Oliver! - Review

Gielgud Theatre, London

*****

Music, lyrics and book by Lionel Bart

Freely adapted from Charles Dickens' Oliver Twist

Revised by Cameron Mackintosh

Directed and choreographed by Matthew Bourne

Cian Eagle-Service and Billy Jenkins

Matthew Bourne’s production of Oliver!, arguably the greatest English musical ever written, was outstanding when it opened in Chichester last summer. Now transferred into the West End, it is a privilege to be back soon, reviewing the situation of this production that sparkles even brighter than before. Rarely does a show offer such breadth and depth of performances, across the entire cast, as is achieved by Bourne with his wondrous company. Co-Producer and reviser Cameron Mackintosh has had a lifelong love affair with Oliver! and the subtle revisions that he brings to Lionel Bart’s brilliant original move the show effortlessly into the 21st century.

On press night it was the sublimely talented Cian Eagle-Service playing Oliver, delivering a finish to his big solo, Where Is Love? that all but took the roof off the Gielgud. Rarely, actually NEVER, has that song been sung by a child performer with such power, passion and intensity.

Bart’s genius - aside from penning a show that delivers so many hit songs in rapid-fire succession - was to take the bleak brutality of Dickens’ novel and imbue it with nuanced and perfectly pitched bittersweet comedy. The fun begins early on with Katy Secombe and Oscar Conlon-Morrey paired as Widow Corney of the workhouse and  the beadle Bumble. In a double act that in the original Oliver! was to inspire Boublil & Schoenberg in their creation of the Thenardiers in Les Miserables, they capture the duo’s heartless bombast and petty penny-pinching to a tee. With pinpoint vocals and a mastery of physical comedy, their work is flawless.

Next up are Stephen Matthews and Jamie Birkett as the undertaking Sowerberrys. Again, harsh irony and tragedy but overlaid with comic class - and it should be noted there’s a fine turn from Birkett in act two with her reprise of Where Is Love? in the role of Mrs Bedwyn.

Oliver’s arrival in London of course introduces the show’s most colourful characters. Billy Jenkins is The Artful Dodger, whose cockney vocals and nifty footwork are everything a Dodger should be and more. Aaron Sidwell has grown into the role of Bill Sikes, his understated menace proving both ugly and chilling.

As Nancy, Shanay Holmes has also matured into this most intriguing and complex of roles. Holmes is yet a further example of this company’s vocal magnificence with her take on As Long As He Needs Me giving the Gielgud’s rafters another rattling.

And then of course there is Fagin. Much like Steven Spielberg made us wait before our first glimpse of the shark in Jaws, so too does Bart let most of act one go by before Simon Lipkin erupts from a trap door.

Lipkin’s take on the old Jewish fence is carefully researched and meticulous in its delivery, unlocking Fagin’s humanity and vulnerabilities with a sprinkling of immaculately timed humour. As we see Fagin care for the newly-arrived Oliver into his den of thieves, Lipkin imbues the role with a rarely seen pathos. His skills in comedy and magic are also used wonderfully and with his spectacularly klezmer-esque Reviewing The Situation, his is one of the finest musical theatre performances in town right now.

Lez Brotherston’s designs are simply stunning. Amidst a whirl of wrought iron staircases and bridges, and a deft deployment of the Gielgud’s revolve, Brotherston shifts the narrative across the country and the capital, aided in no small measure by Paule Constable and Ben Jacobs stunning lighting designs. In the pit, Graham Hurman’s orchestra are spot-on throughout.

 

Consider yourself well-in to witness this fantastic spectacle!

Booking until 28th September

Photo credit: Johan Persson

Opening Night - Review

Gielgud Theatre, London

****

Music, lyrics & orchestrations by Rufus Wainwright

Original film by John Cassavetes

Directed by & book written by Ivo Van Hove

Sheridan Smith

Every show has an opening night. In Mel Brooks’ musical The Producers he even included a song entitled Opening Night, so it was surely only a matter of time until a creative (step forward Ivo Van Hove) grabbed hold of John Cassavetes’ 1977 movie to fashion a two-act show around one of theatre’s most consistently nerve-wracking challenges.

In one of the boldest upendings of the genre, Van Hove’s multimedia, mind-meddling, meta-musical presents us with the decline of the fragile Myrtle (Sheridan Smith). A leading lady in The Second Woman, a Broadway play that’s four days from opening, Myrtle is already battling profound insecurities about her age and career. Early on in the narrative she witnesses the brutal death of Nancy, a fan killed in a road traffic accident immediately after having very nervously obtained the actress’s autograph. Following Nancy's death, the musical then tracks the ticking time-bomb of the impact of that trauma upon Myrtle’s mental well-being.

