The Addams Family - Review

Curve, Leicester

*****

Music and lyrics by Andrew Lippa

Book by Marshall Brickman and Rick Elice

Based on characters created by Charles Addams

Directed by Matthew White

Ricardo Afonso and Alexandra Burke

The Addams Family hail from back in the day when The New Yorker magazine offered some of the sharpest cynicism in the world and with few contributors sharper than cartoonist Charles Addams, as the gifted artist created a deliciously dysfunctional Gothic clan who resided in a haunted mansion beneath Central Park. The Addams Family’s values were as inverted as they were recognisable and their distinctive Manhattan chic was to spawn television series and a movie and lead to this beloved menagerie of deeply damaged individuals becoming one of 20th century America's cultural icons.

Translating such utterly ghoulish satire into musical comedy requires brilliant writing that demands to be matched by equally outstanding performances. Marshall Brickman and Rick Elice who penned the show’s book have an excellent pedigree behind them. Paired with songsmith Andrew Lippa, the show is based on fabulous foundations and in this iteration of The Addams Family that has just opened at Leicester’s Curve, the cast unite to deliver an evening of arguably the finest musical theatre this year.

The Addams Family musical has been around for a few years now – last reviewed by this site in 2017 -  however this production takes its excellence to the next level. Alexandra Burke and Ricardo Afonso head the family as Morticia and Gomez. Burke bringing the seductive contemptousness that her most fatale of femmes demands, while Afonso adds Latin authenticity to Gomez’s delightful despicability. The couple’s breathtaking flamenco-enhanced Tango De Amor that brings the show towards its conclusion is just joyous and the hallmark of Alistair David’s classy choreography

This production’s strengths however are bolstered not just by such strong leads, but by epic casting throughout. The legendary Clive Rowe plays the genderless Fester, enchantingly in love with the Moon. Rowe is a giant of his generation and his big number, But Love, is as tender as it is hilarious. Lesley Joseph steps up to the plate as the 102yo Grandma of the family. There are few performers who can nail the bittersweet comic delivery required of a wry centenarian, with Joseph delivering in spades. Dickon Gough’s Lurch is a demonstration of understated physical comedy at its finest, while Lauren Jones as Wednesday is all that this infernally rebellious teenager should be.

The musical’s plot revolves around a deliciously improbable romance between Wednesday and Lucas Beineke (Jacob Fowler) but it is the gem of a performance that Kara Lane delivers as Lucas’s mother Alice singing Waiting towards the end of the first half, that almost takes the roof off the Curve. Credit too to Dale Rapley as Alice’s husband Mal – a tough role with few, but nonetheless very dry, sweet spots of humour. Rapley nails them all. And a nod to Nicholas McLean who makes fine work of Wednesday’s younger brother Pugsley.

The Addams Family is more than just musical comedy. It is the finest, most acutely observed satire, that is delivered exquisitely. This tour needs to lead all the way back to the West End. Musicals do not get better than this!

Runs until 10th August, then on tour

Photo credit Pamela Raith

Piaf

Curve Theatre, Leicester

*****

Written by Pam Gems

Directed by Paul Kerryson


STOP PRESS!

PIAF RUN EXTENDED IN THE MAIN THEATRE AT THE CURVE 3 - 6 APRIL 2013

SEE THE TRAILER FOR THE SHOW HERE

Frances Ruffelle

Leicester Curve’s Piaf, Pam Gems' distinctive play about the beautiful but self-destructive arc of Edith Piaf, has new life breathed into the title role by Frances Ruffelle whose immersive performance as the celebrated French chanteuse is quite simply breathtaking.

Gems pulls no punches with her writing and this play with songs is not for fans of the singer looking for a sentimental juke-box musical. Her Piaf is at times a tragic junkie, an alcoholic and a foul mouthed whore in a production that is so much more than simply a collection of some of “The Little Sparrow’s” songs.  Ruffelle’s portrayal of this brightly burning star that crashed to her death at the age of 47 is as harrowing as it is stunning.

The play moves at a pace from Piaf’s troubled early years. The supporting cast context the passage of time skilfully, as key people in the singer’s life are introduced. Whilst many of the cast play several roles, Laura Pitt-Pulford plays Toine, Piaf’s best friend and fellow prostitute from the early years, throughout. Pitt-Pulford has a track record that defines a commitment to excellence and this performance is no exception as she portrays the hard-edged cynicism of a street girl through the years.  Tiffany Graves’ Marlene sings Falling in Love Again with a deliciously authentic sound.

The six men in the company cover a multitude of parts. The versatile Russell Morton, as her young Greek husband she married shortly before her death, beautifully duets with Ruffelle. Oliver Boot delivers an emphatic masculinity throughout, from hard edged cop to the champion boxer who wins Piaf’s love before being tragically killed in a plane crash and Dale Rapley shifts through several key characters in Piaf’s life effortlessly most notably as the gay promoter who chances upon her street singing and transforms her to professional performer.

