Oliver! - Review

Gielgud Theatre, London

*****

Music, lyrics and book by Lionel Bart

Freely adapted from Charles Dickens' Oliver Twist

Revised by Cameron Mackintosh

Directed and choreographed by Matthew Bourne

Cian Eagle-Service and Billy Jenkins

Matthew Bourne’s production of Oliver!, arguably the greatest English musical ever written, was outstanding when it opened in Chichester last summer. Now transferred into the West End, it is a privilege to be back soon, reviewing the situation of this production that sparkles even brighter than before. Rarely does a show offer such breadth and depth of performances, across the entire cast, as is achieved by Bourne with his wondrous company. Co-Producer and reviser Cameron Mackintosh has had a lifelong love affair with Oliver! and the subtle revisions that he brings to Lionel Bart’s brilliant original move the show effortlessly into the 21st century.

On press night it was the sublimely talented Cian Eagle-Service playing Oliver, delivering a finish to his big solo, Where Is Love? that all but took the roof off the Gielgud. Rarely, actually NEVER, has that song been sung by a child performer with such power, passion and intensity.

Bart’s genius - aside from penning a show that delivers so many hit songs in rapid-fire succession - was to take the bleak brutality of Dickens’ novel and imbue it with nuanced and perfectly pitched bittersweet comedy. The fun begins early on with Katy Secombe and Oscar Conlon-Morrey paired as Widow Corney of the workhouse and  the beadle Bumble. In a double act that in the original Oliver! was to inspire Boublil & Schoenberg in their creation of the Thenardiers in Les Miserables, they capture the duo’s heartless bombast and petty penny-pinching to a tee. With pinpoint vocals and a mastery of physical comedy, their work is flawless.

Next up are Stephen Matthews and Jamie Birkett as the undertaking Sowerberrys. Again, harsh irony and tragedy but overlaid with comic class - and it should be noted there’s a fine turn from Birkett in act two with her reprise of Where Is Love? in the role of Mrs Bedwyn.

Oliver’s arrival in London of course introduces the show’s most colourful characters. Billy Jenkins is The Artful Dodger, whose cockney vocals and nifty footwork are everything a Dodger should be and more. Aaron Sidwell has grown into the role of Bill Sikes, his understated menace proving both ugly and chilling.

As Nancy, Shanay Holmes has also matured into this most intriguing and complex of roles. Holmes is yet a further example of this company’s vocal magnificence with her take on As Long As He Needs Me giving the Gielgud’s rafters another rattling.

And then of course there is Fagin. Much like Steven Spielberg made us wait before our first glimpse of the shark in Jaws, so too does Bart let most of act one go by before Simon Lipkin erupts from a trap door.

Lipkin’s take on the old Jewish fence is carefully researched and meticulous in its delivery, unlocking Fagin’s humanity and vulnerabilities with a sprinkling of immaculately timed humour. As we see Fagin care for the newly-arrived Oliver into his den of thieves, Lipkin imbues the role with a rarely seen pathos. His skills in comedy and magic are also used wonderfully and with his spectacularly klezmer-esque Reviewing The Situation, his is one of the finest musical theatre performances in town right now.

Lez Brotherston’s designs are simply stunning. Amidst a whirl of wrought iron staircases and bridges, and a deft deployment of the Gielgud’s revolve, Brotherston shifts the narrative across the country and the capital, aided in no small measure by Paule Constable and Ben Jacobs stunning lighting designs. In the pit, Graham Hurman’s orchestra are spot-on throughout.

 

Consider yourself well-in to witness this fantastic spectacle!

Booking until 28th September

Photo credit: Johan Persson

Oliver! - Review

Festival Theatre, Chichester

*****

Music, lyrics and book by Lionel Bart

Freely adapted from Charles Dickens' Oliver Twist

Revised by Cameron Mackintosh

Directed and choreographed by Matthew Bourne

Simon Lipkin

Matthew Bourne’s production of Oliver! will quite possibly be the the most glorious musical revival to open in the UK this year. Cast with the cream of the country’s musical theatre talent, Cameron Mackintosh’s revisions of Lionel Bart’s show achieve the rare distinction, that many strive for but very few achieve, of taking a classic and making it even better.

