High Fidelity - Review

Turbine Theatre, London

****

Music by Tom Kitt

Lyrics by Amanda Green

Book by David Lindsay Abaire

Lyrics and book adapted by Vikki Stone

Based on the novel by Nick Hornby

Oliver Ormson

In a transatlantic shuffle that was to first see Nick Hornby’s novel cross the Atlantic for an American themed film and subsequent musical theatre treatment, in a feat of skilled creative collaboration the narrative is dragged back to its North London roots. In the show’s opening return to Blighty this re-iteration proves to be a glorious night at the theatre.

The show premiered on the USA stage in 2006. This production, itself the first musical to be staged at Battersea’s new Turbine Theatre, has been lyrically adapted to reflect a London setting. Much credit is due to Vikki Stone for delivering a text that fits both time and place.

Taking its plot from Hornby’s 1995 novel, the show revolves around Rob, the owner of a small vinyl record shop on the Holloway Road at a time when the digital march of CDs had rendered vinyl pressings into obsolete collectors’ items.  Rob is a louche lothario, yet to discover emotional fidelity and notching up sexual conquests yet failing to grasp the concept of committed love. Laura is his most recent girlfriend and the show opens with their splitting up. Through a series of clever vignettes and occasional flashbacks we not only glimpse their relationship’s decline but also, as an uplift, see Rob’s redemption to a state of decency too. It all makes for a tight and clever journey.

The strengths of this production are many. Kitt's melodies are inspired, drawn from across the spectrum of the rock and pop scene, with tunes that set out to pay homage to various music stars across the years with the nod to Bruce Springsteen proving particularly well observed. Likewise, the unexpected lyrical partnership of Green and Stone offer moments of carefully drawn pathos along with well observed hilarity. David Shield’s stage design captures the geeky, sweaty, “unwashed single male” ethos of a specialist record shop, while Andrew Exeter’s lighting plots neatly and imaginatively enhance the Turbine’s compact space.

Leading the show and on stage virtually throughout, Oliver Ormson is Rob. There is a steady voice to Ormson’s work as he also brings the right level of smouldering good looks to the role to justify his tally of past sexual relationships. Ormson also captures the role’s complex combination of testosterone fuelled lust and envy together with, ultimately, compassion. As Laura, Shanay Holmes brings vocal strength to an emotionally demanding role that sees her weather a number of credible misfortunes in the course of the show’s arc.

Memorable too are Robert Tripolino’s incense-fuelled Ian, Eleanor Kane’s Marie, an American country singer who finds herself washed up in London’s N7, together with a brilliant pastiche of The Boss (aka Springsteen, see above) from Joshua Dever.

Tom Jackson Greaves directs and choreographs with an ambitious flair. The dance numbers are fun and detailed, with the inspired excellence that underlies the second act’s Conflict Resolution having to be seen to be believed. The precision movement and design of that song’s delivery is quite possibly the funniest ever delivered on London’s fringe musical scene. Up above the action, Paul Schofield’s 4 piece band are a polished treat.

High Fidelity marks the arrival of an exciting new musical theatre venue to contribute to the capital’s railway arch theatre scene. It is well worth a visit.

Runs until 7th December

Photo credit: Mark Senior

Heathers The Musical - Review

Theatre Royal Haymarket, London


***


Book, Music and Lyrics by Kevin Murphy and Laurence O’Keefe 
Directed by Andy Fickman

Carrie Hope Fletcher and Jamie Muscato

Following a sold-out run at The Other Palace earlier this year, there’s been a lot of hype surrounding Heathers the Musical, with a strong fandom out in force and social media buzzing with (mostly) glowing comments. Based on the cult 1988 film written by Daniel Waters and starring Winona Ryder and Christian Slater, Heathers is a dark and entertaining tale of teenage angst, love and quest for popularity and arrives at its new home at the Theatre Royal Haymarket with high expectations all round.

For many teenagers high school is a time of angst and self-doubt and that’s certainly no different for Veronica Sawyer (Carrie Hope Fletcher), a teenage nobody who desperately dreams of ditching the bullies and fitting in at Westerberg High. Thanks to her knack of forging hall passes she’s soon taken in by three of the most popular (and cruellest) girls in school, The Heathers, although she finds out that popularity is not all it’s cracked up to be. She meets new boy in town, Jason ‘J.D.’ Dean, unaware that her relationship with the outcast will have grave consequences for everyone. 

Directed by Andy Fickman, Heathers is a dark musical packed full of humour and memorable numbers, with impressive choreography by Gary Lloyd, a versatile set (designed by David Shields) and enviable costumes to whisk you straight back to the 80s. 