Smith is outstanding in a performance that mixes gravitas with fragility. The linchpin of both The Second Woman and Van Hove’s musical, it is her energy that drives the show. There are fine supporting performances too. Hadley Fraser is Manny, the demanding Broadway director who is all too happy to blur professional boundaries if it will reassure his leading lady. Nicola Hughes has the complex role of NY playwright Sarah, who is required to handle Myrtle’s mangling of her script as the actress’s mind unravels. The duet between Myrtle and Sarah, Makes One Wonder, is spine-tingling in its exploration of the pair’s respective vulnerabilities. Amy Lennox as Manny’s wife Dorothee has a modest but useful role in the narrative, providing a robust and challenging foil to her husband’s inappropriate conduct. 

The most impressive work amongst the supporting roles comes from West End debutante Shira Haas as Nancy. Haas takes this unfortunate young woman, transitioning her from a star-struck fan with issues to a ghost-like apparition that plagues Myrtle’s troubled mind. This is a bold conceit addressed brilliantly by Van Hove and lending an almost horrific edge to the second act. 

The use of video and live-action multi-camera projections (designed by Jan Versweyveld) deploys a massive upstage screen that not only plays around with cleverly storyboarded close-ups, but goes further with the merging of camera shots. In a remarkable coup-de-theatre, as Myrtle reaches her mental nadir, Versweyveld and Van Hove use time-lapse to add another visible dimension to the actress’s distress.

Rufus Wainwright’s music is, for the most part, a joy to experience taking in a range of American styles. Nigel Lilley’s 9-piece onstage band are terrific with standout work from Huw Davies on guitar. Wainwright’s lyrics occasionally drift into repetitive triteness, a feature perhaps of his rock and pop background rather than the more rigid disciplines of musical theatre.

Opening Night makes for a challenging night of unconventional theatre that is at times deeply upsetting. Sheridan Smith’s performance is one of the finest to be found on a London stage.

Booking until 27th July

Photo credit: Jan Versweyveld

Old Friends - Review

 Gielgud Theatre, London

****

Music and lyrics by Stephen Sondheim

Devised by Cameron Mackintosh

Directed by Matthew Bourne and Julia McKenzie

The company of Old Friends

Much of Old Friends, Cameron Mackintosh’s lovingly curated tribute to Stephen Sondheim is a masterclass in musical theatre. Over 2 1/2 hours and 40 songs, some of the West End’s finest sing a selection of Sondheim’s compositions that spans decades.

Bernadette Peters and Lea Salonga have been flown in from the USA to headline the show. Salonga of course won numerous awards creating the role of Kim in Miss Saigon in London back in 1989 and later in New York. Since then however, her impact over here has been muted. Peters, albeit a Broadway legend and arguably Sondheim’s one-time muse, is less well known in the UK outside of musical cognoscenti and other than as a sincere and profound tribute to the composer it is hard to understand her bill-topping status. There are moments in the evening that leave one reflecting that some of Peters’ numbers could perhaps have been better delivered by other members of this star-studded ensemble.

If Arthur Miller was America’s leading light in late twentieth-century drama, mercilessly exploring and exposing the human condition, then Sondheim was his match in musical theatre. Interestingly and notwithstanding Sondheim’s genius, he never created (nor possibly may have never sought to create) a show of the juggernaut, franchisable or (as Stephen Schwartz may have called it) “popular” status garnered by say Cats, Phantom of The Opera, Les Misérables or Wicked. That being said, when Old Friends is at its best it offers magical moments of perfect performance. 

Highlights of the evening include: a gorgeous pairing of Salonga with Jeremy Secomb as Mrs Lovett and Sweeney Todd for a selection of that show’s favourites; an outstanding ensemble take on A Weekend In The Country with a shout-out for Janie Dee’s brilliant interpretation of Countess Charlotte Malcolm, nailing the comic potential of her few lyrics perfectly. Joanna Riding, with superb support from Damian Humbley cynically sparkles in Getting Married Today as does Bonnie Langford’s in a breathtaking I’m Still Here. Clare Burt, a late arrival to the cast, gives a magnificent irascibility to The Ladies Who Lunch. The first half ends with an uplifting full-ensemble delivery of Sunday from Sunday In The Park With George, with Peters assuming the position of the parasol-bearing Dot. Considering that Sondheim possibly created that role with Peters in mind, the moment and the staging is one of a rare and special theatrical beauty.

Kicking off the second half, the overture from Merrily We Roll Along offers another glimpse of Sondheim’s musical talent, while a seamless segue into a small medley from West Side Story reminds us of his skill way back as a much younger writer. The Gypsy inclusions of You Gotta Getta Gimmick and Everything’s Coming Up Roses are also delightful.

Matthew Bourne and Stephen Mear direct and choreograph respectively, coaxing immaculately presented iterations of each song. Julia McKenzie, another of Sondheim’s close and wise associates is co-credited as director. The whole affair is staged with a smart simplicity, Alfonso Casado Trigo’s orchestra elegantly placed upstage.

Opportunities to see a company of this calibre do not come along often. Go see Old Friends!

