bare

Union Theatre, London

****

Book by Jon Hartmere and Damon Intrabartolo

Music by Damon Intrabartolo

Lyrics by Jon Hartmere

Directed by Paul Taylor-Mills

(l-r) Lily-Jane Young, Michael Vincent, Melanie Greaney

London's Union Theatre hosts the European premiere of bare (sic), a show that first hit Broadway some 13 years ago. Set in a private and stifling Catholic high school in Massachusetts built upon a rectangle of adolescent relationships and desires (rather than the more typical triangle), it is a passionate dissection of the angst of youth.

Peter and Jason are schoolboys in love with each other and the production elegantly thrusts their uncertainties as to how to address their sexuality into the spotlight. Ivy, the beautiful willowy blond is in love with Jason though she herself is desired by Matt, whilst Nadia, Jason's overweight sister, despises Ivy for her beauty and struggles with her own self image. It's a complicated cocktail, yet Hartman and Intrabartolo avoid cliche, in creating a story that addresses the fears, confusions and prejudices of growing up.

Michael Vinson and Ross William Wild are the boys at the show's core. Whilst their acting is carefully crafted, their vocal presence is muted and they fail to convince the audience of the chemistry of their love. Vinson does however shine, agonisingly, in See Me a song set around a telephone call with his mother, beautifully performed by Yvette Robinson. His struggle to tell her he is gay, whilst she on the other end of the phone line is quietly breaking down at confronting what she has known but denied to herself for so long, is heartbreaking.

Melanie Greaney's overweight Nadia, in A Quiet Night At Home, plaintively sings of the hurt of being overlooked and ignored through being "fat". Janis Ian nailed that sentiment in her 1970’s hit At Seventeen and Greaney’s performance reminds us how timeless that cruel agony can be. Lily-Jane Young as the trophy blonde Ivy delivers a cri de coeur in Reputation Stain'd. She sings of her low self esteem, a consequence of having been used as a sexual plaything by too many boys. The irony of Nadia’s envy of the miserable blonde who outwardly appears to have it all, is clear.

It is left to Hannah Levane's Sister Chantelle to deliver the simply knockout performance of the night. Levane has previously toured in Sister Act so her credentials for being a belting whooping “Aretha Franklin” in a nun’s habit are impeccable . She more than meets expectations and her presence and strength of voice and character are beautifully realised. She is also the only adult who shows true compassion and care to the struggling Peter, with one of the best lines written in modern times: "there's a black woman inside the soul of every gay man"

Racky Plews’ choreography again extracts powerful and imaginative routines from her well drilled cast, using the compact space of the Union to its best for a production that at times seems to have the theatre bursting at the seams.

It may have taken a long time for bare to cross the Atlantic but it has been worth the wait, although Paul Taylor-Mills needs to get more from his leading men if they are to make us share their passion and pain in this unmic'd production.  The show is a cautionary tale of growing up that serves as a useful point of contemporary reference to children, their parents and their educators.  It is also a thoroughly modern piece of musical theatre that is for the most part superbly performed and one that with a little more work could yet prove to be a 5 star show, worthy of a longer run in a larger venue.

Runs to May 25

Rent - Review

Greenwich Theatre, London

***

Book, music and lyrics by Jonathan Larson

Directed by Paul Taylor-Mills



Edward Handoll as Roger

Rent at Greenwich Theatre is an energetic production of the Broadway hit. Inspired by the opera La Boheme of more than a century earlier, the musical is set around a Manhattan tenement block colonised by young bohemians who span all sexualities and with the plague that ravaged Puccini's characters replaced here by the modern nightmare of HIV/Aids.

 

Mark Stratton plays Benjamin Cohen, an aspiring filmmaker whose camerawork provides the medium by which the show's narrative can be played out. His roommate , musician Roger,  played by Edward Handoll is HIV+ and his number One Song Glory , in which he tells of his desire to write a powerful song before he dies is a moving moment. He falls for Mimi, a strong performance from Stephanie Fearon. A junkie, she too is positive and the point when both characters learn that they each carry the virus I Should Tell You, is powerful number to close act one.

The show offers several main characters. Zoe Birkett plays Maureen Johnson, a bisexual performance artist, in a portrayal that drips with provocative sensuality. Her vocal strength matches her physicality, and her on stage presence dominates her scenes. Noteworthy too was Mikel Sylvanus, who as Tom Collins, is befriended by Angel, the one character who succumbs to Aids. Sylvanus’ voice is a beautifully rich baritone and he is an actor to watch for the future. Jamie Birkett, as Joanne, Maureen’s lesbian partner also delivers a performance that is a delight to both observe and listen to. Birkett has previously impressed in ensemble roles in last year’s Ragtime and The Hired Man and it is particularly pleasing to see her confident portrayal of such a significant character. As Steve, Richie Gooding’s delivery of Will I?, a brutally honest description of a man being forced to confront his mortality at a far too early age also touched a chord of raw tenderness and Thomas Lloyd as the dealer peddling death through drugs set a convincing tone of evil sleaze with each appearance.

Rent’s story weaves vivacity with tragedy and whilst this production certainly has some stunning performances from it's impressively sized troupe of 28, as a whole it fails to reach the heights of passion or the chasms of poignant loss that are within its grasp. Paul Taylor-Mills’ direction lacks a degree of depth and maturity that it is not unreasonable to expect. When Angel dies, his falling into his friends’ open arms could have been conceived by a sixth form drama class, rather than the seasoned eye of an accomplished professional. The sound design was also poor. Sat in prime centre stalls seats, it was frustrating that too many voices were inaudible over the music, particularly in the ensemble numbers and this is a matter for urgent attention.

This popular show remains a production that deserves to be seen. On press night it was well received, the theatre was full and at least half the audience rose to a standing ovation, suggesting that its return to a London stage has been long overdue.  And of course Rent's signature tune Seasons of Love remains one of the most beautiful songs of modern musical theatre.

 

Runs until September 16