Bourne again works alongside designer Lez Brotherston, in a partnership that has lasted decades and which sees this national treasure of a musical visually re-imagined yet still authentically Victorian, with bridges and revolves and swirling steampunk ironwork transporting us across the England of the story.

The kids are gorgeous, and Bourne’s direction and choreography sees the show kick-off with Food Glorious Food that is as imaginative as it is evocatively charming. On press night it was the young and talented Cian Eagle-Service in the title role, beautifully voiced and with a charming confidence that held the narrative along with our belief in him.

The show's workhouse scenes introduce us to the despicable Mr Bumble and Widow Corney luxuriously played here by the ridiculously talented Oscar Conlon-Morrey and Katy Secombe. Musical theatre cognoscenti will know that the 1968 movie saw Mr Bumble played by Secombe’s father, the late and much loved comic-genius Harry Secombe and Secombe more than honours her father’s memory with her take on the amorous widow. Conlon-Morrey complements her in his skilled and hilarious interpretation of blustering pomposity. A nod too to Stephen Matthews and Jamie Birkett who capture the ghoulish comedy of the Sowerberrys, the undertakers to whom Oliver is sold by Bumble.

Katy Secombe and Oscar Conlon-Morrey

Brotherston’s set ingeniously shifts us to London where Billy Jenkins’ Artful Dodger gives just the right Cockney swagger to Consider Yourself before introducing Oliver, and the audience to Fagin. Much like Steven Spielberg makes his audience wait before unveiling the shark in Jaws, so too does Bart allow almost an hour of the show to (gloriously) pass by before revealing this most complex of characters.

Simon Lipkin's Fagin brings an earthy, magnetic, Sephardic interpretation to one of musical theatre’s most frequently caricatured Jews. Bourne skilfully avoids any classic antisemitic tropes in this Fagin, with Lipkin displaying an intriguing, enchanting presence in his performance. Vocally he is magnificent, owning the Festival Theatre's massive stage in his Reviewing The Situation, with a subtle klezmer-esque nuance to some of the musical arrangement of the number. Lipkin also offers inspired moments of physical comedy, and study him closely for just a hint of Max Bialystock's tragi-comedy in this most glorious of Fagins.

Shanay Holmes is Nancy with a take on this intriguing woman that almost explains her love for such a violent partner as Bill Sikes. Holmes brings power, passion and pathos to the role, wonderfully taking Chichester’s roof off (twice) with As Long As He Needs Me. Opposite Holmes, Aaron Sidwell brings a chilling menace to Sikes.

Under the stage, Graham Hurman’s orchestra of 13 make glorious work of the rich score. 

This fantastic show, with one hit song following another, sees Mackintosh and Bourne open up the genius of Bart’s writing to dive even deeper into the composer/lyricist’s understanding of Dickens' London and above all the human condition. With musicals most frequently being set in the USA, stories steeped in English culture are few and far between. This Oliver! is amongst the finest.

Never before has this show offered more!

Runs until 7th September

Photo credit: Johan Persson

Miss Atomic Bomb - Review

St James Theatre, London

***

Written by Adam Long, Gabriel Vick and Alex Jackson-Long
Co directed by Bill Deamer and Adam Long

Olivia Fines with Stephane Anelli

Miss Atomic Bomb blasts onto the St James stage with a visually impressive bang. In a show that's a chain reaction of spectacular dance work (including some delicious tap routines), choreographer Bill Deamer's fingerprints (or rather footprints) are everywhere. Deamer, who also co-directs, has a consummate understanding of the spectacular and the dancing here is amongst the best in town. 

The show demands a heavily stylised treatment, set in and around Las Vegas in the 1950s against the backdrop of the Cold War and in a time when atomic bomb tests in the region were not only frequent, they were a source of national pride. Thousands flocked to Vegas to witness the mushroom clouds from only a few miles away, ignorantly unaware of the fallout risk. Seeking to draw the crowds, the musical’s story focusses upon the Golden Goose Hotel that comes up with the idea of a Miss Atomic Bomb beauty contest as an attraction and so it unfolds.

