Starting Here, Starting Now - Review

Waterloo East Theatre, London

***

Music by David Shire

Lyrics by Richard Maltby Jr

Directed by Gerald Armin

Gina Murray, Noel Sullivan and Nikki Bentley

As London’s fringe theatre emerges from lockdown into the current limbo-world of partial freedoms, any venue summoning up the cojones to put a show deserves praise and recognition. That they can muster a stunning array of onstage talent such as can be found at Waterloo East right now, only adds to the occasion.

So it is with the cast of Starting Here, Starting Now, a one-act, 80 minute three hander that stars Gina Murray, Nikki Bentley and Noel Sullivan and sees all three actors deliver five-star turns that take their vocal and acting skills to the limit, with even a smattering of carefully choreographed movement too. The trio offer up a cracking display of West End excellence. It is only a shame that the producers failed to deliver neither programme nor song-list for the evening - and thus individuals cannot easily be credited for their own moments of particular excellence. Accompanying the talented trio, Inga Davis-Rutter puts in a non-stop shift of flawless delight at her keyboard.

The flaw however is this vintage revue’s material, a self-indulgent arc of a song cycle that only offers up an occasionally perceptive snipe at our modern world. Maltby Jr. is no Sondheim and it shows.  Too many songs and not enough narrative make for an 80-minute haul that seems to drag far longer than the performers deserve.

That being said, for those who have longed for months to hear a cast of the country’s finest sing their hearts out in an array of perfectly weighted pathos and spine-tingling belts, then the evening offers enthralling entertainment.

Runs until July 18th

Photo credit: Gareth McCleod

A Song Goes Round The World - Review

St James' Studio, London


****

For one night only, Daniel Donskoy with Inga Davis-Rutter created an evocative evening of cabaret, which if not quite as global as the title suggests, offered a bouillabaisse (or should that be tzimmes?) of Continental songs from the 1930s that spoke of humour, love and culture as well as Europe’s more troubled times.

Only in his mid-20s Donskoy truly is a child of Europe. He’s grown up in several countries and boasts a multi-lingual magnetism that is as attractive as his voice is smooth. The first half sees him commanding the stage and whirling the audience through some of the bitter-sweet gems of the German and Yiddish songbooks. If a number of the songs will not have been familiar to the audience - it didn't really matter. Donskoy offered a warm and informative patter that seamlessly linked the numbers. His take on A Yiddishe Mame hit the sweetest of spots with his audience, while Bei Mir Bistu Shein that was to prove a multi-million dollar smash hit for the Andrews Sisters, was here stripped back to its origins. Donskoy’s Papirossen however, a lament from the Polish ghettos, marked a brief yet appropriate reference to the hellish devastation that the last century wreaked upon European Jewry.

As the silver tongued Donskoy danced through the linguistics, I was reminded of Joel Grey's chameleon-esque Emcee in Bob Fosse's movie Cabaret, singing Wilkommen in its three different languages. No sinister undertones here mind, nor of course the sleaze of pre-war Berlin in the dapper St James’, but rather an outstanding mastery of multi-lingual nuance that is not often heard.

The show dropped a gear after the break. Jackie Marks came on to sing La Vie En Rose. Sung well, Piaf’s songs can reduce grown men to tears. Notwithstanding Marks' all powerful belt and presence, her take on the number's English translation (which itself lacks so much of the French original's je ne sais quoi) made it all seem just a tad more Dorien than Diva. Donskoy then sang Piaf's Hymne À L'amour, a tall order for even an accomplished male singer and didn't quite hit the mark. As the gig evolves, its French Quarter needs work.

But this was an evening of musical diadems and fascinating facts. Who knew that Mary Hopkins' Those Were The Days had stolen its melody from the Russian folk song Dorogoi Dlinnoyu?

Davis-Rutter was a delight on the keys. Accompanied by bass and drums (perhaps a clarinet too, next time?) she partnered Donskoy and Marks perfectly, giving a spectacularly Spanish infused piano solo just before the interval.

With the intimate Studio packed for the gig, Donskoy and Davis-Rutter make a fabulous team. A Song Goes Round The World is an imaginative addition to London's cabaret scene and is well worth catching on its return.

