Mrs Doubtfire - Review

Shaftesbury Theatre, London

****

Music & Lyrics by Wayne Kirkpatrick & Karey Kirkpatrick

Book by Karey Kirkpatrick & John O'Farrell

Based on the Twentieth Century Studios Motion Picture

Directed by Jerry Zaks

Laura Tebbutt and Gabriel Vick

When they hand out the Olivier Award for Best Actor in a Musical next year, look out for Gabriel Vick’s interpretation of Daniel Hillard. Vick's translation from screen to stage of perhaps the movies’ most famous nanny since Mary Poppins is nothing short of remarkable. With an uncanny vocal dexterity and pinpoint stage presence, he takes Robin Williams’ Golden Globe-winning creation and in a dazzling performance, lifts the show.

Back in the day the genius of the movie was not just in Williams’ performance, but in the  film’s ability to tell its story and its pathos with a convincing humanity. On stage, the pathos is reduced to being transmitted through song and while this musical's acting may be impressive, the songs are mostly average served with a generous helping of cheese. If there’s a musical highlight of the evening it is He Lied To Me a wonderfully pastiche'd flamenco number sung by Lisa Mathieson midway through act two.

Vick’s costuming is terrific, however his Robin Williams lookalike prosthetic face is a distraction that obstructs the connection between actor and audience. Vick's voice can be heard, but the prosthetic means the audience are never permitted to see the extent of his facial acting range. The supporting cast are all on fine form. Laura Tebbutt as Daniel's wife Miranda is an assured delight, slotting well into an essentially two-dimensional role. Similarly Cameron Blakely as Daniel’s brother Frank, is a modest part but an inspired creation nonetheless.

Jerry Zaks directs the piece with suitable Broadway pizzazz alongside Lorin Latarro’s imaginative choreography. Elliot Ware’s 10-piece band make fine work of the Kirkpatricks’ score.

Colourful and touching, Mrs Doubtfire is an affectionate take on one of the funniest stories ever told.

Booking until 13th January 2024

Photo credit: Manuel Harlan

The Addams Family - Review

New Wimbledon Theatre, London


*****

Music & lyrics by Andrew Lippa
Book by Marshall Brickman & Rick Elice
Characters created by Charles Addams
Directed by Matthew White

Cameron Blakely and Samatha Womack

Having recently started out in Edinburgh, The Addams Family finally makes its London premiere. Starting life on Broadway in 2010 the show failed to make an immediate transfer across the pond, but having toured internationally, this gloriously ghoulish musical has at last been given a British life and judging by the reaction of tonight's audience, its arrival is more than welcome.

From the moment the overture commences with the iconic clicks from the cartoon / TV series the audiences are not only on side, but clicking along. The story, characters and settings are iconic. But with such a cultural resonance of course comes great expectations. Have no fear however, this production doesn’t just meet expectations, it smashes them!

The long road to London has been well worth it for this company, for their comic timing and delivery has been honed to perfection. The evening's run of constant stone cold gags sees each wisecrack delivered with the utmost sincerity. Most importantly, Matthew White’s direction has ensured a strong connection to the famously familiar elements of the TV classic, while still allowing creativity from all of his team to blossom. Complete with a mystery arm frequently making an appearance through the letter box, Diego Pitarch's design in particular sets the classic scene from the offset.

The performances are flawless. Too many to mention them all, but Cameron Blakely's Gomez is sensational. His presence is a force to be reckoned with and in the opening number When You're An Addams, which is the first taste we get of Alistair David's impressive choreography, Blakely not only establishes his character but alongside Samantha Womack’s Morticia, draws the audience into their not so normal family life. Stunt / celebrity casting can often be a critique of many UK Tours but not tonight. Womack’s motherly warmth actually comes across with an icy chill. Not only that, but the comedic chemistry between these two fantastic actors is more than alive and certainly at no point do either of these two need a kiss of life from their opposite. The gags also flow thick and fast from Les Dennis’ fabulously crazed Uncle Fester.

A strong mother deserves an equally strong on stage daughter and Carrie Hope Fletcher’s Wednesday is a blast. As the hot headed, torturing yet adorable Wednesday, Fletcher is quite simply a raring ball of energy on stage as her romance with Oliver Ormson's Lucas Beineke develops. Her rendition of Pulled complete with puppet butterflies was top notch, very few actors can deliver such vocal and comical class through song.