As a historic reference point the show offers some value. There are nods to the fervent patriotism of the time, the all-powerful military, the nation's underlying ignorance, along with a McCarthyist response to the fear of Communism and Un-American activities. But whilst the show's style, for the most part, is as cleverly clichéd as a Lichtenstein cartoon, its book struggles. The plot lines are far-fetched and its endgame is just garbled. Which is a shame - because the talent on stage here is well cast and sensational.

Simon Lipkin is on top form as Lou Lubowitz the hotel manager. Lipkin only knows excellent and his neurotic/opportunistic pastiche is spot on with voice, dance and movement a delight throughout. Likewise Catherine Tate as Myrna a curious Greek fashion designer with an attitude. Tate does dumb America brilliantly - though having shone in Assassins last year (as did Lipkin), the show’s muddled book doesn't help either character.

Dean-John Wilson and Florence Andrews pick up the two other leads as Joey (Lou’s brother), a deserting soldier and Candy Johnson, a farm girl, respectively. Both are flawless and one can eagerly look forward to WIlson's Aladdin later this year. He pulls off the curious burden of pretending to be a rabbi for most of the second half, though his reflective duet with Lipkin, I’ll Stay With You offers the best of a mediocre bunch of ballads. Andrew’s character maybe trailer trash, but her feisty cowgirl commands the stage.

There's a curious cameo from Daniel Boys as a Javert-inspired repo-man out to take back Candy’s trailer. Boy can Boys sing, but as his role descends into little more than a Les Mis meta-dig it all gets just a bit too silly. Come the contest itself, Olivia Fines' Monroe-esque Sharon is a dancing celebration of the Stars and Stripes whilst Jessica Buckby's Norwegian (don't ask) Tregunta also wows with her movement.

This ain't the RSC's Oppenheimer - which last year stunned the theatre world with its fusion of nuclear horror and artistic genius, nor do the writers have the surgical skills of Kander and Ebb in dissecting some of humanity's ghastlier aspects and re-arranging them into a musical. There's work to be done here - the first half is too long, the second too crude (an election/erection gag? Really??) and the classy projected backdrops irritatingly melt under the brilliant beams of the follow spots. 

However, at the core of Miss Atomic Bomb is potentially something rather fine. Go see it for its top-notch company, Ti Green's wicked costumes, Richard Mawbey's fabulous wigs and above all Deamer's dazzling dance. It's a fun night out.

Runs until 9th April

Photo credit: Tristram Kenton

Assassins - Review

Menier Chocolate Factory, London

*****

Music and lyrics by Stephen Sondheim
Book by John Weidman
Directed by Jamie Lloyd

Carly Bawden and Catherine Tate

It is a thrilling, chilling intimacy that infuses the Menier's production of Assassins, Stephen Sondheim's compelling work that unfolds via the back stories of those who have taken a pot-shot at America's Presidents down the years. The audience enters a traverse space through the sinister open jaws of an oversized clown, with Soutra Gilmour's inspired design placing this show's prescribed fairground setting in a decayed theme park. Video-gamers will find more than a hint of Batman's Arkham City amidst the grotesque paraphernalia - and that's even before setting eyes on Simon Lipkin's Joker-esque Proprietor.

There is as much history as there is entertainment in this show. Broadway import Aaron Tveit is the first of the shooters, playing John Wilkes Booth, Abraham Lincoln's Confederate murderer. Booth was committed to opposing the abolition of slavery that Lincoln championed and proves to be one of the musical's few assassins who is drawn to kill purely in pursuit of a political even if reprehensible political motive. There is little that's crazy in Tveit's sensitive portrayal of a man who sees Lincoln destroying his nation and whilst many of the other assassins are executed, Booth's suicide as his captors close in, evokes a surprising pathos from the American actor.

Aside from the Proprietor, Sondheim's key narrative thread comes from Jamie Parker’s guitar-strumming Balladeer. Amidst moments of brilliant irony, Parker achieves a subtle blend of satire and tragedy as he weaves his way through the show's haphazard chronology, his final transformation, from everyman to Lee Harvey Oswald, is one of Sondheim's most chilling creative concepts.