While there is a realism in the show’s portrayal of teenage desperation for popularity, there are moments when it all feels deeply unsettling. The narrative brushes with sensitive topics including teenage suicide, sexual assault and high school killings that sit awkwardly when contrasted with the real-life tragedy of such events.

Fletcher lives up to expectations, delivering a misguided Veronica who is endearing yet flawed. Her performance is strong throughout in both acting and song, especially when she belts out Dead Girl Walking. Equally impressive is Jamie Muscato as the dry-humoured, troubled psychopath J.D, and the pair have great chemistry, as evidenced during their duet Seventeen. They’re both supported by a strong cast including Jodie Steele, T’Shan Williams and Sophie Isaacs as Heathers Chandler, Duke and McNamara respectively. Despite the cruelness of their characters, the trio are given one of the show’s catchiest songs, Candy Store. There is memorable work too from Jenny O’Leary as Martha, Veronica’s kind-hearted childhood best friend, with her sweetly sung number Kindergarten Boyfriend sure to tug at heart strings.

Despite its flaws, this is a technically well delivered show that is likely to be popular amongst die-hard fans and newcomers alike.

Runs until 24th November

Reviewed by Kirsty Herrington

Photo credit: Tristram Kenton

Legally Blonde The Musical - Review

Churchill Theatre, Bromley

****

Music and lyrics by Laurence O'Keefe and Nell Benjamin

Book by Heather Hach

Based on the novel by Amanda Brown and the Metro-Goldwyn-Mayer motion picture

Directed and choreographed by Anthony Williams

Lucie Jones

Oh my god, you guys. So, this blonde sorority girl from Malibu like totally defies the odds and gets into Harvard Law School to win back her ex-boyfriend who dumped her because she wasn't serious enough, and it's, like, totally awesome!

It's a unique start to a law career but, then again, Elle Woods is the epitome of unique.

Legally Blonde The Musical is the stage adaption of the classic 2001 film, which starred Reese Witherspoon, Luke Wilson and Jennifer Coolidge. At its core, it is a tale of aspiration with the message that anything is possible if you only believe in yourself.

It's a shame that Woods' rousing valedictorian speech - which neatly summarises this concept in the movie - is omitted from the stage version, but its absence serves as a reminder that the musical is wildly different from the film. And treating this show as an entity of its own, offers up a slightly different story. The importance of love as a motivator becomes its own thread, the role that physical appearances play in society is amplified – and it's all served up with a huge dollop of joy.

That much is evident from the outset. The gaudy set design (Jon Harris, Jason Bishop and David Shields), beautifully condensed for this touring production, is over-the-top and dazzling, elevating the story further into a fantastical space. The costuming from Elizabeth Dennis is outstanding, channelling 90s American styles. Each number is a fashion show in itself, making the whole gig feel like an extension of London Fashion Week that ended only a few days ago. 

What's more, the cast are clearly having a wonderful time. Lucie Jones is exquisite as Elle, seamlessly blending nods to Witherspoon's portrayal with her own flavour. This Elle comes with a level of self-awareness and sass that makes her truly memorable. And with a voice that is made for the stage, complete with mesmerising blonde hair, Jones truly embodies the character.

Rita Simons as the flamboyant Paulette Bonafonté is another remarkable performance; the hopeless romantic hairdresser with a knockout voice and witty zingers that elicit rapturous laughter.

The musical numbers make for occasional treats; there is a particularly exceptional number starring Brooke Wyndham (Helen Petrova) performing skipping rope-based choreography, followed soon after by a deliciously comic routine in a courtroom. Under James McCullagh’s direction, the orchestra is fantastic and you can’t help but feel as though they are having just as much fun as their colleagues on stage.

There’s no denying that Legally Blonde The Musical is a raucous, silly and above all fun production. And OMG! - anyone who goes to see it over the coming months is in for a brilliantly entertaining evening.

Runs until 23 September, then tours (details here)
Reviewed by Bhakti Gajjar
Photo credit: Robert Workman

End Of The Rainbow - Review

Churchill Theatre, Bromley


*****


Written by Peter Quilter
Directed by Daniel Buckroyd

It's a well-known story, but a heartbreaker each time it is told. It's the one about the dark side of talent and celebrity and the permanent and omniscient destruction that it causes. Amy Winehouse, Kurt Cobain and even Britney Spears all come to mind immediately, but there were many more that came before and with a tragic inevitability, more are likely to follow.

End of the Rainbow tells Judy Garland’s story and the tale of the child star turned superstar plays out around an astonishing performance from Lisa Maxwell.