- To be fair, Fletcher has dreamed of playing Wednesday for years. This website saw her sing Pulled nearly four years ago at Andrew Lippa’s gig at the St James Theatre. Read Jonathan's review from then - she “took the roof off”. -

Amongst the cross bows, gory dead rabbits, cackles and cries is a story about the simple day to life of a family in New York. Albeit not your average tribe, but the monstrous leading performances and hauntingly slick ensemble bring this family tale to life. Supported by Andrew Hilton's polished band with Lippa's numbers superbly arranged by Richard Beadle, the show plays at Wimbledon until the end of the week before hitting the road as one of the best productions currently touring the land.

If you know your Addams Family songs – Full Disclosure! To everyone else the show is unmissable.

Playing at the New Wimbledon Theatre until May 20th, then touring. Full schedule here.
Reviewed by Josh Adams
Photo credit: Matt Martin

Oliver! - Review

Watermill Theatre, Newbury

****

Music, lyrics and book by Lionel Bart

Directed by Luke Sheppard

Thomas Kerry

It is a rare treat to visit Newbury’s charmingly situated Watermill Theatre and Luke Sheppard's Oliver! more than makes the journey worthwhile. On arrival and in one of the most innovative mise-en-scenes, as the audience mingle on the lawn outside sipping Pimms and G&Ts, the cast’s ragamuffin kids dart about, not picking pockets but offering to shine shoes for a sixpence. It’s a charming touch.

As is the way at The Watermill, the production is actor-muso, with the adult cast playing their instruments during moments that don’t involve them in the show’s action. Bart’s striking overture proves an initial treat and it sets the standard for the evening’s music.

The production’s kids are an appropriately cute and talented bunch and on the night of this review the team of youngsters was headed by Thomas Kerry in the title role, with Archie Fisher as the Artful Dodger. Any production of Oliver! however will always be defined by its Fagin and Nancy and with Cameron Blakely and Alice Fearn, this show is in capable hands. If Blakely, the only actor who does not play an instrument, is initially a little too driven by stereotype he settles into the role well. Fagin should never be a truly sympathetic character, yet by the time he gets around to his wonderful Reviewing The Situation, the audience are laughing with him, not at him.

Fearn’s Nancy is simply as good as it gets. Aside from her piano and recorder playing duties she looks and sounds every inch the protagonist of one of the most complex love stories in the canon, with a voice that is just sensational. Fearn simply smashes It’s A Fine Life, whilst her As Long As He Needs Me both thrills and inspires, vocally soaring through her inexplicable devotion to Bill Sikes.

It is a stroke of genius that sees Sheppard set Nancy’s act two opener Oom-Pah-Pah, traditionally staged in an East End pub, back on the theatre’s lawn as the audience are finishing off their interval libations. Fearn’s delivery is bawdy, raucous and with a singalong encouraged if it wasn’t for the downright prosperity of surrounding Berkshire, close your eyes and you could almost be back in Whitechapel! 

Choreographer Tim Jackson also makes fine use of his cast within the compact space. The ensemble numbers are thrilling and Jackson’s work is Who Will Buy? is just a delight as the stage gradually fills to a rousing street scene.

Kit Orton (strings and percussion) puts in a fine turn as Bill Sikes, bringing a detached menace that convinces us of the evil lying at his villain’s core, whilst Steve Watts’ Mr Brownlow is the most compassionate of patricians who also proves a rather dab hand on the trumpet. Susannah van den Berg, always a treat to see perform, cuts a matronly figure as the hard-hearted Widow Corney and  also impresses with a wonderful voice and a talent for remarkable range of instruments.

Perhaps the most impressive musical moment of the night comes from Deborah Hewitt, who when she’s not playing Charlotte, is either tucked away on her drum kit or even more impressively, roaming the stage in a masterclass of syncopation, strapped to her one-(wo)man-band contraption. A nod too to the comic crafts of Tomm Coles’ (wind) Mr Sowerberry and Graham Lappin’s (piano and trombone) definition of vacuous pomposity, Mr Bumble.  

The show’s programme contains some well researched background material, but annoyingly does not give the actors any (deserved) credit for the instruments that they play. So to complete the record, also putting in a first class shift were Joey Hickman on piano and trombone, Rachel Dawson on strings and the marvellous Rhona McGregor on Piano, strings and sax

Given the impoverished backdrop to Oliver!, the economy of doing away with a separate orchestra works well and amidst Tom Rogers' striking multi-level set design and Howard Hudson’s trademark stunning lighting, the time and place of a grim Victorian London is thrillingly captured. If Lionel Bart is looking down upon the Watermill’s production, he’s surely smiling.

Runs until 19th September

Photo credit: Philip Tull