The power of this show lies in its construction as an ensemble piece and Jamie Lloyd has assembled a world class company to portray this clutch of infamous inadequates. Catherine Tate cleverly underplays her comic genius as Sarah Jane Moore who was to have a pop at Gerald Ford, whilst in a separate bid to kill Ford, Carly Bawden's Lynette 'Squeaky' Fromme offers up another carefully crafted slice of ditzy 1970's Americana.

Rising star Stewart Clarke electrifies (literally) as F.D.Roosevelt's would be killer Giuseppe Zangara. Clarke's last Latino turn was as Pirelli in NYMT's Sweeney Todd and this young actor's Italian job has to be seen to be believed. Andy Nyman offers a perfectly nuanced nebbish as immigrant Charles Guiteau who shot Garfield in 1881. Nyman's disturbingly hilarious reprise of The Ballad of Guiteau, complete with jazz hands as his character's corpse swings from the gallows (great stagecraft from Freedom Flying) must rank as one of the most ghoulish moments in the canon.

Canadian Mike McShane is perfectly placed as the oft forgotten Samuel Byck, a middle-aged unemployed salesman who plotted to fly a 747 into Nixon's White House. Lumbering on stage in a Santa suit and in a role that credits him with no sung solos but rather rambling monologues, McShane leads the company in Assassins' most portrayal number, Another National Anthem. (And if McShane is one day cast as Willy Loman, remember that you read it here first)

Lipkin is an assured force throughout - and as each President is in turn shot at, he dons a paper target on head, back or torso, inviting gunmen to take aim. His is a performance (that also includes his acclaimed puppetry skills), that like the show itself, is as exciting as it is thought provoking. With no interval, Assassins proves to be a relentless roller-coaster ride. The most famous assassination of them all, that of John F. Kennedy in Dallas, sees the Menier's stage flooded in crimson petals, mimicking the famously televised bloody horror that the world witnessed in November 1963. 

As one of London's visionary directors and a creative force who consistently brings a perceptive flair, often sprinkled with just a hint of carnage, there was an inevitability that Jamie Lloyd would want to tackle this troubling show. His execution is flawless, ably supported by musical director Alan Williams' interpretation of Sondheim's complex melodies.

Sold out until March, this show is a work of genius that deserves a wider audience. A West End transfer may yet be a possibility, but nothing will match the cockpit-like intensity achieved in this versatile venue. The finale's ensemble of the assassins, guns aimed at the audience and all singing Everybody's Got The Right will, to quote Sondheim, stay with me for a long time.

Runs until 7th March 2015

I Can't Sing!

Palladium, London

****

Music and lyrics by Steve Brown

Book and additional lyrics by Harry Hill

Directed by Sean Foley 

SINCE THIS REVIEW WAS PUBLISHED, I CAN'T SING! HAS ANNOUNCED THAT IT IS TO CLOSE ON MAY 10 2014

MY COMMENTS ON THAT CLOSURE ANNOUNCEMENT CAN BE FOUND HERE. 

Nigel Harman

Christmas has come early to the London Palladium as I Can't Sing! - The X Factor Musical lampoons modern Britain in a hilarious pantomime of a show. Merciless in its satirical view on Simon Cowell, the judges and all of the rituals that comprise the eponymous talent show, nor stinting in mocking itself, this is a glorious festival of frivolity, that also carries a message both about and to, a modern cynical audience.

The “boy meets girl” story may be a shallow cliché, yet around this cheesy structure, Harry Hill has crafted moments of comic brilliance. Speaking to The Stage newspaper after opening night Cowell, who has co-produced the show, says of Hill that "in TV Burp he used to take the piss out of (the X Factor) every week, but in a really fun way. He approached it with a sense of humour and observation" and it's that observation that gives this show it's bite. Contestants, hosts and celebrities are mocked perceptively, yet amongst the satire and the corny romance, there's a number in the first act sung by the show’s two lovebirds, Missing You Already, that combines honest emotion with on screen projections of the lyrics transcribed into tender text messages. It’s a clever touch that speaks to today's teenagers.