Set in London, as Judy prepares for a six week concert run in the capital, the play provides a snapshot into the complex and irrevocably damaged individual that she had become. Maxwell flits between Garland's incredible self-awareness and power alongside the hysteria as her dependence on drink and drugs became too much. 

Garland battles with both her manager / new fiancé Mickey Deans (Sam Attwater) and her accompanist Anthony Chapman (Gary Wilmot). Chapman, who has known and loved her far longer than Mickey is to bear witness to her decline. 

Although billed as a play, a selection of Garland’s greatest numbers are interjected into the telling of the story and Maxwell delivers these with a spine-tingling excellence. Wilmot is also on top form as Anthony, providing a critique of Mickey and his motives and to a degree, acting as the voice of reason. Attwater lacks a certain level of bite and struggles to maintain a consistent accent, but broadly plays well alongside the other two characters. 

David Shields’ set design is a neat conceit, moving the audience from the hotel suite in which the three are staying, to the concert venue and back again. The staging is well complemented by David W Kidd’s lighting arrangements and some magnificent costuming.

End Of The Rainbow leaves the audience feeling heart-broken, yet also roused by the simply sensational Lisa Maxwell. Ending the show with a song does well to ensure that Judy Garland is remembered for her talent and fire and for achieving the immortality through fame that she craved. 

Runs until 12th March then tours

Reviewed by: Bhakti Gajjar

The Clockmaker's Daughter - Review

Landor Theatre, London

****

Jennifer Harding

Written by Michael Webborn and Daniel Finn

Directed by Robert McWhir

As Carrie The Musical closes in Southwark, so another show about a misunderstood young woman, who's blessed with supernatural powers, opens south of the river. But where Carrie was the re-imagining of a classic modern horror story, The Clockmaker's Daughter in Clapham’s Landor Theatre is a boldly written new fairy tale.

There are hints of Alan Menken, Stephen Schwartz and Howard Goodall in the music as we learn how many years ago clockmaker Abraham made himself a clockwork young daughter named Constance (geddit?) to replace his young dead wife. Notwithstanding the potentially "mechanically incestuous" complications that the scenario suggests (and which need to be ironed out in the inevitable future re-writes), the very best of fairy tales, on close examination, are all horror stories and there are distinct nods to Mary Shelley's Frankenstein as a starting point for this fable. We see Constance, like Dr Frankenstein's creature before her, learning to reason and to feel emotions and going on ultimately to be shunned by the world around her.

The plot is simple - and as Constance goes around the village performing acts of kindness, she represents a wholesome focus for the story to pivot upon. Her craving a human mortality only adds to the story's poignancy and with the inclusion of an appropriately boo-worthy villain, the show offers some gorgeous potential.

That this story works at all is largely due to the outstanding performance of Jennifer Harding in the title role. Robert McWhir has coaxed from her a subtly portrayed reality that convinces us of her soulless plight. Her robotic movements are just right, not too pronounced and Harding's gold-painted face defines her as being not of this world. Her singing is gorgeous too, making fine work of her big solos A Story Of My Own and the climactic Clockwork.

Jo Wickham hams it up magnificently (though she could shout a bit less) as the wicked Ma' Riley, out for Constance's downfall, Alyssa Martyn convinces as a charming young bride Amelia, whilst elsewhere the large company numbers again demonstrate Robbie O'Reilly's ability to achieve impressive ensemble work in the Landor's compact space, with both Keep It To Yourself and Market Day being cleverly staged numbers that were easy on both eye and ear. 

David Shields' stage design works wonders with a set that's a combination of trucks, projections and ingenious contraptions and credit too to Richard Lambert's lighting work that for the most part enhances both ambience and location.

This ain't the finished product yet, but it's a damn good work in progress. The show needs to lose at least 30 minutes and its script would benefit from some expert treatment too. But make no mistake, The Clockmaker's Daughter is a charming show that celebrates the ingenuity of today's new writing - it's fun to watch and a bit of a tear-jerker too. This wonderful story deserves a future life, possibly as a Xmas show somewhere or who knows, possibly on screen? There's enough potential in the story to hook even the most Disney-fied of today's audiences and I wish it well.