But it is Ruffelle who defines this show. Shifting from gamine minx, to a morphine abusing broken-bodied frailty, injured from car crashes and addiction, her performance is almost Hamlet-like such is the totality of effort that is demanded from her. Crippled and dying, she switches from shooting–up to commanding the spotlight in the fantasy recalls of Piaf’s numbers, with ease. When she sings in French her voice is a sublime tribute to Piaf, whilst when she sings in English the distinctive timbre and twang that defined her creation of Eponine some 27 years ago, is still there. Ruffelles’s acting is first class throughout with Andrew Whiteoak’s effective wigs provide the finishing touches to her embodiment of the French legend. 

The staging is simple, with effective use of brickwork, cobbles (a nice Parisian touch from designer Simon Scullion ) and excellent lighting from Arnim Friess. Musically, the three piece band are a delight. Piaf demands an authentic French sound and Zivorad Nikolic’s accordion playing, under the talented Ben Atkinson’s direction and orchestration, creates a Parisian atmosphere that only needs for a whiff of Gauloise to be complete.

Paul Kerryson has delivered another well-crafted piece of theatre to this remarkable regional powerhouse. Hopefully the production will tour and maybe arrive in London too. Yet again, the people of Leicester are spoilt with such a gem on their doorstep.

Runs to 16th March

Hello, Dolly! - Review

Curve Theatre, Leicester

*****

Book by Michael Stewart

Music & lyrics by Jerry Herman

Directed by Paul Kerryson

Janie Dee is Dolly Levi

In a grand show, whose qualities are built entirely upon a stunning company performance, the Curve’s production of Hello, Dolly! is a faultless piece of musical theatre.

Jerry Herman’s Broadway hit, later starring Barbra Streisand in the 1969 movie, tells of the preposterous antics of penniless widowed matchmaker Dolly Levi and her schemes to ultimately net the wealthy Yonkers grain merchant, Horace Vandergelder for herself. Levi can produce business cards that proclaim her an expert in just about everything and Michael Stewart’s book, itself based on Thornton Wilder’s play The Matchmaker, has Dolly weave what can only be described as a Ponzi scheme of romantic trickery and duplicity. Integral to the story’s delightfully ridiculous twists and turns are Levi’s client, the also widowed milliner Irene Molloy and Vandergelder’s much put upon impoverished clerks, Cornelius Hackl and Barnaby Tucker, excited to be making a trip to New York City with the sole aim of kissing a girl.

Janie Dee’s Dolly is a woman “who likes to know everything that’s going on” and her performance brims with as much talent as her character has chutzpah. Popping up from the middle of the stalls, her opening number I Put My Hand In sets the tone for both performance and show. Her eyes twinkle throughout and her lead of the company in the spectacular act one closer, Before The Parade Passes By, has such vitality that the song almost deserves several further verses and it is a disappointment when that number draws to a close. Act two sees her famous arrival at the Hermonia Gardens restaurant to the show’s title number and Dee, together with the ensemble’s waiters does not disappoint. She takes a Broadway classic that everybody knows and makes it her own.

Dale Rapley’s Vandergelder is a delightfully maturing curmudgeon, his song It Takes A Woman, a glorious celebration of male chauvinism. Rapley’s presence adds a delicious credibility to his bluster as through the show and much as he resists, Levi slowly reels him in.

West End star Michael Xavier is the hapless Hackl. Michael Crawford set the bar for this role in the movie and Xavier, with his movement and vocals vaults it effortlessly. Jason Denton’s Tucker provides the perfect foil to Hackl’s mania.

As Irene Molloy, Laura Pitt-Pulford shines. Already an accomplished off-West End leading actress, her Molloy has an infectious charm and her talent adds further glitter to the show’s Broadway sparkle. Ribbons Down My Back, sung as she yearns for a suitor, is arguably one of the most heartfelt yet emotionally lightly-touched numbers ever written for the stage and Pitt-Pulford catches its fragile complexity perfectly.

Paul Kerryson directs with perception and flourish using the massive Curve proscenium to its full. The shows images are grand and he enhances the red white and blue tickertape climax to act one with the inspired addition of local marching bands to the 14^th Street parade, The Scout and Guide Bands of Leicestershire on stage for this review.

David Needham’s choreography is breathtaking. The act two Waiter’s Gallop, clearly drilled into the cast with pinpoint precision, sees dancers cartwheel through mid-air.  On stage throughout, Ben Atkinson’s eight piece band provides a big-band sound that, from the opening refrain, transports the production from England’s East Midlands to America’s East Coast.  The set design by Sara Perks ingeniously employs projections and simple mechanisms (including an inspired revolving staircase) to portray the various New York city and railroad locations, whilst her costume work is meticulous.

With regional revivals currently achieving commercial success in the West End, Curve should plan to send this show south as soon as opportunities permit. It’s a confirmed Christmas cracker!

My profile of Janie Dee can be found here

Runs until 19 January 2012