Top Hat - Review

Kilworth House Theatre, Leicestershire

*****

Music & lyrics by Irving Berlin
Book by Matthew White & Howard Jacques
Directed & choreographed by Stephen Mear

Lauren Stroud and  Dan Burton

Stephen Mear’s take on Top Hat, just opened at Leicestershire’s Kilworth House Theatre is further proof that for this summer at least, the very best musical theatre openings are all taking place outside of London. 

Top Hat is one of those shows that feels like it should have been around forever, but is in fact a relatively new arrival to the stage. The show premiered in London only a few years ago with a new book from Matthew White and Howard Jacques that was lovingly based upon the RKO film of the same name. Fans of both dance and Hollywood will of course know that Top Hat (the movie) is arguably the partnership pinnacle of Fred Astaire and Ginger Rogers. 

So in putting on his Top Hat, Mear has extremely large shoes to fill – and he fills them magnificently. The story behind the show is the most ridiculously light-hearted piece of froth – theres’s farce, dropped trousers, mistaken identity and a multitude of malapropisms. It’s as corny as heck, but as the comedy greats of years gone by have demonstrated, this type of comedy is the toughest to master.

Mear and his cast however don’t just master the gags – they make them soar. The timing is spot on throughout and aside from the song and dance, the contributions from Ashley Knight as the much put upon valet Bates and Stephane Anelli as Alberto Beddini, an Italian fashion designer / Lothario, are a masterclass in  comedy cameos.

But of course Top Hat is all about hearing those beautiful Irving Berlin songs and seeing them danced to perfection. The lead role of Jerry Travers is taken by Dan Burton – a performer who has much history with Mear – and the director knows just how to coax magic from this talented man. On stage virtually throughout the first half (and much of the second) Burton brings his mellifluous tenor voice to the show's classic songs in a way that earlier productions just haven’t been able to reach. As the show opens with Puttin’ On The Ritz, from the number's very first bars the evening’s standard of song and dance is defined. And as is Mear’s way, the ensemble have been drilled to ruthless perfection – to watch these routines is to float away in an ethereal delight.

Opposite Burton, Lauren Stroud plays the feisty Dale Tremont. Stroud mirrors Burton’s dance talent from the outset, and when we eventually hear her sing (well into act one with You’re Easy To Dance With) it’s a delight that has been well worth the wait. The two lead the show perfectly.

In close support as the lead comic protagonists, Charles Brunton and Nia Jermin are wonderfully cast as Horace and Madge Hardwick. Their overstated comic lampoonery (and Brunton’s buffoonery) is perfectly weighted, making  the narrative flow effortlessly. When they finally get their chance to sing in the deliciously anti-romantic, Outside of That, I Love You, its yet another barrel of (beautifully sung and danced) laughs.

There is excellence elsewhere, nestling in the show’s company with barely a programme credit to show for it. Daisy Boyles puts in a fabulous turn leading the delightful What Is Love? routine, while the footwork from the enchanting Chantel Bellew, dancing opposite Burton in an early routine, is another of the many gems that encrust this production.

Berlin’s melodies demand a strong band and Michael England’s 11 piece ensemble, tucked just off stage in a marquee, immaculately capture the elegance of the era and its melodies, with toes set tapping from the overture. The show's songs are massive and England’s orchestra rise magnificently to the challenge.

The open-air setting of Kilworth House is skilfully tackled by the show’s team. Morgan Large’s set offers an Art Deco vision that is as ingeniously multi-functional as it is dreamily elegant, never overshadowing the performers, merely enhancing their work. Similarly Chris Whybrow’s sound design works well with the venue’s unconventional acoustics – not a word or note is missed, while Jason Taylor’s lighting work takes on an increasingly subtle beauty as the sun slowly sets.

There's no finer finer tribute to the American Songbook in the land, but only a very privileged few will get a chance to savour this masterpiece of musical theatre - the run is completely sold out!

Runs until 17th September
Photo credit: Jems Photography

Pure Imagination - Review

St James Theatre


****


Devised by Leslie Bricusse, Chrisopher Renshaw and Danielle Tarento
Directed by Christopher Renshaw

Giles Terera

Who can take a set list? Sprinkle it with class……

… as through two hours a delicious cast of 5 chart a course through nigh on 60 of the songs of lyricist Leslie Bricusse. Unashamedly a ‘juke-box musical’, the show marks producer Danielle Tarento’s first foray into that genre, with a combination of both song snatches and entire numbers as Bricusse’s remarkable body of work is referenced and respected.

