Funny Girl - Review

Milton Keynes Theatre, Milton Keynes


*****


Music by Jule Styne
Lyrics by Bob Merrill
Book by Isobel Lennart
Revised Book by Harvey Fierstein
Directed by Michael Mayer

Sheridan Smith

Revisiting Funny Girl, now on tour after its tumultuous (but always impressive) London run that had started at the Menier Chocolate Factory, it’s almost impossible to believe how Michael Mayer had managed to stage it in that tiny space south of the river. Now, watching it in a venue several times the size, the touring production looks absolutely fabulous - cast, set and costumes with the show sounding sparkling, new and exuberant.

This timeless, true life, rags-to-riches story of a Jewish Hungarian immigrant’s talented but quirky daughter certainly captivated the midweek full house at Milton Keynes and no doubt will do so on the rest of the tour. Sheridan Smith is vibrant and happy, back on top form and absolutely owning the character of Fanny Brice that she created at the Menier. She was born to play this role!

Opposite her is Chris Peluso who the gods have blessed with a glorious voice and as gorgeous a presence.  Peluso’s Nick Arnstein is a little more serious than Darius Campbell’s London performance and isn't quite (yet) the match for Smith’s on-stage majesty. But these are very early days for this national tour, and there is every likelihood that Peluso will dig just a little deeper to more than rise to the role.

The supporting cast are fabulous with no weak links. There’s fine work (and tap dancing)from Joshua Lay’s ‘disappointed in love’ Eddie. Rachel Izen, Myra Sands and  Zoe Ann Bown are a hoot as Fanny’s mother and her friends, ladies of a certain age delighting in life and gossip. Throughout, the Ziegfeld girls look and sound stunning and alongside the ensemble boys, all dance with style and panache.

Jule Styne’s score sounds tremendous, wonderfully arranged by Alan Willams and superbly orchestrated by Chris Walker. It’s a tribute to the band to see so many of the audience stay and listen to the very end of the play out and deservedly applaud.

Credit too to Smith (and at certain future performances, her famously sensational London understudy Natasha J Barnes too) for having the gumption to go on the road with the show. All too often, a show’s headline stars can tend to drift away come tour-time, replaced by leads who whilst unquestionably excellent, lack star quality. Not so here, where Smith will be toughing out like a trouper. Brava!

Funny Girl on tour is a chance to glimpse the West End’s finest, up close. We’re all people who need people and amidst a marvellous company, Sheridan Smith continues to make this show unmissable.

Runs until 4th March - Then tours. For schedule click here. 

Reviewed by Catherine Françoise

Photo credit: Johan Persson

Death Takes A Holiday - Review

Charing Cross Theatre


*****


Music & lyrics by Maury Yeston
Book by Thomas Meehan and Peter Stone
Based on the play La Morte in Vacanza (Death Takes A Holiday) by Alberto Casella

Chris Peluso and Zoe Doano

It is rare that a musical is presented with such exquisite elegance as Thom Southerland delivers with Death Takes A Holiday, making its European premier at the Charing Cross Theatre. The essence of Maury Yeston's musical, itself drawn from Alberto Casella's 1920s Italian play, is that of a love story spun from the finest filigree, yet, like Mary Shelley’s Frankenstein, played out against a hauntingly gothic backdrop. 

The prologue sees the beautiful Grazia thrown from a speeding car in a horrific crash. Her death must surely be unavoidable but Death himself, so captivated by her beauty, spares her. Intrigued by the mysteries of humanity, whose lives he has claimed and stalked over the centuries, for one weekend only Death grants himself two days of mortality. Assuming the identity of a Russian Prince, he visits Grazia's home as an unexpected house guest and what follows is quite literally a fairy tale of enchanted love and ultimate tragedy. Throughout Death's weekend vacation no-one (anywhere) dies, Grazia's family discover new depths of relationships, while Grazia herself falls in love with Death, in a passion that is as deeply doomed as it is reciprocated. 

It's a brave story to stage - for to suspend the audience's disbelief and convincingly create a world that is potentially of the darkest horror, requires nothing less than precision stagecraft. Leading the show are Zoe Doano and Chris Peluso as Grazia and Death. The two are magnificent and with both having only recently led in major West End roles, their pedigree is breathtaking. Zoano's soprano voice combines power with fragility. Her four solos are compelling and commanding, while her duet with Peluso, More And More, is a heartbreaker. Likewise Peluso, whose striking performance captures the inscrutable paradox of his weekend of humanity. We believe he is a man with the ultimate of powers and yet at the same time reduced to a childlike curiosity when confronted with that most profound and rawest aspect of humanity, the power of love.

It’s impossible not to care for nearly all of the supporting characters too. Mark Inscoe is the Duke Lamberti, Grazia's father, already mourning the recent death of his son and as the host, charged by Death not to reveal his house guest’s true identity. As he watches his daughter fall for Death's charms and knowing what could potentially await her, Inscoe's delivery of this most complex of emotional struggles adds yet another layer of tragic beauty to the plot. In a modest role Kathryn Akin's Stephanie, Grazia's mother delivers the most poignant of numbers that mourns her son with Losing Roberto, Yeston’s composition truly touching the heart.

