Sweet Charity (at The Watermill Theatre, Newbury) - Review

Watermill Theatre, Newbury

****

Music by Cy Coleman

Lyrics by Dorothy Fields

Book by Neil Simon

Directed by Paul Hart

Gemma Sutton

Cy Coleman’s score for Sweet Charity, much like his compositions for The Life, define his ability to create a musical around humanity’s grittier perspectives. Inspired by a Fellini screenplay, Neil Simon’s book carries a timeless ring of abuse.  Charity is a good trusting woman who is ultimately used by both the men we see her become involved with; the humble Oscar and the powerful Vittorio Vidal. The message is clear - irrespective of their place in society, men are manipulative misogynists. And yet although the narrative may be harsh, the genius of the show’s writers lies in having framed their tale within a structure of some of the 1960’s finest musical theatre writing.

The powerhouse driving this production is Gemma Sutton’s Charity. Sutton is a performer who only knows the meaning of excellence in her work, capturing Charity’s kooky complex vulnerability and delivering a performance that by turn breaks our hearts and then makes them soar in the show’s biggest numbers. Her voice and presence are majestic in songs such as If My Friends Could See Me Now and I’m A Brass Band and yet, throughout, she captures Charity’s precious fragility, so painfully recognisable in her exquisite interpretation.

Sutton is well supported by a perfectly cast company. Tomi Ogbaro as Daddy revives and inspires the audience as he leads Rhythm Of Life. Elliot Harper’s Vidal is convincing in his suave arrogance, while the show’s girls (Nicola Bryan, Vivien Carter, Stacey Ghent Emma Jane Morton and Laura Sillett) make magnificent work of Big Spender, returning it to its pre-Bassey beauty.

Perhaps the greatest revelation of the evening is Alex Cardall’s Oscar. Straight out of the Arts Educational School, and yet another NYMT alumnus to make a leading debut this summer, Cardall masters Oscar’s manipulative maturity with a confidence that belies his years. With perfectly weighted nuance and pinpoint delivery on the gags, his is classy work indeed.

Behind the scenes Diego Pitarch’s designs sees two pairs of bi-folding mirrors whirled around the stage ingeniously, while the translations of Coleman’s score to an actor-muso company is, yet again, flawless musical supervision from Sarah Travis. Charlie Ingles has directed Travis’ work with the instrumentalists, but on the night and on stage it is an assured Tom Self that oversees the delivery of these bold, brassy melodies.

Bob Fosse directed the show (originally on Broadway and later, its Hollywood iteration too) and while Tom Jackson Greaves has choreographed with imaginative flair within the Watermill’s cockpit space, Fosse’s fingerprints (footprints?) are everywhere. But for all the talent within this show, it is hampered by the Watermill’s challenging (and sometimes non-existent) sightlines that can render too much of Jackson Greaves’ (no doubt brilliant) dance work, invisible.

Yet again, the people of Newbury find themselves spoiled with this display of some of the finest talent in the land putting on a show that alongside being a rollercoaster of emotions, is a festival of sensational song and dance.

Runs until 15th September

Photo credit: Philip Tull

Crazy For You - Review

Watermill Theatre, Newbury

****

Music and lyrics by George Gershwin and Ira Gershwin

Book by Ken Ludwig

Directed by Paul Hart

Caroline Sheen, Tom Chambers and Company

Crazy For You is a musical drawn up by Ken Ludwig in the 1990's and broadly based on the Gershwins’ Broadway foray Girl Crazy from some 60 years earlier. While the show's narrative may hang on a story that lacks both consequence and credibility, it does comprise some of the 20th century’s finest songs, along with the opportunity for some spectacular dance routines.

The Watermill has cast the show perfectly, with Tom Chambers and Caroline Sheen leading the company. But whilst the theatre may have landed one of musical theatre’s finest male dancers, unfortunately the venue’s flat performing space (there is no raised stage) means that most of Chambers’ fleet-footed brilliance is invisible to anyone in the stalls who’s had the misfortune to be sat behind the front two rows. The tap dances choreographed by Nathan M Wright sound terrific for sure – but in row 7 one barely catches a glimpse. 

The acting is strong throughout, with some fine moments of physical comedy too, but where this production excels in in its treatment of the classic songs. Sheen’s character Polly is given the lion’s share of the Gershwin greats and she delivers them with excellence and flair. Her interpretations of Someone To Watch Over Me, Embraceable You and the heartbreaking But Not For Me are spine-tinglingly good. 

