Peter Pan - A Musical Adventure

Adelphi Theatre, London

****

Music & lyrics by George Stiles & Anthony Drewe

Directed by Jonathan Butterell

Jenna Russell and Evelyn Hoskins

There have been many interpretations of J M Barrie's Peter Pan story but this musical version by George Stiles & Anthony Drewe, with book by Willis Hall, deserves a place of note. The tale of the boy who doesn't want to grow up and the three young Darling children of Bloomsbury he takes on an adventure to Neverland, has a charm which beguiles children and adults alike.

Stiles & Drewe (Honk!, Just So, Betty Blue Eyes) premiered Peter Pan in 1999. This concert version of the full production, imaginatively staged by Jonathan Butterell, worked well, with the actors and singers in front of a full orchestra on stage. Very often in concert productions, the larger group numbers can suffer from their lack of space and set; not so in this case. Astute choreography and spot-on delivery made a highlight of The Lost Boys Gang, a seriously catchy tune performed with gusto by the talented ensemble of Lost Boys.

George Stiles has written some enchanting melodies within a rich score, Never Land and There's Always Tomorrow having a distinctly timeless quality. In the hands of Jenna Russell, the show opened with accomplished vocals in Just Beyond The Stars, Miss Russell giving every phrase meaning; a skill she brings so effortlessly to her work. She imbues Mrs Darling with a warmth and the relationship between her and her husband Mr Darling (Bradley Walsh who also plays Captain Hook) seemed real, setting the tone for the evening. The casting of the three Darling children was spot on. Toby Nash and John McCrae as Michael & John were both funny, with huge spirit and not a hint of wimp about either of them.

However, Evelyn Hoskins as Wendy was a revelation. Her solo, Who Will Mother Me? was a show stopper, delivered beautifully. Miss Hoskins' voice soared within the Adelphi Theatre, her interpretation of the eldest Darling child a delight to watch. 

The cleverness of Anthony Drewe's lyrics is particularly apparent in the pirate songs. Bradley Walsh relished playing Captain Hook, making Murder For a Pirate with a Heart a hilarious musical soliloquy. His closing of Act 1 was terrific. Walsh was admirably supported by pirate crew of imaginative actors, each creating a unique character that you could "see" without them having costume or props. Particular note to Steve Elias and John Barr for their subtle nuances and physical precision that was both captivating and hilarious.

Sheila Hancock added gravitas as the story teller, holding the audience in the palm of her hand at the end of the show when revealing she is, in fact, Wendy, the wide eyed child now older, having lived her life fully, without fear. Peter's break down at this realisation at the close of the show was a satisfying twist to a familiar story.

The eponymous role was played with great energy by Ray Quinn. Quinn's interpretation of Pan was assured but a touch heavy handed at times, lacking innocence. However, his personal charm worked well for what is a tough role.

David Shrubsole conducted with aplomb and the finale, when orchestra, actors, children and choir joined together, a little bit of magic was cast within the Adelphi Theatre.

Guest reviewer: Andy Bee 

How to Succeed in Business Without Really Trying - Review

Royal Festival Hall, London

****

Music and lyrics by Frank Loesser

Book by Abe Burrows, Jack Weinstock and Willie Gilbert

Directed by Jonathan Butterell

Clarke Peters (l) and Jonathan Groff in rehearsal

There must be something in the Thames as it flows around the bend of Waterloo Bridge that enchants the work of Frank Loesser. Back in the 1980s the National Theatre gave the capital a groundbreaking Guys and Dolls and yesterday, for one night only, Jonathan Butterell directed a sensational production of Loesser’s How to Succeed in Business without Really Trying (almost) next door at the Royal Festival Hall.

It’s been fifty years since How to Succeed in Business without Really Trying last popped up in the West End and Butterell was blessed with a star-studded cast to perform this concert staging. In a story that is occasionally heavy on a complex narrative, the show set in the offices of the World Wide Wicket company takes us on a whirlwind tour of ladder-climbing both literal and metaphorical, as we watch “the rise” of window cleaner J. Pierrepont Finch and his studious devotion to a self-help book on business success. In today’s parlance the show would represent a mash-up of The Office with The Apprentice and all set to show-tunes of a deliciously cheesy improbability. 

Crossing the Atlantic to play Finch, Jonathan Groff is probably best known here for his time on the US TV series Glee. Make no mistake though, Groff has serious stage credentials, with spurs earned both on and off-Broadway and stellar vocals that make Finch the true hero of the piece. It should also be noted that given the very  limited rehearsal time available, his performance oozed a charming confidence that forgave his occasional glances at the script.

Cynthia Erivo and Hannah Waddingham made for Finch’s vibrantly intriguing colleagues. As love interest Rosemary, Erivo brought a warmth and sincerity to her vocals that truly allowed us to understand her desires beyond the office walls whilst Waddingham’s Hedy La Rue brought another aspect of sexual desire to the tale in a role as perfect to listen to as to gaze upon. 

Making a rare and welcome return to a London stage, Clarke Peters’company President J.B Biggley provided a strong backbone to the office set up. Elsewhere Clive Rowe as Trimble was as ever delightful in his fleeting appearances, with Rowe’s soaring vocals lending a massive contribution, not least to the glorious ensemble numbers Company Way and Brotherhood Of Man. In another neat touch, London's Loesser cognoscenti will have noted that both Peters and Rowe include the National’s Guys and Dolls in their biographies

A nod too to Amy Ellen Richardson as Smitty and Anna-Jane Casey’s Miss Jones, who both brought quirk and charm to the office table on top of their stunning stage presence. 

Loesser’s luscious and vibrant score, boasting many forgotten and understated classics, was expertly executed under Mike Dixon conducting the Royal Philharmonic Concert Orchestra. It is a treat to hear a classic score so excitingly pitched and performed at that by a full size orchestra too.

The company’s excellence left one longing for a fully staged return of this charming old show and with such a remarkable array of talent and so finely polished too, Butterell certainly showed how to succeed in musical theatre!


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