Samuel Thomas offers another ingenious cameo as the battle-hardened fighter pilot who recognises the Russian Prince for who he really is, while James Gant's butler Fidele, offers occasional moments of well nuanced comedy that are beacons of relief along the story's bittersweet arc. There are equally weighted moments of brilliance from Anthony Cable and Gay Soper as a veteran star-crossed couple finding love, their ageing temporarily paused during the weekend's magic and from Scarlett Courtney and Helen Turner as Grazia’s contemporaries. 

The creative talent behind the show is as topnotch as the cast with Morgan Large's set proving as simple as it is wondrous. A rotating set of palazzo walls and doorways, graced by rococo chairs, ingeniously create the Lamberti home, complemented by Jonathan Lipman's period-perfect costuming, with Matt Daw's lighting proving both sinister and spectacular in equal measure. Hidden away offstage, Dean Austin's 10 piece band could easily pass for a far larger West End orchestra, such is their treatment of Yeston's soaring score.

The show deserves to be snapped up for a longer run or transfer - it really is that good, but until then rush to the Charing Cross Theatre. Death Takes A Holiday is the darkest of fairytales in a work of musical theatre that is at the very top of its game.

Runs until 4th March
Photo credit: ScottRylander

Show Boat - Review

New London Theatre, London


*****


Music by Jerome Kern
Book and lyrics by Oscar Hammerstein II
Based on the novel "Show Boat" by Edna Ferber
Directed by Daniel Evans

Emmanuel Kojo

Show Boat at Sheffield's Crucible Theatre was the best musical that I saw last year and its London transfer is setting a very high bar for 2016. Daniel Evans' production, mounted on Lez Brotherston's spectacularly evocative set doesn't just reprise one of Broadway's greatest ever musicals, it recreates Americas Southlands and Midwest at the turn of the 20th century, with a spine tingling intensity.

Famed as the "original Broadway musical" Show Boat is powered by a narrative that steams through human love and tragedy, fuelled by some of the finest songs written - and in this production, performed by arguably the most talented company in town. Chris Peluso and Gina Beck lead as Gaylord Ravenal and his wife Magnolia. Peluso, who takes over the role from Michael Xavier, offers his own distinctive interpretation of the riverboat-gambler whose heart is melted and enchants with a convincing passion both in solo and in his famous duets of Make Believe and You Are Love.

Beck continues to deliver a magnificent Magnolia with an arc, tragic yet strong, that breaks our hearts. As Magnolia matures from wide-eyed love-struck teenager into a challenging adult life, Beck is en pointe throughout. Truly one of the finest of her generation, the power of her soprano is spine-tingling. Her duets with Peluso may be charming, but in After The Ball, she takes the roof off.

Rebecca Trehearn's Julie offers a performance that is perfectly nuanced throughout. Her character hides a complex secret (no spoilers here) and on re-visiting Trehearn's performance, the tiny details that betray Julie’s deepest fears are performed exquisitely. And of course she matches Beck's vocal perfection. Can't Help Loving That Man Of Mine evolves throughout the evening until it's the song on everyone's lips at the final curtain, whilst Bill, a beautiful lament Is one of the second half's highlights.

Rebecca Trehearn and Gina Beck

The musical is famous for Ol' Man River, a song that's arguably bigger than the Mississippi it tells of. The ridiculously young and talented Emmanuel Kojo continues to kick the song out of the park. He gives it a beautifully bass foundation, yet also allows it to soar with a spirituality. The despair of the African American stevedores, so cleverly evinced in Kern's classic chords and Hammerstein's inspired lyrics is a thing of wondrous grief when sung by Kojo's Joe. Sandra Marvin as Queenie brings a worldly wisdom to her modest role but, again with her gorgeous vocal range, she makes fine work of Mis’ry’s Comin’ Roun’ and the second half’s jolly Hey, Feller!

Alex Young's rising star continues to shine. Her feisty Ellie Mae Shipley providing many of the show's compassionately comic moments with Life Upon The Wicked Stage being delightfully executed. Opposite her, Danny Collins plays her stage husband Frank Schultz. Collins’ dance work is a marvel, his routine with Young during Goodbye My Lady Love being a blur of perfectly executed footwork. In fact Alistair David’s choreography is stunning throughout. The company numbers are breathtaking, either in their raw humanity during Ol’ Man River, or the simply stunning exuberance of Act One’s opening and closing routines.

Show Boat speaks with charm of a time gone by. Whilst its darker sides of racism and gambling/alcohol addiction are sadly timeless, so too is its observation of marriage. As the Ravenals’ union fails, both Joe and Queenie’s marriage along with that of Captain Andy Hawks and wife Parthy (again, excellent supporting work from Malcolm Sinclair and Lucy Briers) endure the decades. There’s a theme of recognizable hen-pecked husbandry that bridges the racial separation and while Parthy and Queenie’s domineering wives raise a warm chuckle in their disciplined approach to housekeeping, it all harks back to a golden and more gentle age of storytelling, when vaudeville, Broadway and Hollywood entertained the world. It’s a further credit to Evans, David and Brotherston that the whole production exudes such a filmic quality.

As Tom Brady's orchestra provide the perfect backdrop to a night of laughter and tears, Show Boat defines flawless musical theatre.

Booking until 7th January 2017

Photo credit: Johan Persson