Kiss Me, Kate - Review

Coliseum, London


***


Music and lyrics by Cole Porter
Book by Samuel and Bella Spewack
Critical Edition by David Charles Abell and Seann Alderking
Directed by Jo Davies

Alan Burkitt and Zoe Rainey

With the World Cup tournament currently in play, football parlance seems appropriate in describing Opera North’s Kiss Me, Kate, arriving this week for a short stay at London's Coliseum as a show with two halves. After a wonderful opening with Another Op’nin, Another Show, the first half slumps into a disappointing tedium that is not corrected until the curtain rises after half-time, heralding a well delivered and lively second act whirl through some Songbook treats.

Kiss Me, Kate is a curious show at the best of times, a meta-musical that weaves in and out of a touring company’s visit to Baltimore to perform (the musical of) The Taming Of The Shrew. This much acclaimed revival (of a piece often reviled for both its and Shakespeare’s misogyny) first opened in Leeds some three years ago, yet seeing it now, when the world’s sexual politics are still adjusting to a long overdue post-Weinstein correction, it appears at times more out-of-step and potentially offensive than ever. For sure, some of Cole Porter’s compositions deserve their place in the pantheon - but elsewhere, and particularly when Porter sets Shakespeare’s narrative to music, one is reminded more perhaps of Max Bialystock’s Funny Boy than of Broadway’s Golden Age. The plot also references a floating crap game and two comic hoodlums - but compared to the sparkle of Frank Loesser’s Guys and Dolls, the villainous capers here are enfeebled. 

Much of the show's song and dance is magnificent, largely due to Will Tuckett's delicious choreography and Zoe Rainey and Alan Burkitt who deliver the Lois Lane / Bianca and Bill Calhoun / Lucentio roles perfectly. Both actors are performers at the top of their game, bringing wit, flair and inspirational interpretation to their big numbers, Rainey in Always True To You In My Fashion, and Burkitt especially in his big number Bianca. Their performances alone justify a ticket and Too Darn Hot is too darn good too!

Headlining the show's cast are the operatic talents of Stephanie Corley as Lilli Vanessi / Kate and Quirijn de Lang assuming the Fred Graham / Petruchio responsibilities. Powerful in her un mic’d delivery, Corley’s vocals are masterful but yet there is something strangely Clinton-esque in her work that never finds her convincing in either role. de Lang too lacks electricity in a casting that yet again demonstrates how it is only a very rare opera singer that can make the transition from their world of vocal excellence to the very different challenge of musical theatre, and of being able to act through song. Joseph Shovelton and John Savournin make a fine job of the gunmen - but the Vaudevillian pastiche of their Brush Up Your Shakespeare only highlights the groan-inducing corniness of the song’s original construction. Porter’s rhyming of Shakespeare’s titles may once have dissolved American audiences into fits of laughter – today, the gags seem desperately dated.

There is a hint too of this show, that has been constructed for the road, being slightly lost in the Coliseum’s cavernous space. Colin Richmond and Ben Cracknell, both of whose set design and lighting work is usually top notch, fail to fill the vast stage as flapping flats, rickety staircases and sloppy lighting plots prove to be minor distractions.

Under James Holmes’ baton and David Charles Abell’s restorative orchestrations the Opera North orchestra make delicious work of the score. Porter aficionados will appreciate the care that has been lavished on the melodies.

Runs until 30th June, then continues on tour

Kiss Me, Kate - Review

Leeds Grand Theatre, Leeds

***

Music and lyrics by Cole Porter
Book by Bella and Samuel Spewack
Directed by Jo Davies

Quirjin De Lang, Jeni Bern and Company

Opera North, a leading UK arts organisation whose key focus and goal is to 'actively challenge conventional perceptions of opera' (as stated in the programme), return to Leeds Grand this Autumn to present their latest season of work, with this new production of Kiss Me, Kate being the first in a diverse line-up.

Kiss Me, Kate tells the story of Fred Graham and Lilli Vanessi, two actors whose tempestuous love lives take centre stage as they perform in a new musical version of The Taming of the Shrew in 1940s Baltimore. Almost fabricated as a play within a play, Kiss Me, Kate takes a different tack to the musical theatre norm and allows the audience to see both the on stage and off stage dramatics and hysteria of the story's main arc.

