Crazy For You - Review

Gillian LynneTheatre, London

*****

Music and lyrics by George Gershwin and Ira Gershwin

Book by Ken Ludwig

Directed and choreographed by Susan Stroman

The company of Crazy For You

Susan Stroman’s Crazy For You was sensational when it opened at Chichester last year. Incredibly, her production has matured with time and on its opening night at the Gilllian Lynne Theatre proves itself as without question the finest musical in town.

This fabulous fusion of the Gershwins’ songs, Stroman’s vision (what that woman can conjure out of rope, pickaxes and corrugated iron defies description!) and a cast led by Charlie Stemp and Carly Anderson creates an evening of flawless musical comedy.

Ken Ludwig’s story, co-created with the late, great Mike Ockrent is a confection of whimsy and fairytale that crisscrosses the United States, defying both rhyme and reason. But fairytales and fantasy are the cornerstones of musical theatre, with Stemp’s Bobby and Anderson’s Polly playing the star-crossed lovers who against all the odds fall for each other, and who are perhaps the most perfectly cast lovers to be found on stage today.

The tunes are the American Songbook’s finest, with classic after classic cascading down from Alan Williams’ loftily perched 17 piece orchestra. Embraceable You, Slap That Bass and But Not For Me are just a handful of the gems on offer, with the jewel in this production’s crown being the first-act closer of I Got Rhythm, which leaves the crowd open-jawed at Stroman’s inspired choreography that reaches new heights with each repeated verse of the song. As at Chichester, the show’s first half ended with a spontaneous standing ovation, such is the overwhelming joy that this show elicits from its audience.

Ludwig’s script is packed with zippy one-liners that all hit the spot - with Tom Edden’s reprisal of his hilarious take on Broadway impresario Bella Zangler proving the evening’s comedy highlight. There’s not a weak link in the cast, with unexpected treats such as Natalie Kassanga’s Naughty Baby defining the depths of talent that Stroman has had to work with.

Beowulf Boritt’s original designs have translated well to the West End and a nod too to Ken Billington’s Broadway-infused lighting, that bathes the production in a rare, rich illumination.

On until January - musical theatre does not get better than this.

Booking until 20th January 2024

Photo credit: Johan Persson

Crazy For You - Review

Watermill Theatre, Newbury

****

Music and lyrics by George Gershwin and Ira Gershwin

Book by Ken Ludwig

Directed by Paul Hart

Caroline Sheen, Tom Chambers and Company

Crazy For You is a musical drawn up by Ken Ludwig in the 1990's and broadly based on the Gershwins’ Broadway foray Girl Crazy from some 60 years earlier. While the show's narrative may hang on a story that lacks both consequence and credibility, it does comprise some of the 20th century’s finest songs, along with the opportunity for some spectacular dance routines.

The Watermill has cast the show perfectly, with Tom Chambers and Caroline Sheen leading the company. But whilst the theatre may have landed one of musical theatre’s finest male dancers, unfortunately the venue’s flat performing space (there is no raised stage) means that most of Chambers’ fleet-footed brilliance is invisible to anyone in the stalls who’s had the misfortune to be sat behind the front two rows. The tap dances choreographed by Nathan M Wright sound terrific for sure – but in row 7 one barely catches a glimpse. 

The acting is strong throughout, with some fine moments of physical comedy too, but where this production excels in in its treatment of the classic songs. Sheen’s character Polly is given the lion’s share of the Gershwin greats and she delivers them with excellence and flair. Her interpretations of Someone To Watch Over Me, Embraceable You and the heartbreaking But Not For Me are spine-tinglingly good. 

Some of the singing spoils are shared: Lucy Thatcher delivers a wonderfully steamy Naughty Baby as she seduces Jeremy Legat’s (also excellent) hotelier and there’s a delightful ensemble of rednecks offering a very droll interpretation of Bidin’ My Time.

Diego Pitarch’s imaginative designs can’t conceal the fact that the show is a quart being awkwardly squeezed into the Watermill’s pint-pot, though Howard Hudson’s lighting wizardry (with some fabulous use of mirrored follow spots) does a fine job of trying to “big-up” the space. For the most part the actor-muso set up works well even if occasional lapses suggest an Arvide Abernathy's Save A Soul Mission tribute band. No doubt the musical hiccoughs will settle down over the run.

Notwithstanding the production’s flaws, the talent on display here still makes for an evening of fine entertainment - if you can grab a seat in the circle or front stalls, even better. And with Caroline Sheen’s enchanting take on a handful of the American Songbook’s greats, who could ask for anything more?

Runs until 17th September 2016

Photo credit: Richard Davenport

Of Thee I Sing - Review

Royal Festival Hall, London


***

Music by George Gershwin
Lyrics by Ira Gershwin
Book by George S. Kaufman and Morrie Ryskind

All credit to Elliot Davis, Senbla and the genius of casting director Anne Vosser, for assembling such a platinum plated cast to perform the little known Of Thee I Sing. But whilst this one-night-only's company was majestic, the show itself plumbs the crassest depths of jingoistic prejudice, sexism and febrile farce. Quite how it won the 1932 Pulitzer Prize (the first musical ever to do so) beggars belief.

Described as a lampoon of the American political machine, Of Thee I Sing not only mocks the nation’s executive, it mocks a dumb redneck electorate too, spinning a ridiculous yarn surrounding the election and subsequent presidency of a John P Wintergreen. The story does not merit description, but on the Festival Hall stage, some of our finest performers nonetheless proved that that they've truly earned their 5* reputations.

Hadley Fraser was Wintergreen, displaying the chiselled charm of a President and lending his magnificent voice to songs that were largely forgettable. Louise Dearman enchanted as his true love Mary, whilst Hannah Waddingham, as a hopeful, but ultimately rejected First Lady, offered her usual magnificence, tearing up the stage in a hybrid of Southern Belle cum Brunhilde. 

Offering a Rowan Atkinson inspired Vice President, Tom Edden was a masterclass in comic timing and presence, though when it comes to world class excellence in comedy acting through song, there is none finer than Peter Polycarpou, whose blustering French Ambassador made the very best of an awful role.

There is only one real (and gorgeous) classic Gershwin number in the show, Love Is Sweeping The Country and the tightly choreographed routine, as well as a delicious delivery that Daisy Maywood and Gavin Alex gave to it in the compact space available, proved the evening's highlight. To be fair everyone else on stage was fabulous too, including Gareth Snook playing a multitude of roles and some polished ensemble support from the Musical Theatre Academy.

Under Michael England’s baton the Royal Philharmonic Concert Orchestra were delightfully spot on throughout the evening.