But the real strength of I Can’t Sing! lies in the human talents on and off stage. Nigel Harman's portrayal of Cowell is a brave assault on a living icon. Harman pulls it off, notably in the lavish tap number Uncomplicated Love, giving the media tycoon a strong hint of Chicago's Billy Flynn. Preposterously overstated maybe, but it works. The reality show's host, Dermot O'Leary is similarly scrutinised with Simon Bailey's brilliant Liam O'Deary being the (cynical) highlight of the evening. The heroine, Chenice, who hails from the wrong side of the tracks is accompanied everywhere by her pet dog Barlow and building upon his puppetry skills deployed in Avenue Q, Simon Lipkin animates the dog with flair and pinpoint wit. Katy Secombe (a spitting image of dad Harry) gives a cracking turn as a Susan Boyle supermarket misfit whilst playing the other half of the loving leads, Alan Morrissey puts in a credible shift as Max, a ukulele playing plumber with an alter ego as a singer songwriter.

Simon Lipkin, Cynthia Erivo, Alan Morrissey

It is however in Cynthia Erivo’s creation of Chenice, that this show has cemented the reputation of one of the West End’s newest stars. Playing a typically ditsy self-deprecating heroine who through the show learns to believe in herself, it is not until 40 minutes into the first half when Erivo sings the title number, that she displays her vocal process. Chenice is yet another stunning performance from this elegantly framed lady whose voice is sweet, rare and profoundly powerful. When she sings, she captivates and even though it is Harman’s name that tops the bill, it is Erivo who deservedly takes the final curtain call.

In many respects I Can’t Sing! is a glorious celebration of contemporary British musical theatre. Blessed with tycoon producers who have been able to invest millions in a show that notwithstanding being totally bonkers, actually strings together some good tunes, some great gags and all on a set that designer Es Devlin has been allowed to spend a fortune upon, all makes for a fun night out. It's not perfect though. Some of the writing is a tad too silly and the ending will leave jaws dropped at such a flamboyant re-definition of “ridiculous”. There is also little to appeal to foreign tourists who will be unfamiliar with the ridicule of our domestic idiosyncrasies and even more importantly, among the home market that consumes Cowell’s broadcast output, many will find the price of London tickets prohibitive. The show may well not be due the longest of runs at the Palladium, but it sure as heck deserves to tour. The regions have contributed much to Cowell’s wealth and they are entitled to this show being taken on the road.

I Cant Sing! presents a technically excellent company delivering clever and innovative work. And in Cynthia Erivo’s performance, one is surely witnessing what has to be the West End’s very own X Factor.

Now booking through 2014

After Show

London Hippodrome, London

****

Once a month, the London Hippodrome’s divinely decadent Matcham Room succumbs to a midnight hour (or two) of cabaret’d magical mania, as the cast of two West End shows battle it out in a quiz/contest of wit and talent in After Show.

OK, so its not quite midnight (the show commences at 11) but the evening reflects one of the most skilful combinations of spontaneous improvised hilarity along with the immaculately rehearsed professionalism of some of the most sickneningly talented performers to be found on stage today. The July show featured Merrily We Roll Along vs Spamalot with Damian Humbley, Robbie Scotcher and Zizi Strallen representing Merrily, whilst Jon Robyns, James Nelson and Michael Burgen flew the Spamalot flag.

The smut was frequent and the gags were fast and furious (I lost count of the number of times the lyric “I’m Zizi Like Sunday Morning” was sung by the hosts, but it didn’t really matter) and the challenges that are posed to the teams are best described by the technical term “ridiculous”. Amongst rounds that were tributes to old TV game show favourites such as Bullseye and The Generation Game, there was also a Countdown round requiring words to be formed from the letters SUQMADEEK and ASSBURGER. Classy huh? Well er, embarrassingly er, yes. This reviewer could be found, from time to time, moist eyed at the hilarity of it all.

Each month features unique games inspired by the competing teams with the two specialised games of this particular evening being "Merrily We Fling A Thong", in which a marshmallow had to be knocked off an opponents head using only the flinging of a thong and Cramalot, in which opponents' mouths were increasingly crammed with marshmallows. As the stuffing increased, after each additional candy was inserted (or forced in) the stuffee had to say the word Cramalot. Its unashamedly schoolboy stuff, but trust me, it works.

