High Fidelity - Review

Turbine Theatre, London

****

Music by Tom Kitt

Lyrics by Amanda Green

Book by David Lindsay Abaire

Lyrics and book adapted by Vikki Stone

Based on the novel by Nick Hornby

Oliver Ormson

In a transatlantic shuffle that was to first see Nick Hornby’s novel cross the Atlantic for an American themed film and subsequent musical theatre treatment, in a feat of skilled creative collaboration the narrative is dragged back to its North London roots. In the show’s opening return to Blighty this re-iteration proves to be a glorious night at the theatre.

The show premiered on the USA stage in 2006. This production, itself the first musical to be staged at Battersea’s new Turbine Theatre, has been lyrically adapted to reflect a London setting. Much credit is due to Vikki Stone for delivering a text that fits both time and place.

Taking its plot from Hornby’s 1995 novel, the show revolves around Rob, the owner of a small vinyl record shop on the Holloway Road at a time when the digital march of CDs had rendered vinyl pressings into obsolete collectors’ items.  Rob is a louche lothario, yet to discover emotional fidelity and notching up sexual conquests yet failing to grasp the concept of committed love. Laura is his most recent girlfriend and the show opens with their splitting up. Through a series of clever vignettes and occasional flashbacks we not only glimpse their relationship’s decline but also, as an uplift, see Rob’s redemption to a state of decency too. It all makes for a tight and clever journey.

The strengths of this production are many. Kitt's melodies are inspired, drawn from across the spectrum of the rock and pop scene, with tunes that set out to pay homage to various music stars across the years with the nod to Bruce Springsteen proving particularly well observed. Likewise, the unexpected lyrical partnership of Green and Stone offer moments of carefully drawn pathos along with well observed hilarity. David Shield’s stage design captures the geeky, sweaty, “unwashed single male” ethos of a specialist record shop, while Andrew Exeter’s lighting plots neatly and imaginatively enhance the Turbine’s compact space.

Leading the show and on stage virtually throughout, Oliver Ormson is Rob. There is a steady voice to Ormson’s work as he also brings the right level of smouldering good looks to the role to justify his tally of past sexual relationships. Ormson also captures the role’s complex combination of testosterone fuelled lust and envy together with, ultimately, compassion. As Laura, Shanay Holmes brings vocal strength to an emotionally demanding role that sees her weather a number of credible misfortunes in the course of the show’s arc.

Memorable too are Robert Tripolino’s incense-fuelled Ian, Eleanor Kane’s Marie, an American country singer who finds herself washed up in London’s N7, together with a brilliant pastiche of The Boss (aka Springsteen, see above) from Joshua Dever.

Tom Jackson Greaves directs and choreographs with an ambitious flair. The dance numbers are fun and detailed, with the inspired excellence that underlies the second act’s Conflict Resolution having to be seen to be believed. The precision movement and design of that song’s delivery is quite possibly the funniest ever delivered on London’s fringe musical scene. Up above the action, Paul Schofield’s 4 piece band are a polished treat.

High Fidelity marks the arrival of an exciting new musical theatre venue to contribute to the capital’s railway arch theatre scene. It is well worth a visit.

Runs until 7th December

Photo credit: Mark Senior

The Addams Family - Review

New Wimbledon Theatre, London


*****

Music & lyrics by Andrew Lippa
Book by Marshall Brickman & Rick Elice
Characters created by Charles Addams
Directed by Matthew White

Cameron Blakely and Samatha Womack

Having recently started out in Edinburgh, The Addams Family finally makes its London premiere. Starting life on Broadway in 2010 the show failed to make an immediate transfer across the pond, but having toured internationally, this gloriously ghoulish musical has at last been given a British life and judging by the reaction of tonight's audience, its arrival is more than welcome.

From the moment the overture commences with the iconic clicks from the cartoon / TV series the audiences are not only on side, but clicking along. The story, characters and settings are iconic. But with such a cultural resonance of course comes great expectations. Have no fear however, this production doesn’t just meet expectations, it smashes them!

The long road to London has been well worth it for this company, for their comic timing and delivery has been honed to perfection. The evening's run of constant stone cold gags sees each wisecrack delivered with the utmost sincerity. Most importantly, Matthew White’s direction has ensured a strong connection to the famously familiar elements of the TV classic, while still allowing creativity from all of his team to blossom. Complete with a mystery arm frequently making an appearance through the letter box, Diego Pitarch's design in particular sets the classic scene from the offset.

The performances are flawless. Too many to mention them all, but Cameron Blakely's Gomez is sensational. His presence is a force to be reckoned with and in the opening number When You're An Addams, which is the first taste we get of Alistair David's impressive choreography, Blakely not only establishes his character but alongside Samantha Womack’s Morticia, draws the audience into their not so normal family life. Stunt / celebrity casting can often be a critique of many UK Tours but not tonight. Womack’s motherly warmth actually comes across with an icy chill. Not only that, but the comedic chemistry between these two fantastic actors is more than alive and certainly at no point do either of these two need a kiss of life from their opposite. The gags also flow thick and fast from Les Dennis’ fabulously crazed Uncle Fester.

A strong mother deserves an equally strong on stage daughter and Carrie Hope Fletcher’s Wednesday is a blast. As the hot headed, torturing yet adorable Wednesday, Fletcher is quite simply a raring ball of energy on stage as her romance with Oliver Ormson's Lucas Beineke develops. Her rendition of Pulled complete with puppet butterflies was top notch, very few actors can deliver such vocal and comical class through song.

- To be fair, Fletcher has dreamed of playing Wednesday for years. This website saw her sing Pulled nearly four years ago at Andrew Lippa’s gig at the St James Theatre. Read Jonathan's review from then - she “took the roof off”. -

Amongst the cross bows, gory dead rabbits, cackles and cries is a story about the simple day to life of a family in New York. Albeit not your average tribe, but the monstrous leading performances and hauntingly slick ensemble bring this family tale to life. Supported by Andrew Hilton's polished band with Lippa's numbers superbly arranged by Richard Beadle, the show plays at Wimbledon until the end of the week before hitting the road as one of the best productions currently touring the land.

If you know your Addams Family songs – Full Disclosure! To everyone else the show is unmissable.

Playing at the New Wimbledon Theatre until May 20th, then touring. Full schedule here.
Reviewed by Josh Adams
Photo credit: Matt Martin