Spend Spend Spend - Review

Union Theatre, London

****

Music by Steve Brown

Lyrics and book by Steve Brown and Justin Greene

Based on the book by Viv Nicholson and Stephen Smith

Julie Armstrong

The true story of Viv Nicholson's 1961 win on the football pools and her life immediately thereafter   has proved a seam of rich material over the years. Her exuberant pledge to "spend, spend, spend!" went on to be the title of her 1975 autobiography, which in turn was transformed into a BAFTA winning BBC Play For Today (remember those?) by Jack Rosenthal, though it was not to be until 1998 that her saga received the full-blown musical treatment from Steve Brown and Justin Greene.

Nicholson's win, equivalent to £2 million in today's money, was a lifechanger and set her on a path to extravagance, numerous husbands, addictions and ultimately bankruptcy. Rarely has a modern day fable proved so literally fabulous, with Nicholson's tale having much to say about how whether happiness and fulfilment can actually be bought for cash. And whilst the Union's production would benefit from a bigger spend itself, once again Sasha Regan uses the venue's bare walls and pillars to her advantage. Under Christian Durham’s direction not only does the space serve the more intimate and tender moments well, but equally allows the brash, ballsy and gloriously British tone of the piece to thrive.

Elle-Rose Hughes simple yet effective set consists of a painted wall adorned with newspaper cuttings. Such staged austerity demands much from the cast and the company of Spend Spend Spend deliver energy from the outset. Ensemble numbers such as the brilliantly period-defining  ‘John Collier’, along with  ‘One In A Million’ and the act one closer's title number are sizzlingly sung by the 15 strong troupe, balancing a raucous verve with musical precision under the skilled musical direction of Inga Davis-Rutter. 

The leading role of Nicholson is shared by Katy Dean and Julie Armstrong as Viv young and old respectively, who prove the powerhouse of the piece. An infectious pair, particularly as they duet with in ‘Whose gonna love me’. Armstrong’s Viv is full of heart as her character re-lives the memory of the money-made roller coaster, even when watching scenes play out from the side lines. Armstrong maintains a nostalgic glint in her eye that gives her performance an immense warmth throughout. That said, it is Dean who is the driving force of both plot and pace, particularly in the number ‘Sexual Happening’. With such a reflective story there could always be a risk of a slide into monotony but Dean allays these fears, delivering feisty from the off.

Notwithstanding a rich musicality, the occasional flaw (such as some lyrics being repeated too frequently) can pull the pace back. Nonetheless the show remains a defiantly British musical that offers a great night of entertainment and theatre and at £20 a pop there's certainly no need for the audience to Spend Spend Spend.

Runs until 18th April 2015

Love Story - Review

Union Theatre, London

***

Music and additional lyrics by Howard Goodall

Book and lyrics by Stephen Clark

Directed by Sasha Regan

David Albury and Victoria Serra

Following on from the extremely successful run of The Dreaming and with Girlfriends in hot pursuit, Love Story is the second in the Union's three part Howard Goodall season. Whilst it is always refreshing to see venues supporting British writing and despite its nomination for an Olivier back in 2010, one cannot help but feel that there are still some holes in this classically cheesy plot that are holding the production back.

An adult fairy tale from the 1970’s, Erich Segal’s novel, famously filmed starring Ryan O’Neal and Ali MacGraw and helped in no small way by Francis Lai’s Oscar winning theme, imprinted itself upon the baby-boomer generation and in the show Stephen Clark’s book makes a grand attempt to capture the dreamy yet doomed relationship between Victoria Serra’s working class Jenny and the more patrician Oliver.

Serra’s performance is executed well, flitting effortlessly from “feisty with attitude” to the slightly more delicate young innocent, swept up in the passion of an exciting romance. She demonstrates her vocal versatility and strong stage presence almost instantly in Jenny’s Piano Song, later showing an equally impressive but far more tender side in Nocturnes, a scene that is stunningly complemented by Iain Dennis’ lighting.

In slightly awkward contrast, David Albury brings an uncomfortable harshness to Oliver. There is no doubt that both Albury's chiselled looks and singing voice are wonderful, but at times one feels that a greater sense of anger, or even heartbreak is required to truly reflect not only the story's tragic ending, but also the difficult relationship, universally recognisable, that he has with his parents.