Damian Humbley celebrates firing his thong into James Nelson's face

And amidst all this rather stupid mayhem, there are some quasi-serious moments of genius, when the contestants stand at the mic and sing, beautifully accompanied by the house band of Steve Holness, Elliot Henshaw and Olly Buxton. And as might be expected, the singing is simply sensational. For the most part casually clad, and with a simple intimacy that belies the outstanding standard of their performances, these skilled professionals rattle off some of their personal favourites in a manner and style that The X Factor can only dream of replicating. Memorable from this visit (though all the performers shone) were Michael Burgen’s "Debukelele" with John Robyns modestly accompanying on guitar and Robbie Scotcher’s Dancing In The Moonlight. Talented performers, singing beautiful songs, wonderfully.

Regular hosts of the night are Simon Lipkin, Jamie Muscato & Owen Visser who, as well as being gifted musical theatre professionals, also bring a polished and semi-rehearsed wit and irreverence to the night that, amidst much heckling, is great for its immediacy as well as its barbedness. They take no prisoners, but its all done amidst affectionate respect.

If you are an MT professional, then a visit to After Show is a must. If you are simply a fan of the genre, with a love for theatre, be it West End or fringe, then go. You may end up sitting next to the star of the show you’ve just seen on stage, you may end up spattered with shaving foam, or you may just end up amused and entertained. Bring your cab fare or a night bus timetable to get you home, it finishes after 1, but above all, just go. After Show is a supremely professional gig that blends meticulously rehearsed excellence with anarchic hilarity. Catch it when you can!

(Oh, and Spamalot won on the night!)

To find out more about After Show dates visit www.AfterShow.biz

Avenue Q

Upstairs at The Gatehouse, London

****

Book by Jeff Whitty

Music & lyrics by Robert Lopez and Jeff Marx

Directed by John Plews

Josh Willmott with alter-egos Nicky and Trekkie

It’s a brave off West End theatre company that seeks to restage a musical famed for its puppetry as much as for its singing and dancing. It thus speaks a lot for the credentials of the Ovations theatre company, that they secured the rights for this fringe production of Avenue Q, the sharp, witty pastiche on Sesame Street, last brought to London in 2005 by Cameron Mackintosh, for what was to be a 5 year run.

On walking in to the theatre its hard to believe that one is upstairs above a pub. The set, a beautifully detailed creation by Suzi Lombardelli is a street of four two-storey houses, with fully functioning doors and windows in all properties on both levels.

Good puppetry and animation begin with voice and sound and with barely an exception, this cast of fresh young unknowns get the delightfully sardonic tones of angst, humour and filth from the Avenue’s residents spot on. Invidious to highlight individuals amongst such a funny and well drilled company, but Josh Willmott’s porn-loving Trekkie, Will Jennings’s preppy Princeton and Shin-Fei Chen’s manic Christmas Eve are amongst the best of the evening’s comedy.

It's different to the West End – that show was on a grand stage, this is close-up and in your face. Previously, as for example in War Horse, the puppeteers disappeared from ones conscience vision, and all one saw were the comic characters. Here, you see the actors full on. At times that’s a tiny distraction, but the flip side is that the extent to which they throw themselves totally into their characters’ creation can actually be a treat to watch. This is a fringe-show after all, and Simon Lipkin (London’s original Trekkie/Nicky) has worked well as Associate Director to extract the well timed performances.

The show is refreshingly true to the original licence, with leading UK puppet consultant, Nigel Plaskitt (also the design brains from the original show) taking time out from filming the Muppets’ latest movie to advise. Simon Burrow’s band, stowed high above the stage are great, and in a show that has frenetic backstage responsibilities with frequent puppet changes, a nod too to Bessie Carter who evidently stage manages seamlessly.

Director Plews, does not disappoint in his show that displays a huge commitment to great production values. It’s a short hop on the Northern Line to Highgate’s Avenue Q, well polished fun, performed to a deliciously high standard.

Runs to June 30th