Runs until 6th January 2023

Photo credit: Danny Kaan

2:22 - A Ghost Story - Review

Gielgud Theatre, London

**** 

Written by Danny Robins

Directed by Matthew Dunster

Giovanna Fletcher and Elliot Cowan

The significance of time in this play is vividly portrayed from the outset as a large digital clock suspended from the ceiling, rapidly ticking up towards the titular time. The audience is painfully greeted with a chilling scream and pitch darkness.. the play finally begins. Such an opening sequence sets the scene for what is a tension-filled, spine-chilling, heart-pumping thrill of a night.

In the latest casting of this supernatural thriller, Giovanna Fletcher is Jenny, an anxious new mother, who only gets more hysterical and desperate as the play progresses, fearing for the safety of her 11 month old baby, Phoebe.

Jenny’s care for her daughter provides a human touch, with the audience following her ever increasing fear as the play evolves. While her performance is slightly marred by scenes filled with her screaming, overall this is a solid performance from Fletcher, her first foray on stage since 2017.

Alongside Fletcher is Elliot Cowan as her husband Sam, a matter of fact, patronising man who does not believe his wife’s concerns that their house is haunted, with not even their Alexa wanting to listen to his egotistical drawl.

Bringing the humour amongst the scares are the hilarious Ben (James Buckley) and Lauren (Stephanie Beatriz). The two get drunk and try to diffuse the awkward arguments between Jenny and Sam at the dinner party. They provide a misleading perception that all is going to be well through their reassurances and relatability, but this only serves to create an even more jittery story.

Throughout the show, there were moments of pure silence from the audience. This is testament to how great both the actors and the set create suspense. Fox screams are heard numerous times, as well as baby Phoebe crying from her room upstairs. We are never shown more than the 4 characters on stage in the kitchen, but the dimly lit stage and the partially open doors creates a ghostly atmosphere where we can never see what is happening upstairs, nor what is happening outside.

An interesting choice of mise-en-scène deploys a baby monitor. Thus the audience can hear baby Phoebe in the interval, but also when the characters go upstairs off stage to console the infant. The lack of visuals of the baby, combined with the straining to hear through a grainy baby monitor only serves to whip imaginations into a frenzy.

There are intervals of loud scream jump-scares that have no significance to the story and signify a small break in the play, these are cheap devices for thrills and not entirely necessary. The play is at its best building tension and unease through the characters.

Overall an enjoyable supernatural thriller with plenty of genuine scares and an ending that will leave you reeling.

Runs until 12th February 2022

Photo credit: Helen Murray

Company - Review

Gielgud Theatre, London



****


Music and lyrics by Stephen Sondheim
Book by George Furth
Directed by Marianne Elliott

Patti Lupone

Written by a New Yorker about fellow New Yorkers, Stephen Sondheim's Company is arguably best played to New Yorkers too. The songs are legendary, but amidst Marianne Elliott’s company’s well-rehearsed accents (Patti Lupone excluded, she oozes Americana) there’s something missing from this slice of Big Apple life. Perfectly polished for sure, but it’s a tough gig to convincingly recreate Manhattan’s milieu on Shaftesbury Avenue.

In a much heralded gender swap this revival sees Rosalie Craig plays the angst-fuelled Bobbie, celebrating her 35th birthday amidst the alarm of her coterie of married buddies that she is still unmarried. Sondheim’s song cycle of a show charts her odyssey through a cityscape of dating and domestic dysfunctionality - and if the writer’s barbed observations on life veer from the cliched to the piercingly perceptive, this production delivers his songs and score magnificently.

Elliott stages the piece well as Bobbie flits from couple to couple through Bunny Christie’s ingenious set tableaux that glide across the stage, capturing the monolithic greyness of the city’s apartment blocks perfectly. Above the stage, Joel Fram's orchestra are sublime.

WIth a cast drawn mostly from the British industry's finest, the show is lavishly staged with high production values. A male trio sings and dances divinely through You Could Drive A Person Crazy, evidencing Liam Steel’s classy choreography that is magnificent again in the second half opener of Side By Side By SIde.

The red-maned Craig is gifted the lion’s share of the songs and as her Bobbie lurches through a nightmare of neuroses, Craig’s take on Sondheim’s classics is flawless. Indeed,  when sung by a woman both Marry Me A Little and Being Alive are gifted an intriguingly fresh nuance.

But for all the re-casted and re-scripted ingenuity on display, it is down to Broadway legend Patti Lupone's Joanne to deliver the evening’s unmissable moment. There’s probably no finer solo to be found in the West End than Lupone drawling and drinking her way through the tour de force that is The Ladies Who Lunch, her devastating delivery making the most caustic of cocktails. Rarely is a role so immaculately tailored to the performer.

An evening at Company is unquestionably fine theatre. Everybody rise.

Booking until 30th March 2019

Photo credit: Brinkhoff/Mögenburg