Some of the singing spoils are shared: Lucy Thatcher delivers a wonderfully steamy Naughty Baby as she seduces Jeremy Legat’s (also excellent) hotelier and there’s a delightful ensemble of rednecks offering a very droll interpretation of Bidin’ My Time.

Diego Pitarch’s imaginative designs can’t conceal the fact that the show is a quart being awkwardly squeezed into the Watermill’s pint-pot, though Howard Hudson’s lighting wizardry (with some fabulous use of mirrored follow spots) does a fine job of trying to “big-up” the space. For the most part the actor-muso set up works well even if occasional lapses suggest an Arvide Abernathy's Save A Soul Mission tribute band. No doubt the musical hiccoughs will settle down over the run.

Notwithstanding the production’s flaws, the talent on display here still makes for an evening of fine entertainment - if you can grab a seat in the circle or front stalls, even better. And with Caroline Sheen’s enchanting take on a handful of the American Songbook’s greats, who could ask for anything more?

Runs until 17th September 2016

Photo credit: Richard Davenport

Stephen Sondheim Society Student Performer of the Year Awards 2016

Sunday May 15th saw the Stephen Sondheim Society Student Performer of the Year Awards 2016 take place at London's Novello Theatre. 

Catherine Francoise was at the event for www.jonathanbaz.com and reports. 

Courtney Bowman (centre) and her fellow finalists

10 years on from the start of this innovative showcase awards competition,  it has evolved into a major influence, showcasing some of the  best final year student performers from the UK’s training academies, also discovering  new writers of songs and indeed complete shows. Stiles & Drewe’s writing partnership and career were majorly boosted when they won the Vivian Ellis prize in 1986 and their initiative in setting up the MTI Mentorship Award is to provide something similar for new writers in the 21st Century.

The platform the competition provides for young performers at the start of their careers is invaluable. Previous winners with now developing and established  careers sang Sondheim’s Old Friends from Merrily We Roll Along: Erin Doherty (2015) Corrine Priest (2014) Kris Olsen (2012) Alex Young (2010) Michael Peavoy (2009) and Natasha Cottrail performed Dougal Irvine’s 2012 Stiles & Drewe prize winning song Do You Want A Baby Baby? from the current production of The Busker’s Opera now playing at Park Theatre 4 years later.

We were also reminded that some non-winners have gone on to great things including Cynthio Erivo, now nominated for a Tony for her tremendous performance in the Broadway production of The Colour Purple (originated at the Menier Chocolate Factory).

From just 10 entrants in 2007 the competition has grown in numbers every year. There were 80 entrants this year of which 12 students were chosen as finalists as follows:

Courtney Bowman, Guildford School of Acting
Emily Day, Performance Preparation Academy
Lauren Drew, Mountview Academy of Theatre Arts
Abigail Fitzgerald, Liverpool Institute for Performing Arts (LIPA)
Dafydd Gape, Royal Welsh College of Music and Drama
Eleanor Jackson, Bristol Old Vic Theatre School
Kirsty Ingram, Arts Educational Schools (ArtsEd)
Edward Laurenson, Guildhall School Of Music & Drama
Callum McGuire, Oxford School of Drama
Ashley Reyes, London Academy of Music and Dramatic Art
Adam Small, Mountview Academy of Theatre Arts
Tabitha Tingey, Royal Conservatoire of Scotland

Each singer was accompanied and supported by MD Mark Warman.

The 2016 Student Performer of the Year and £1000 was deservedly awarded to Guildford School of Acting final-year student Courtney Bowman. The fact that Courtney played corrupt mayoress Cora Hoover in GSA’s production of Sondheim’s Anyone Can Whistle in 2015 was clearly evident in her barnstorming performance of Me and My Town. Her second song The Driving Lesson was a hilarious tour de force by this year’s Best New Song award winner Tim Connor (although Tim actually won his award for a different song in the competition).  Courtney’s characterful and tremendously well sung performances lit up the stage. 

