Anything Goes - Review

Upstairs At The Gatehouse, London

*****

Music and lyrics by Cole Porter
Book by Guy Bolton, PG Wodehouse, Howard Lindsay & Russel Crouse

Directed by John Plews

The cast of Anything Goes

In quite possibly the finest musical to have been staged at The Gatehouse in recent years, John Plews and his cracking company deliver musical theatre magic in their ambitious staging of Cole Porter's most famous show.

Emily Bestow's design is imaginative. Ocean-liner themed throughout, including railings around the two traverse banks of seats with the neat touch of cruise-ship views and movies discreetly projected above the compact performance space that only enhances the illusion.

Of course the show is adorned with toe-tapping classic numbers and Plews has cast his company magnificently - with each song done to a turn. Making her UK debut (though with an impressive southern hemisphere CV) Taryn Erickson sizzles as Reno Sweeney. Capturing the essence of Sweeney's ballsy chanteuse Erickson makes the timeless solos her own. Jack McCann’s Billy Crocker captures the madcap requirements of his character with a perfect voice and presence.

Samantha Dorsey’s Hope Harcourt truly is de-lightful. Her character is one of the few roles that is to be played consistently straight and humour-free. Dorsey brings flawless acting and vocals to capture Hopes complex, lapsed chastity.

Where this production really shines however is in the performing detail that Plews has coaxed from the entire cast. Cole Porter’s wit is acerbic and finely honed, ranging from bawdiness and sarcasm, through to the driest of droll put-downs and his words demand to be spoken or sung with carefully weighted wit. This Highgate company deliver them to perfection, notably Jack Keane’s Sir Evelyn Oakleigh who captures the idiotic buffoonery of an aristocratic English twit (his garters, a fantastic touch) with pinpoint perfection. A good comedy performance is one of the toughest challenges on stage and Keane plays his man to a tee. My only regret in Plews’ show is that he has chosen the 1962 off-Broadway revival which omits Sir Evelyn singing The Gypsy In Me – perhaps one of the funniest songs in the canon. Alongside Keane, David Pendlebury’s Moonface Martin is another comic treat.

Dan Glover’s 6 piece band are polished, while Chris Whittaker’s imaginative and energetic choreography again squeezes breathtaking routines (including some awesome tap) into the venue’s traverse space.

This is unquestionably the best off West End musical around this Christmas – and at around £18 a pop when it comes to value for money, Anything Goes is the best show in town!

Runs to 29th January 2017
Photo credit: Darren Bell

Singin' In The Rain - Review

Upstairs At The Gatehouse, London

****

Screenplay by Betty Comden & Adolph Green

Songs by Nacio Herb Brown & Arthur Freed

Directed by John Plews

Simon Adkins

There is a delightful air of ambition that pervades each Christmas musical at the Gatehouse and this year is no exception. In offering Singin' In The Rain to the good people of Highgate, director John Plews aims high indeed. The songs are classic, the book has the potentially lethal cocktail of gorgeous romance mixed with schmaltzy simplicity and of course there's "that" iconic scene.

Plews is a visionary creative and it is to his credit that his productions blend recently trained performers with seasoned West End and commercial talent. The story needs little introduction. Set in Hollywood, Monumental Pictures is contemplating the end of silent movies as glamorous starlet Lina Lamont realises that her voice is not as good as her looks. Meanwhile, dashing co star Don Lockwood has stumbled upon the demure and angelically voiced Kathy Selden. Love blossoms and jealousies burn as the rain-sodden tale unfolds.

The principal roles are all cast delightfully. Frankie Jenna's Kathy is a beautifully pitched performance of vocal perfection whilst Paul Harwood's Cosmo (Lockwood's best friend) offers up some great dance routines, with especially beautiful work in Moses Supposes and Make 'Em Laugh. This show's moments of breathtaking excellence however come from the carefully crafted performances that Plews coaxes from Simon Adkins' Lockwood and Thea Jo Wolfe's Lamont. Adkins' West End pedigree is manifest in his voice, his presence and his dance. He consistently convinces as the era's dashing movie-star, bringing a gravitas of quality to the performance that drives the entire show. Wolfe, a relative newcomer to professional theatre is just deliciously contemptible as the story's villain. Her dumb blonde vocal squawk is painfully hilarious and her mastery of Lamont's charisma, envy and ultimate fragility belies an acting talent of some considerable depth. Elsewhere, Nick Barclay is the believable Monumental boss R.F. Simpson and Emily Wigley sets the scene nicely as a Movietone news reporter.

The Gatehouse show offers a delicious flourish with its screenings of grainy black and white movie footage that the story demands. Seasoned director Monica Swelp racks up another triumph with her interpretations of The Royal Rascal and The Duelling Cavalier.

Chris Whittaker's choreography cleverly exploits the compact traverse performing space, with tap routines that make lavish use of the dozen performers and yes, for an off West End production there's even a rain drenched title number that includes the baton-twirling cop on his beat. Up in the gallery Matt Ramplin's six piece band knock out the favourites with a pleasing familiarity.

Singin' In The Rain makes for perfect festive fayre. A classic tale, beautifully told that brings a splash of Broadway rhythm to North London. It put a smile on my face!

Runs until 25th January 2015