Quirijn De Lang and Jeni Bern, the key protagonists, shine in their roles offering the audience a true abundance of wit, charm and delight as they work with an overly complex plot that takes an hour and a half to actually get to the point. Whilst there are some great comedic interludes from Joseph Shovelton and John Savournin as Gunman 1 and Gunman 2, Kiss Me, Kate struggles to sell itself as a piece of high class musical theatre.

With a running time of almost 3 hours, Kiss Me, Kate fails to pack the punch required for such a long piece of theatre, with scenes drawn out for much longer than required. At least half an hour could be trimmed and still allow a piece that could be easily grasped without becoming boring due to a lack of tension, suspense or characters one can truly care for.

Tiffany Graves and Ashley Day feel a tad miscast as the secondary characters Lois Lane and Bill Calhoun - there's a surprising lack of chemistry between the two and apart from a wonderful, albeit small, comedic moment in Tom, Dick or Harry. Katie Kerr as Hattie seems underused with an absolutely divine voice that opens up the first act in Another Op'nin, Another Show, whilst Claire Pascoe as the Stage Manager is another ensemble member who stands out, grabbing our attention as soon as she walks on stage.

The main saving grace of this production is its music. Superbly conducted by David Charles Abell, Kiss Me, Kate harks back to Musical Theatre's golden era. The best moments are the ensemble numbers particularly Too Darn Hot the second act opener.

The lighting and set designs for this production are ambitious considering the size of the theatre but Ben Cracknell and Colin Richmond do a remarkable job, providing stunning backdrops that draw the audience in and help sell a flawed story.

Kiss Me, Kate’s lack of purpose and confusing storyline will possibly leave many feeling a little cold and put out. For those Shakespeare aficionados however who fancy seeing something a bit different and unconventional, then it may well prove the perfect night out.

Runs until 31 October and then tours

Guest reviewer: Megan Kinsey

Ruddigore - Review

King's Head Theatre, London 

****

Music by Arthur Sullivan
Libretto by W. S. Gilbert
Directed by John Savournin

John Savournin

Charles Court Opera are one of the leading small companies, known for their innovative approach and described as “the masters of Gilbert & Sullivan in small places”. For their 10th Anniversary, the company have chosen the lesser known tenth of fourteen comic operas by Gilbert & Sullivan. In 1887 Ruddigore initially struggled following the huge success of The Mikado, but after a few re-writes and a re-spelt title (from the original Ruddygore) it was to triumph.

Ruddigore, or The Witch's Curse, has an unbelievable plot. A centuries old witch’s curse on the Baronetcy of Ruddigore condemns the eldest sons to commit a crime everyday on pain of death. Heirs understandably try to find ways around this, or abscond, with perilous and confusing results all round, driving fiancées to madness and bridesmaids to despair. 

It all makes for a fabulous frolic, executed at the King’s Head Theatre with fine singing, acting and an unrelenting energy. Gilbert’s loquacious lyrics are performed at a breakneck pace, yet the skill of John Savournin’s direction and indeed his performance as Sir Despard Murgatroyd is such that every word is savoured and heard and whats more, that it all seems so ridiculously plausible.

The Bridesmaids’ constant and very funny refrain ‘Hail the Bridegroom, Hail the Bride’ is a memorable air, made all the more remarkable by Susanna Buckle and Andrea Tweedale effectively emulating a chorus of 22 voices, whilst Cassandra McCowan makes more sense of Mad Margaret than is often to be found in Ruddigore productions.

The compact company of just eight sound tremendous, with both acts' finales sung with a gorgeous musicality and a remarkable attention to detail. David Eaton as Musical Director, accompanies with great dexterity and detail throughout as Philip Aiden’s choreography keeps the cast on their toes admirably and literally, given the speed at which they move and sing. James Perkins’ seaside pier design atmospherically enhanced by Nicholas Holdridge’s lighting becomes hysterically effective when we are introduced to the ghostly ancestors.

It is profoundly re-assuring to see that in 2014 the spirit of Gilbert & Sullivan is more than alive and well in London’s off-West End. With sparkling melodies, glorious singing and rich characterisation, The King’s Head's Ruddigore makes for a delightful evening of meticulously crafted madness.

Runs to 14th March 2015

Guest reviewer Catherine Françoise