fierce independence of the orphaned farmer alongside the fears and vulnerabilities of a young woman. Her singing is a delight – and her dance, especially in the Dream Ballet routine, sensational.

It is in the supporting roles that Sams lays on the heavyweight talent. Josie Lawrence as the matriarchal Aunt Eller brings a wryness and compassion to the role, with a raucous wit and perfect timing that captures the older woman’s wisdom, as well as some moments of cracking comedy. The biggest plaudits of the night though rest with Emmanuel Kojo’s Jud Fry, perhaps one of the most complex characters ever penned during Broadway’s Golden Age. Fry is a damaged lonely man, cruelly mocked by Curly in their duet Pore Jud Is Daid. That number however serves as but a warm up to Fry’s Lonely Room, a song in which Kojo delivers a bass baritone performance that is as moving as it is thrilling and ultimately terrifying. Daniel Evans (Chichester’s Artistic Director) unlocked Kojo’s craft in his 2015 Showboat at Sheffield (the actor’s Ol’ Man River still resonates) and it is hard to think of any other UK actor that could have delivered such a perfect interpretation of this challenging part.

Comic support was well delivered by Scott Karim as pedlar Ali Hakim. Bronté Barbé as Ado Annie can sure sing 'purdy' but her acting through song needs a little more time – her character's lines drip with carefully crafted gags, too many of which are wasted on the night. Neat work too from Isaac Gryn whose dance routine in Kansas City was flawless.

Indeed – the dance work throughout was magnificent and ingenious. Matt Cole has drilled his company immaculately with the previously mentioned big dance numbers being breathtaking in their ambition – and Cole produces further fine work in The Farmer And The Cowman.

Robert Jones’s set design makes fine work of the Festival Theatre’s deep jaws as Mark Henderson’s lighting segues seamlessly between the dustbowl of the farmlands and the vividness of Laurey’s nightmare.

This production delivers a Broadway treat that is rarely seen over here. While the show’s politics and nuances may be from a different era, its songs and commentary upon love and the human condition are timeless - and high above the stage Nigel Lilley's 15-piece band makes splendid work of Richard Rodgers' glorious melodies. Well worth a trip to the South Coast, Oklahoma! is one of the finest musicals around.

Runs until 7th September

Photo credit: Johan Persson

Shrek The Musical - Review

The Lowry Theatre, Manchester


***


Music by Jeanine Tesori
Lyrics and book by David Lindsay-Abaire
Directed by Nigel Harman

The Company

As the Shrek UK tour draws to a close, it was fun to catch up with the show’s final week at Manchester’s Lowry Theatre.

Long long ago, before Shrek became a stage musical, it was an award winning DreamWorks movie that stole the hearts of adults and children alike. Upon its release in 2001, Shrek won the first ever Academy award for Best Animated Feature, as well as receiving countless nominations at the BAFTAs and Golden Globes.

The story follows the tale of loveable ogre, Shrek and his trusted steed Donkey, as they head out on a quest to rescue the Princess Fiona from a dragon-guarded tower. Meanwhile and elsewhere, formidable if miniscule and extremely short tempered Lord Farquad has banished the Kingdom’s fairy-tale creatures to exile In Shrek’s swamp home.

From the get go, the set engages the audience with vibrant colours and fabulous detail, throwing us into Shrek’s fairytale theme. The writing sparkles, with numerous references to other big musicals including Les Miserables, Miss Saigon and Wicked – and when the Dragon (brilliantly voiced by Candace Furbert) is revealed, the detail of the puppetry behind the creature is exquisite and almost identical to the creature in the film.

Shrek, played by Dean Chisnall is an instantly likeable character, notwithstanding a few accent wobbles. A few bars into his first song however and the audience was left with no worries. He is a fabulous performer with a voice that would leave most envious!

Idriss Kargbo’s Donkey is a lovably hilarious character with perfect comedic timing, effortless charm and strong vocals. Likewise Bronté Barbé, who played the tomboyish Princess Fiona with a committed performance and impressive dancing, though their might just have been a hint of end-of-tour fatigue creeping into both of these performances. 

Gerard Carey however was a delight as the dastardly Lord Farquad. The tour's director Nigel Harman had originated this role in the UK in an Olivier-winning performance at the Theatre Royal Drury Lane back in 2011, so one might perhaps a touch of excellence here. Carey’s vocals are good but it’s his character that really steals the show. His commitment to the role is genius and his comic timing and the way he has adapted to performing the whole show on his knees to adopt the illusion of being so particularly short, deserves praise indeed! 

Overall the show itself is fantastic, the ensemble are tight and perform powerful and impressive numbers that entertain and enlighten. Whilst this tour maybe ending, Jeanine Tesori’s bright and uplifting music and David Lindsay Abaire’s witty lyrics should ensure that Shrek remains a family favourite for many years to come.

Guest reviewer: Charlotte Darcy

Carnival of the Animals

Riverside Studios, London

****

Original book and lyrics by Roger Hyams

Revised book by Andrew Marshall

Music by Gavin Greenaway

Directed by Thom Southerland

Anita Dobson and the Cast

The Carnival of the Animals is one of the most innovative and culturally inspired pieces of new musical theatre writing to have been seen for some time. In a show that bears a nod to the grim darkness of Sondheim with a nod to Kander and Ebb's outlandish "show within a show" style and loosely derived from Saint-Saens' 1886 composition, Greenaway and Hyams have set their tale in the fictional 21eme arrondissement of Paris, where animals and people magically live side by side.