Runs until 4th July 2015

Picture credit: Poppy Carter Portraits at www.poppycarterportraits.com

She Loves Me - Review

Landor Theatre, London

****

Music by Jerry Bock
Lyrics by Sheldon Harnick
Book by Joe Masteroff
Directed by Robert McWhir

Emily Lynne (l) and Charlotte Jaconelli

It's been more than twenty years since She Loves Me was last performed in the West End. This charming confection of a tale, penned by Harnick and Bock at the same time as they were writing Fiddler On The Roof, only had a short life on Broadway in 1963 although went on to enjoy award winning revivals on both sides of the pond in the 1990s. Drawn from Hungarian Miklos Laszlo's 1937 play Parfumerie (which in turn was to also inspire the Tom Hanks/Meg Ryan movie You've Got Mail) the plot revolves around an unlikely pair of star-crossed lonely hearts, who fall in love through an exchange of letters, whilst working side by side in the same perfume store and (initially at least) both blissfully unaware of who their paramour truly is. The story is as heart-warming as it is corny and in today's digital era, playing to a modern audience, it is barely more than a frothy fairy tale.

Yet this production of She Loves Me is another example of London's fringe theatre at its very best. Robert McWhir is one of the few directors in town who can strip down a forgotten show from Broadway's golden era and with a talented cast, make it sparkle with sentiment, wit and fabulous melodies.

Charlotte Jaconelli and John Sandberg play Georg and Amalia, the hapless lovers. Jaconelli a finalist on TV's Britain's Got Talent and already an accomplished recording artiste, makes a brave stage debut in a leading role with a performance that occasionally wobbles, but which will surely smooth out as she settles into the run. It is when Jaconelli sings though that this remarkable young woman defines herself as one of the leading voices of her generation. Her voice fills and thrills the compact Landor with amongst many songs, her Will He Like Me? being a particular treat. Sandberg carries the male lead with confidence and gusto. Half way through the second act, his treatment of the show's title song, with a cleared stage to himself, is a glorious demonstration of panache filled showmanship.

Credit to casting director Benjamin Newsome, who has selected a cast of gems for McWhir to work with. In a key supporting role at the parfumerie Emily Lynne’s Ilona Ritter is a combination of flawless voice, movement and comic timing, with her two big numbers, Ilona and A Trip To The Library, both proving perfectly annunciated songs. Matthew Wellman is a definitive moustachioed love-rat Steven Kodaly, whilst Joshua LeClair’s Arpad, the delivery boy desperate for a job in the store itself, sheds the years brilliantly to play the keen teenager.

McWhir also works wonders with the show’s outstanding ensemble. The close harmony work, occasionally sung a-cappella, is sensational with Rosie Ladkin and Annie Horn in particular maintaining a striking presence throughout. The comic highlight of the night however rests with Ian Dring doubling up as both the elderly Mr Maraczek the parfumerie’s owner and as a Waiter in a romantic nightspot of questionable repute, offering a bewigged performance of outrageous camp-ness suggesting Joel Grey crossed with Julian Clary.

As ever, McWhir's creative crew are formidable. There is not too much dance in the show, but nonetheless Robbie O’Reilly’s work again shows how well her ideas partner the directors'. Ian Vince-Catt on keyboards conducts a stringed duet that give a finely reduced interpretation of Bock’s original score as David Shield’s designs seal the Hungarian illusion of the piece. His art nouveau painted backdrop and mini-trucks that whirl around the stage to create the store, a café and an apartment as well as exterior settings are inspired creations.

A period piece for sure, but Harnick and Bock have written some fabulous songs and opportunities to see works this rare, performed this well, don’t come around often. Like a tube of Maraczek’s eponymous beauty cream the production oozes romance and as Valentine’s Day approaches, there are few shows that match the fabulous feel-good factor of She Loves Me.

Runs until 7th March 2015

Read my revealing interview with lyricist Sheldon Harnick here.

Photo credit: Darren Bell

The Beautiful Game

Union Theatre, London

***

Music by Andrew Lloyd Webber

Book & lyrics by Ben Elton

Niamh Perry

The main focus of The Beautiful Game is Northern Ireland’s Troubles; more crucially though and through the generic tale of an amateur football team making it big, this musical actually speaks to us about the broader human values of loyalty, intimacy and trust.

In the first UK revival since the musical’s West End premier in 2000, it’s easy to see why the show hasn’t garnered more frequent outings. While there are a number of touching portraits as a generation of players and their female admirers take their final steps into adulthood, rhymes such as ‘life/wife’ seem sinfully obvious and lyrically, 'Clean the Kit' is a particularly irksome number. The cast however respond appropriately, through a tapestry of gently nuanced gestures. The occasional convincing stare, or off-beat ‘tut’ and a whole-hearted cheer, bring a refreshing truth to an otherwise often cheesy and sometimes rather over-earnest show.

Although some important moments are shielded behind pillars, Lotte Wakeham's production generally uses the Union's compact space with flair. Presented in a traverse staging, with both back rows reserved for jeering ensemble members, the audience are pitched into "opposing stands", adding a modest flavour of football rivalry to the evening.