Regan directs well. She knows her beloved space intimately, ensuring that every inch of stage is used to great effect, never more so than in the opening and closing number What Can You Say? where the full company create a splendid ensemble sound, even if there seems to be just a hint of Blackrock from Goodall’s The Hired Man creeping in to the melody.

Special mention also to the female ensemble of Tanya Truman, Grace Osborn and Ellie Ann Lowe. Their voices combine beautifully as they watch the lovers’ romance develop, providing an almost Chorus like narrative, backed delightfully throughout by Inga Davis-Rutter’s exquisite musical direction.

Bring tissues and a significant other, a visit to the Union’s Love Story makes for a great date!

Runs until 25th October 2014

Picture by Darren Bell

Darling Of The Day

Union Theatre, London

****

Music by Jule Styne

Lyrics by E. Y. "Yip" Harburg

Book by Nunnally Johnson

Directed by Paul Foster

Katy Secombe and company

An Edwardian Englishman returns to London after many years on the other side of the world and assumes a new identity. A baddy seeks to expose him and a feisty widow desires his hand in marriage. Sounds like Sweeney Todd? Well in key plotlines maybe, but as a story, this is far more lighthearted than that of the dark and vengeful barber. Darling Of The Day is a whimsical musical based upon an enchantingly frivolous tale that notwithstanding a disappointing opening history on Broadway, eventually arrives at London’s compact Union Theatre for its European premiere.

The Darling of the title is celebrated artist Priam Farll, recently returned home, accompanied only by his loyal valet Henry Leek. No sooner back in Blighty, than Leek drops dead and a bumbling doctor mistakenly certifies his body as that of Farll. The real Farll, keen to escape the rat race of mercenary art dealers and fawning fans, siezes upon the opportunity to assume his butler's identity. Unbeknownst to Farll though, his manservant had established a romance via correspondence with perhaps one of the most assonantly named characters ever created, a Mrs Alice Challis. Love of course blossoms between Farll and Challis and the premise of the show follows the farcical course that Farll's adopted identity causes amongst the affairs both of the heart and of London's art scene.

Elegantly patrician with an almost Wildean affected air of disdain, James Dinsmore plays Farll as an eminently believable bohemian, keen to duck out of life's commitments. Beautifully voiced, amongst other numbers Dinsmore has the final solo of the show, Butler In The Abbey, which is a as funny as it is cleverly melodious. Michael Hobbs is Clive Oxford an art dealer whose ethics are non-existent. Oxford is another gentleman of apparent breeding and the interaction between these two wise and wily men is banter at its most elegant.

Katy Secombe plays Challis. She fits the bill of an ever so ‘umble but nonetheless feisty Putney woman superbly and her character’s arc from being a predatory widow in search of husband no. 2, to lovingly besotted wife is cleverly drawn. Buxom, grinning and cuddly, Secombe's Challis is a carefully concocted hybrid that bares more than a passing resemblance to Sondheim's Mrs Lovett and Lionel Bart's Nancy. She is a delight to observe throughout, even if occasionally she is caught out, singing beyond the limits of her most comfortable range.

As wealthy patron Lady Vale, Rebecca Caine’s performance is a treat. Much like a (significantly younger) Maggie Smith, Caine's pouting poise and presence, with a delightful mastery of the raised eyebrow where necessary, ensure that every barbed nuance of her character's ignorant and impressionable landed lady is to be savoured . Suffering from laryngitis on press night her songs were ably sung by Olivia Maffett.

Mention too for Matthew Rowland, who this reviewer saw not long back as Boy George in Taboo. The lad only has a modest supporting role, but his talent and presence are outstanding. Recently graduated, this remarkable young man is one to watch and he adds another dimension of quality to the show. Also in the company, Secombe's older brother Andy mops up a handful of minor characters, including a delightfully dotty judge. His face, voice and movement are a comic joy and both siblings are a credit to their legendary father Harry.

Ultimately the show is (yet another) quaint American view of England in the early 20^th century, albeit written with a touch more panache than some and one that will keep you smiling throughout and guffawing occasionally. Matt Flint choreographs imaginatively around the Union’s iron girders whilst Inga Davis-Rutter leads her 4 piece band with flair. Like a long lost painting found in the attic, Darling Of The Day is a newly discovered treasure that will be enjoyed by all who savour imaginative musical theatre.

Runs to 20th April 2013