There is however something distinctive to Pure Imagination that sets it apart from most of the other shows that have been fashioned out of back catalogue cash-cows and which currently clog London’s theatres. First and foremost, Bricusse is a wordsmith whose career has seen him partner a diverse range of composing collaborators.

Sure the man has penned a few melodies himself, but that the show includes tunes from those Atlantic-straddling greats including John Barry, John Williams, Henry Mancini and of course Anthony Newley, leads to a collection that is close to a chocolate box of surprises. Who knew that (under a pseudonym) Bricusse had lobbed in the lyrics to Lonnie Donegan’s skiffle delight, My Old Man’s A Dustman, which with honky tonk piano brought on centre-stage, gives rise to a rather wonderful almost knees-up in the first half!

True to form, Tarento draws a talented company to stage the show. Veteran Dave Willis is The Man, oozing panache and flair with every number and in an exciting Who Can I Turn To? proving that he still is, very much, the man. Opposite Willetts, Siobhan McCarthy is The Woman, bringing a measured maturity to her share of the numbers, her act two opener a sizzling, Fosse-infused, Le Jazz Hot a delight.

Other special moments include Willett’s laconic Bond-fuelled take on Goldfinger (even if he channels more Moore than Connery) with perhaps the cheesiest/wittiest segue ever as The Man smoothly segues into Talk To The Animals from Giles Terera’s feline Pink Panther (yes, there were lyrics to that iconic signature tune)

Terera’s Joker offers talent elsewhere too, making spines almost tingle in his What Kind Of Fool Am I and giving a stylishly sassy take to If I Ruled The World.

As The Boy, Niall Sheehy brings a younger perspective to some numbers, with Jekyll & Hyde’s This Is The Moment proving particularly special. Completing the cast, Julie Atherton brings her hallmark polished poise to the production

That the band’s sextet outnumber the actors speaks volumes for the creatives’ vision and much of the evening’s credit is due to Michael England’s immaculate arrangements and pinpoint musical direction. Mention too for Richard Coughlan, whose finely fingered bass work enhances the production’s jazz.

Chris Renshawe directs with a wise touch. Old enough to understand Bricusse’s legacy, Renshawe keeps his finger firmly on a contemporary pulse, ensuring a style that works for today (even if the numerous selfie gags are a touch laboured)

The pure imagination of Bricusse, Tarento and Renshawe has created a confection of a show that blends nostalgia and wit with a generous splash of excellence. It all makes for a charming night out.


Runs until 17th October 2015

Of Thee I Sing - Review

Royal Festival Hall, London


***

Music by George Gershwin
Lyrics by Ira Gershwin
Book by George S. Kaufman and Morrie Ryskind

All credit to Elliot Davis, Senbla and the genius of casting director Anne Vosser, for assembling such a platinum plated cast to perform the little known Of Thee I Sing. But whilst this one-night-only's company was majestic, the show itself plumbs the crassest depths of jingoistic prejudice, sexism and febrile farce. Quite how it won the 1932 Pulitzer Prize (the first musical ever to do so) beggars belief.

Described as a lampoon of the American political machine, Of Thee I Sing not only mocks the nation’s executive, it mocks a dumb redneck electorate too, spinning a ridiculous yarn surrounding the election and subsequent presidency of a John P Wintergreen. The story does not merit description, but on the Festival Hall stage, some of our finest performers nonetheless proved that that they've truly earned their 5* reputations.

Hadley Fraser was Wintergreen, displaying the chiselled charm of a President and lending his magnificent voice to songs that were largely forgettable. Louise Dearman enchanted as his true love Mary, whilst Hannah Waddingham, as a hopeful, but ultimately rejected First Lady, offered her usual magnificence, tearing up the stage in a hybrid of Southern Belle cum Brunhilde. 

Offering a Rowan Atkinson inspired Vice President, Tom Edden was a masterclass in comic timing and presence, though when it comes to world class excellence in comedy acting through song, there is none finer than Peter Polycarpou, whose blustering French Ambassador made the very best of an awful role.

There is only one real (and gorgeous) classic Gershwin number in the show, Love Is Sweeping The Country and the tightly choreographed routine, as well as a delicious delivery that Daisy Maywood and Gavin Alex gave to it in the compact space available, proved the evening's highlight. To be fair everyone else on stage was fabulous too, including Gareth Snook playing a multitude of roles and some polished ensemble support from the Musical Theatre Academy.

Under Michael England’s baton the Royal Philharmonic Concert Orchestra were delightfully spot on throughout the evening.