The Go Between - Review

Apollo Theatre, London


***

Music & lyrics by  Richard Taylor
Book & lyrics David Wood 
Based on the novel by L.P. Hartley 
Directed by Roger Haines

Michael Crawford, Gemma Sutton and William Thompson

One can wait for ages for new musical theatre writing to get a commercial outing and then, much like buses,  two come at once. So it is for composer Richard Taylor who is enjoying a remarkable spring with The Go Between, a collaboration with David Woods, opening at the Apollo as his other new show Flowers For Mrs Harris ends its short run in Sheffield. 

L P Hartley’s novel, first published in 1953, became a modern English classic. Leo Colston, now in his twilight years looks back on a summer at the turn of the century when he found himself the young messenger boy between Marian and Ted, two young adult lovers whose illicit and ultimately doomed relationship straddled England’s ruthlessly upheld class divide. While Joseph Losey’s 1971 film of the story achieved recognition at both the Oscars and Cannes, this marks the first time that the tale has been worked into a musical – and a nod to the innovative Perfect Pitch production house for having seen the show through its development. 

Where Taylor’s recent Sheffield outing flooded the stage with talent, albeit with no big star on board, the casting feature of The Go Between is of course England’s grand-daddy of musical theatre and the creator of Lloyd-Webber's Phantom Of The Opera, Michael Crawford. No celebrity “stunt casting” here, the quality of Crawford's performance brings real smiles. One would be pushed to find a better man for a role that requires not only emotional but vocal versatility and while this national treasure may not be hitting Phantom-like notes, his performance is still certainly on the money.

The piece excels musically but the plot is slow. One can't help but feel that Act One takes a huge amount of time simply setting up their events that follow in the second half. And while the nostalgia is endearing and played beautifully between Crawford and his younger Leo played by William Thompson, the narrative can drag. 

Gemma Sutton and Stuart Wards are the tragically destined lovers. Sutton remains one of the finest performers of her generation, bringing a deviously contagious charm to Marian. Likewise, Ward’s Ted is an equally strong, passionate performance. Both Thompson and the other young lad on the night Archie Stevens are extremely talented, the latter’s comic timing and cheeky smile bringing a grin to every audience member. 

The brave decision to have the onstage band consisting of nothing more than a sole grand piano works well, complementing the era with fine work from musical director Nigel Lilley. A neat design touch is an attic like storage box from which both Leos change costume throughout, giving the clothes changes a similar feel to a child's dressing up box. 

If The Go Between lacks punch, it's undoubtedly sound stylistically and offers the chance to see an incredibly strong cast deliver innovative new writing.

Runs until 15th October

Photo credit: Johan Persson

An Evening With Maria Kesselman - Review

Crazy Coqs, London

*****

Maria Kesselman

In her one-woman cabaret, Maria Kesselman firmly proves herself to be a force to be reckoned with. A truly seasoned professional, she seamlessly blends an impressive voice and near-perfect technique with an ability to make each and every audience member feel as though they have known her for years.

In her own words, the set is a "celebration of the merry-go-round of life, love and laughter." It is this mix that forms the foundations of a remarkable show, and the convincing and deeply passionate delivery of each and every song that cements this.  

It's a dizzying programme and there is never a moment where the audience feels distracted or even bored. There simply isn't the opportunity. While classic songwriters such as Gershwin, Sondheim and Porter and universally-loved pieces such as Fly Me To The Moon and La Vie En Rose are featured (and delivered incredibly well), Maria's vast love and knowledge of music enables her to select songs that the audience may never have heard before, but that they love almost immediately. That in itself is an incredible gift.

The show provides the perfect platform from which Maria's love for music and dance - which she alludes to throughout the evening - can shine through. That she is so comfortable on the stage (she has played Christine opposite Michael Crawford's Phantom) and clearly enjoys herself immensely, is contagious and the audience warms to her even more as a result. 

Accompanying her on the piano, James Church is equally impressive, and as Maria's "partner-in-crime," he does a sterling job - flying with ease through a challenging repertoire of classics and lesser known ditties, from the sombre to the upbeat and back again.

The most memorable moments are arguably those of poignancy. In the first half particularly, Maria peppers the show with autobiographical recollections, covering areas such as the passing of both of her parents within four months of each other, and the origins of her life-long love affair with dogs, attributed to when she occasionally shared a cot with a pet poodle. 

And when Kesselman sings about love – covering themes that we've all heard a thousand times before – the result is so powerful that it makes the concept itself seem completely new.

Playing the Crazy Coqs for one night only, hopefully she’ll soon be back for more.

Guest reviewer: Bhakti Gajjar