At times ensemble members hold up washing lines, suggesting a thrifty domesticity at play and reminding us how much the central characters are a product of their society and throughout, David Shields’ designs work well. Ladies in authentic leather panel skirts and sleeveless jumpers, with the protagonist football team kitted out in patterned shirts that simply scream “peace and love”.

The production itself may be made of less intriguing material, but Niamh Perry and Ben Kerr bring a zeal to the relationship between Mary and John. Married, John drifts from playing field to incarceration as Mary drifts from the sidelines to motherhood. Backed by a strong ensemble, both actors give standout performances, furnishing the maturing relationship with their own language of physical intimacy.

The man of the match award for this production however goes to Tim Jackson. Taking a very literal approach to the sport, Jackson choreographs a scene that cements the excitement and passion of football and the energy and dedication of its players. Dramatic red lights are punctuated by stark drum beats as two teams tumble around the stage. At moments, it’s graceful - the sweetest goal is scored; seconds later, as the teams clash, there’s bloodthirsty passion in their movements. Truly an exercise in coordination and teamwork and a beautiful interpretation of the beautiful game.

Runs to 3rd May 2014


Guest reviewer: Amelia Forsbrook

Sleeping Arrangements

Landor Theatre, London

***

Book, music & lyrics: Chris Burgess

Director: Robert McWhir

Jenny Gayner

Sleeping Arrangements is a transition of Sophie Kinsella’s novel of the same name into a new piece of musical theatre staged at that veritable genre dynamo, Clapham’s Landor Theatre. It’s a simple enough even if anodyne tale of two frustrated married couples thrown together in an Andalucian doubled booked holiday villa.  Add in the 16 year old son of one union and a gorgeous nanny from t’other to generate some adolescent Carry On capers, as well as some adult bed hopping and you have the ingredients for a passable piece of chick-lit cavorting.

Chris Burgess writes in the programme that when he first read the novel, he “couldn’t help but hear songs all over the place”. Unfortunately, it seems that sometimes these may have been other people’s songs. When Grant Neal as victim of the rat-race, pasty-faced, Philip (husband to Chloe)sings of his resentment at being just a “Nice Guy”, it sounds like a faux-Sondheim version of Kander and Ebb’s Mr Cellophane. Sam, the testosterone fuelled 16 year old wonderfully played by Adam Pettigrew has some comic moments but one can’t help but feel that Dougal Irvine nailed adolescent sexual awkwardness with so much more perception in Departure Lounge and when Liza Pulman’s Amanda (married to Hugh, keep up), legs akimbo, splendidly belts out Superwoman, she must be thinking to herself that whilst she couldn’t physically be giving any more to such an all-consuming  performance, her own lyric writing contribution to Fascinating Aida far outweighs Burgess’s efforts.

Nonetheless, this show entertains. As frustrated wife Chloe, Jenny Gayner masterfully extracts the melodrama from her lyrics and she steamily convinces as a still seductive but frustrated wife who found herself becoming a mother far too young in life. She discovers that she still holds a candle for Steven Serlin’s Hugh, a flame from many years past, also thrown into the villa booking as a consequence of the scheming machinations of an old mutual friend of theirs. When passions inevitably spill over into a stolen afternoon of lust, Serlin’s muscular naked torso (as well as his magnificent voice) will have much of the audience swooning in the Landor’s cramped aisles.  A note to Grant Neal: in the Rat Pack styled duet that he later shares with Serlin, Women Always Win Out In The End, he is vocally outclassed by the other man. Whilst Neal’s character may be a bit limp, his voice needn’t be and this needs to be stepped up into the run.

Sabrina Aloueche smoulders throughout as Jenna the at times bikini-clad provocative young nanny, lusted after by Sam whilst flirting wickedly with Philip. When Aloueche sings her voice has an electrifying unity of youth, power and pitch-perfect tone.

The show is directed by Robert McWhir, a seasoned and talented practitioner, who takes Burgess’ composition and skilfully fashions it into a watchably endearing production. David Shields' Spanish set is a delight and whilst Colin Billing’s band are four worthy musicians, Burgess’ melodies don’t give them a lot with which to make our spines tingle.

Sleeping Arrangements is simply crying out for coachloads of West End Wendies to pack the Landor during its four week residency.  The ticket price is infinitely better value than most juke box musicals to be found up West, the performances on display are at least as good (if not better) and the story is far more up to date than Cliff Richard’s Summer Holiday. Don’t forget your passport!

Runs to May 12 2013