Bristol Old Vic Theatre School final-year student Eleanor Jackson was a very popular runner up, winning £500 with a beautiful, detailed rendition of the title song from Sondheim’s Sunday in the Park with George, and a wonderful song highlighted by the judges, by James Burn called More To Life.  A truly beautiful voice and compelling, intelligent actress.  Definitely another name to watch out for

Stiles & Drewe praised all the new songs and writers presented this afternoon, but wanted a particular ‘shout out’ of 3 of the songs (which I also loved!)…

Rivets by David Perkins, Dominic & Joe Male, a witty, wordy quirky song indeed which Dafydd Gape of Royal Welsh College of Music and Drama obviously enjoyed performing very much.

More To Life by James Burn, as mentioned sung wonderfully by runner-up Eleanor Jackson.

Little Wooden Horse by Chris Bush and MattWinkworth sung movingly by Royal Conservatoire of Scotland student Tabitha Tingey. 

I also very much enjoyed Wallpaper Girl by Rebecca Applin & Susannah Pears sung by Abigail Fitzgerald, studying at Liverpool Institute for Performing Arts (LIPA)

Alongside the celebration of Sondheim’s work, the competition was also set up to showcase and promote new writing and this year Stiles & Drewe divided this award into two parts.  Tim Connor won his £1,000 Best New Song award for Back to School.  London Academy of Music and Dramatic Art Ashley Reyes who sang Back to School received a £100 bonus prize from The Newsome Family.

Perhaps the most exciting and intriguing winner was that of the tremendously valuable inaugural MTI Mentorship award, which will offer support, feedback, workshops, writing & progress evaluations and mentoring for full year, culminating in a professional industry showcase (who wouldn’t be ecstatic to win this award!).  Composer/lyricist Darren Clark and book writer Rhys Jennings for Wicker Husband, both looked excited, overwhelmed and truly grateful to receive this award.  We heard a tantalising taste of this new musical when Mountview Academy of Theatre Arts student Lauren Drew sang a very beautiful evocative song, My Wicker Man. George Stiles described the show as ‘a sort of Folk Tale’ and ‘other worldly with all sorts of possibilities’ ~ I personally can’t wait to hear more!

Demonstrating a wide range and variety of songs and performance skills we are certain to see some, if not all these finalist performers and writers in productions in the future. Sondheim is notoriously challenging to sing and whilst everyone acquitted themselves well, a few young singers could have possibly chosen songs which suited their ages and technical abilities as they are now rather than as they will be in a few years or even 10 years’ time.  Tempting as it is to sing the big Sondheim ‘torch songs’ there are so many wonderful songs to choose from, it might have served them better to choose lesser known songs that may have showcased them even more strongly than the iconic songs did. 

The tremendous calibre of the judges should also be noted. There is a separate panel of judges for each element of the competition enabling them to concentrate on their specific area.

Judging the STUDENT PERFORMER OF THE YEAR Edward Seckerson as chair was this year joined by Jason Carr, Sophie-Louise Dann, Anne Reid and director Thea Sharrock. 

Judging BEST NEW SONG were Don Black, Paul Hart, Lotte Wakeham, George Siles & Anthony Drewe. 

Finalist judges for the MTI STILES & DREWE MEMBERSHIP AWARD were Vicky Graham, Paul Hart, Luke Sheppard, George Stiles & Anthony Drewe.

A wonderful afternoon of young music makers was also further enhanced by truly wonderful performances from Julian Ovenden and Sophie-Louise Dann who finished the first half by singing the powerful soul-searing duet Move On from Sunday in the Park with George.  Sophie-Louise Dann also sang a touching new song by Stiles who accompanied her, Six and Half Inches from your Heart from a new musical called Becoming Nancy. Whilst the judges were deliberating Julian Ovenden sang two songs from Sondheim’s earlier work: Love I Hear from A Funny Thing Happened On The Way To The Forum (1962) finishing with a tremendous Being Alive from Company (1970).

There are so many people involved with the SSSSPOTY awards and everyone has to be named and thanked which unavoidably means fairly long lists of names and credits which could make it feel like an end of term school event.  As well as singing, Ovenden was a warm, witty and very charming compère and host.  Ovenden’s repartee, genuine love of Sondheim & Music Theatre and respect for all performers, kept things flowing whilst also ensuring we got all the necessary information.   

Congratulations to all writers and finalists. Musical Theatre is fortunate indeed to have Stiles & Drewe, Julia McKenzie and Edward Seckerson providing this tremendous opportunity and being so passionately committed to young performers and new writing.   And we are in for a treat with The Wicker Husband methinks!


Photo credit: David Ovenden