The Choir of Man - Review

Arts Theatre, London

****

Created by Nic Doodson and Andrew Kay

Directed by Nic Doodson

The cast of The Choir Of Man

In an evening that sees the Arts Theatre’s stage transformed into the Jungle Pub, The Choir of Man is an immaculately delivered tribute to glorious masculinity (yes, you read that correctly) and the importance of friendship, talking and, for the single-act ninety minutes of this show at least, the power of song.

More of a playlist than a jukebox musical, The Choir of Man incorporates bangers from across decades, bands and both sides of the Atlantic, performed by 9 actors accompanied by a 4-piece band. The cast’s air of folksy camaraderie is convincing, but look closely and the evening is (as a West End show should be) immaculately rehearsed and drilled. Before the show the audience can buy pints from the onstage bar and with frequent moments of in-show audience participation, the ale flows liberally throughout.

From ballads to rock classics and anthems, you have to hand it to Nic Doodson and Andrew Kay for seeing the potential of fusing The Proclaimers’ 500 Miles, Luther Vandross’ Dance With My Father and Queen’s Somebody To Love into the same setlist. The evening’s compilations are inspired - and hats off to any show that includes Rupert Holmes’s Escape (The Pina Colada Song), albeit that number went down very well with an audience mostly comprised of women having a great night out.

The actors are all pitch perfect quadruple-threats but a nod to Ben Goffe who not only pulls off a stunning tap routine to Paul Simon’s 50 Ways To Leave Your Lover, but offers up a brilliant trumpet riff to the Pina Colada song too.

There are moments of narrative betwixt some of the songs that very occasionally stray into schmaltz - but these monologues albeit rehearsed, are sincerely researched and there’s a heartfelt plea from the stage to support CALM, a charity that seeks to reduce UK suicides, 75% of which are men.

Amidst blinding talent that includes some jaw-dropping acapella work, a refreshing message and sensational craic, The Choir of Man makes for a cracking night out.

Runs until 18 February 2024

Curtains - Review

Wyndham’s Theatre, London



****



Music by John Kander
Lyrics by Fred Ebb
Book by Rupert Holmes
Directed by Paul Foster 

The company of Curtains

American songwriters Kander and Ebb are probably best-known for creating the smash-hit musicals Chicago and Cabaret. But now another of the duo’s creations Curtains,  currently in the middle of a UK tour, steps into the limelight in London’s West End replacing The Man In The White Suit at the Wyndham’s Theatre until early January. 

With a book by Rupert Holmes (based on an original book and concept by Peter Stone), Curtains is a musical comedy whodunnit which initially opened on Broadway two years after the death of Fred Ebb. When musical actress Jessica Cranshaw, star of Robin Hood and the weakest link in a Boston theatre company, is murdered during the curtain call on opening night, her fellow cast mates and crew are all put under the spotlight as suspects. Enter stage left Lieutenant Frank Cioffi (Jason Manford), who puts the theatre on lockdown while he interviews those under suspicion. A keen musical theatre fan himself, Cioffi soon gets wrapped up in Robin Hood and sets about trying to save the show whilst catching a killer. 

Boasting a unique concept, Curtains is a classic murder mystery which at the same time provides the audience with an amusing look behind of the scenes of a critically-panned musical. With a show-within-a-show concept, plenty of clever twists and turns and humour throughout, Curtains is an enjoyable production sure to be a hit with fans of musical theatre. The soundtrack is pleasing, with toe-tapping numbers like Show People alongside more amusing tunes such as The Woman’s Dead and What Kind of Man? (the latter of which takes aim at critics, and went down particularly well on press night). Unlike Kander and Ebb’s more renowned productions, the songs here sadly aren’t particularly memorable but they’re all performed well by the brilliant cast. The ensemble numbers however highlight both the show and the company’s talent, providing a visual treat for the audience thanks to Alistair David’s spectacular choreography and Paul Foster’s clever direction. The beauty of Curtains is that it doesn’t take itself too seriously, packed full of clichés, puns and delightful digs at critics. 

Jason Manford proves likeable and funny as the overly enthusiastic yet charming detective. Carley Stenson shines as Georgia Hendricks, one of the songwriters behind Robin Hood, while Andy Coxon does an equally great job as her ex Aaron, his rendition of ‘I Miss the Music’ one of the more touching moments of the show. Rebecca Lock is fantastic as the tough-edged producer Carmen and it is she and Samuel Holmes who very nearly steal the show. Holmes gets most of the best lines in his role as British director Christopher, delivering his many one-liners with a delightful dose of witty acerbic sarcasm.

Curtains makes for a warm and entertaining musical sure to leave you with a smile on your face and a spring in your step. With dazzling choreography, slick humour and top-notch performances it is well worth seeing this Christmas. 

Runs until 11th January 2020 before continuing its UK Tour
Reviewed by Kirsty Herrington

Photo credit: Richard Davenport