There is one human character in the piece, fashion designer Mademoiselle Parfait, played by Anita Dobson in a wonderfully game performance. Parfait is our guide to the arrondissement as the show opens, but curious occurrences in the first act hint at darker motives. When we do discover the evil that lurks beneath, it is worth reflecting that there are few actresses that can combine such talent and friendly familiarity with devilish menace. Dobson's eyes can sparkle with enticing innocence as the curtain rises on the show, and yet flash the darkest malevolence as it falls on the first act. The wicked side of her character suggests that the show is not ideal for the very youngest of children, but from 7 or 8 and up they are likely to be held rapt by the tale.

The producers have secured a cast that is, for the most part, outstanding. Clare Machin's mumsy elephant, who against type, can't remember a thing, is a delight, made all the better by a hilarious can-can routine in the finale. Allyson Ava-Brown's Lioness is a performance of calculated strength, though this talented actress has more in the tank that she could give to her act.

Other notables amongst a role call of excellence were Alastair Brookshaw's Mynah bird, a perfect portrayal of arrogant smugness whose tap dance routine with Matthew Gent's Parrot, cheekily and classily evoked Fred Astaire and Gene Kelly. Cassandra Compton and Stephen Webb as Flamenco inspired Latin donkeys is another fine example of comic acting and timing, beautifully voiced and choreographed, whilst veteran Paul Grunert's Tortoise is a treat of understated wisdom from an actor who knows just how to maximise his impact.

Anita Dobson may well be billed as the star of the show, but amongst this menagerie, it is Bronte Barbe's cygnet who steals the show. Her perfectly performed and vocally exquisite character is a delight and this already accomplished young woman simply has to be a leading lady of the future. (When Evita next returns she would look wonderful on the Casa Rosada balcony...). Barbe's metamorphosis into a swan is one of the most brilliant yet simple pieces of physical theatre to be found in London and when, transformed, she gracefully flew over Paris, I sobbed.

Thom Southerland is back with an inspired hand at the helm of this show, whilst John Risebero's set design that brilliantly evokes Paris and maestro Howard Hudson's lighting, ensure that the show is built upon foundations of creative genius.

This production should deserve five stars and perhaps with:  a re-casting of the Chimpanzee, Liam Doyle seen here in a role that vocally stretched him; a trimming of the first half; and mic'ing up the cast which is crucial if their voices are to achieve parity with, or even dominate, the magnificent sound from David Randall's four piece band, it may yet achieve them. Greenaway and Hyams have unveiled a treat here. With a few tweaks they may yet have crafted a perfect family trip to the theatre. 


Runs until July 14th 2014

George Dyer At The Pheasantry

The Pheasantry, London

***


This review was first published in The Public Reviews

With a handful of professional colleagues together with a sprinkling of 3rd year students from Mountview combining to form his troupe of vocalists, George Dyer played to a packed out Pheasantry, in an evening of cabaret that comprised mainly lesser known numbers from the musical theatre canon. The show was produced by Speckulation, a company who encouragingly are as committed to supporting young and emerging talent as they are to showcasing the giants of the West End and Broadway.

In a mis-judged choice, Dyer handed the opening number, Arlen and Harburg’s Down With Love to a student who initially struggled with a confident delivery. The song is tough and bears a proud history of having been mastered by both Garland and Streisand in their pomp, so it was perhaps unfair of Dyer/Speckulation to hand such an icebreaker to a novice, performing in front of what was always going to be a critical and discerning (albeit warmly supportive) audience.

Ashleigh Gray was next up with a quirky number, Greta and her consummate professionalism and experience provided a re-assuring note of quality to the night’s singing. Gray gave several further songs through the set, including a simply spine-tingling Not A Day Goes By and quite why this woman has not commanded major recent London roles is a puzzle as she has a voice and presence that is amongst the finest of her generation.

As the show warmed up, so did the student contribution with Maggie Lynne singing an exquisitely delicate Ev’ry Time We Say Goodbye prior to Rebecca Brierley’s I’ll Be Here from the chamber musical Ordinary Days, a song of desperate poignancy and sadness but also hope. The number demanded immense and precise acting throughout and Brierley captured the fragility of the melody perfectly. Another Mountview treat was Bronté Barbé’s act 2 opener, Los Penguinos, a novel song about penguins, that included their squawking. Impressively, Barbé got the guttural comedy and the swift reversion to lyrics, spot on. Act 2 got even better with Frances Mayli McCann’s Raven, this talented young professional again delivering a vocal performance of perfection to match that of Dyer at his piano.

And George Dyer evidently is an exceptionally cool, handsome and (to use the modern parlance) sickeningly talented young musician who deservedly commands the respect of his actors and students alike. With Stuart Ness on bass and Sam Edwards on drums, the musical content of the evening was faultless. Perhaps though, this skilled MD is still too young to merit hosting a cabaret night of his own. Some of his patter was witty and revealing, but too much of his dialog centered upon childish jokes and a much repeated curiosity about the Jewish provenance of musical compositions. Appearing in London right now is Lorna Luft, Judy Garland’s younger daughter. Whilst Luft’s voice is (only close to) wonderful and not quite pitch-perfect, her anecdotes are sublime and one could listen to her tales all night. Today’s younger performers would do well to pitch up and learn from Luft that a sparkling cabaret is more than just songs sung superbly. However gifted the star of the show may be, their audience expects to be respected rather than patronised and their repartee should sparkle as much as the songs and music.