Close Up - Review

Menier Chocolate Factory, London

****

Written & directed by Ben Elton

Elena Skye

It’s a tad ambitious for Close Up to be described as a ‘musical’ written by Ben Elton. It is indeed a cutely observed biopic of Lesley Lawson aka Twiggy, Neasden’s most famous daughter and the world’s first supermodel - but in reality it’s an Elton playlist drawn from the 1940s through to the 80s, with the writer interjecting short bursts of dialogue to link the numbers.

But credit to the man - Twiggy’s story is a fascinating one and set against Elton’s choice of songs, the end result is an evening of slick and polished entertainment. More than that, Elton must have had his dreams come true in directing the show, for not only is his show’s playlist a banging complication, the cast that he has assembled are simply outstanding.

Elena Skye leads the line as Twiggy, capturing the woman from gauche teenager through to her global (albeit troubled) stardom. Shamefully there’s no songlist printed in the programme so there’ll be few song specific credits in this review. Suffice to say Skye takes the role and makes it her own, with her act one closer of Lesley Gore’s You Don’t Own Me proving a moment in the show that is as moving and poignant as it is powerfully performed.

As her working-class parents (and Elton deftly comments on Britain’s class system) Norman and Nell, Steven Serlin and Hannah-Jane Fox are a treat - Serlin capturing the humility of the man, while Fox mastering the complexities of Nell who suffered PTSD following the 1940 Blitz of London and post-natal depression some 9 years later with Lesley’s birth. Serlin also turns in some cracking cameos of David Frost, Woody Allen and Melvyn Bragg.

There is equally fine work from Matt Corner and Darren Day. Corner  as Justin de Villeneuve, Twiggy’s first love and the Svengali-influence who managed and manipulated the early years of her career, while Day plays Michael Witney, the American actor who Twiggy married, presaging his slow descent into alcoholism. 

All of the cast sing flawlessly, accompanied by Stuart Morley’s 7-piece orchestra. The acoustics of the Menier can sometimes prove unforgiving but Gregory Clarke’s sound design works magic from his talented singers and musicians. Similarly Jonathan Lipman’s costumes catch the zeitgeist of the Swinging Sixties with Jacob Fearey’s choreography making fine work of the Menier’s space.

In a show that’s most likely to appeal to Twiggy and Ben Elton’s age groups, Close Up is an unpretentiously fabulous evening of musical theatre.

Runs until 18th November

Photo credit: Manuel Harlan

Sleeping Arrangements

Landor Theatre, London

***

Book, music & lyrics: Chris Burgess

Director: Robert McWhir

Jenny Gayner

Sleeping Arrangements is a transition of Sophie Kinsella’s novel of the same name into a new piece of musical theatre staged at that veritable genre dynamo, Clapham’s Landor Theatre. It’s a simple enough even if anodyne tale of two frustrated married couples thrown together in an Andalucian doubled booked holiday villa.  Add in the 16 year old son of one union and a gorgeous nanny from t’other to generate some adolescent Carry On capers, as well as some adult bed hopping and you have the ingredients for a passable piece of chick-lit cavorting.

Chris Burgess writes in the programme that when he first read the novel, he “couldn’t help but hear songs all over the place”. Unfortunately, it seems that sometimes these may have been other people’s songs. When Grant Neal as victim of the rat-race, pasty-faced, Philip (husband to Chloe)sings of his resentment at being just a “Nice Guy”, it sounds like a faux-Sondheim version of Kander and Ebb’s Mr Cellophane. Sam, the testosterone fuelled 16 year old wonderfully played by Adam Pettigrew has some comic moments but one can’t help but feel that Dougal Irvine nailed adolescent sexual awkwardness with so much more perception in Departure Lounge and when Liza Pulman’s Amanda (married to Hugh, keep up), legs akimbo, splendidly belts out Superwoman, she must be thinking to herself that whilst she couldn’t physically be giving any more to such an all-consuming  performance, her own lyric writing contribution to Fascinating Aida far outweighs Burgess’s efforts.

Nonetheless, this show entertains. As frustrated wife Chloe, Jenny Gayner masterfully extracts the melodrama from her lyrics and she steamily convinces as a still seductive but frustrated wife who found herself becoming a mother far too young in life. She discovers that she still holds a candle for Steven Serlin’s Hugh, a flame from many years past, also thrown into the villa booking as a consequence of the scheming machinations of an old mutual friend of theirs. When passions inevitably spill over into a stolen afternoon of lust, Serlin’s muscular naked torso (as well as his magnificent voice) will have much of the audience swooning in the Landor’s cramped aisles.  A note to Grant Neal: in the Rat Pack styled duet that he later shares with Serlin, Women Always Win Out In The End, he is vocally outclassed by the other man. Whilst Neal’s character may be a bit limp, his voice needn’t be and this needs to be stepped up into the run.

Sabrina Aloueche smoulders throughout as Jenna the at times bikini-clad provocative young nanny, lusted after by Sam whilst flirting wickedly with Philip. When Aloueche sings her voice has an electrifying unity of youth, power and pitch-perfect tone.

The show is directed by Robert McWhir, a seasoned and talented practitioner, who takes Burgess’ composition and skilfully fashions it into a watchably endearing production. David Shields' Spanish set is a delight and whilst Colin Billing’s band are four worthy musicians, Burgess’ melodies don’t give them a lot with which to make our spines tingle.

Sleeping Arrangements is simply crying out for coachloads of West End Wendies to pack the Landor during its four week residency.  The ticket price is infinitely better value than most juke box musicals to be found up West, the performances on display are at least as good (if not better) and the story is far more up to date than Cliff Richard’s Summer Holiday. Don’t forget your passport!

Runs to May 12 2013

Mack & Mabel - Review

Norman Bowman and
Laura Pitt -Pulford

Southwark Playhouse, London

*****

Book by Michael Stewart
Music and lyrics by Jerry Herman
Revised by Francine Pascal
Directed by Thom Southerland

Mack & Mabel is a dark musical. A relationship between the two leads that is often defined by “anti-love” songs and a second act that spirals inexorably to a finale of misery. Yet within this darkness, musical numbers are included that range from the highest levels of hope, through to spectacular glitzy tap routines, and a hilarious pinch of slapstick. And such is the strength of this show that every single number is in perfect context.

Produced by Danielle Tarento, who together with Southerland, staged the award winning Parade at this venue last year, Mack & Mabel charts the interweaving of the lives of silent “two-reel movie” director Mack Sennett, with Mabel Normand, a deli delivery girl from Brooklyn whose charismatic beauty and potential he spots on set and who he elevates to stardom. For a review of Mabel's Wilful Way,  a Mack&Mabel movie, click here.

Set in the early 20^th century, the show in sub-plot touches upon the rise of the full length motion picture and the introduction of the talkies, but these are merely a backdrop to the arc of the ill fated lovers.

As Mack, Norman Bowman is outstanding. Costumed in a cream suit throughout, and frequently fedora’d to shield the bright Californian sun, he is every inch the caricature of a dominating movie director yet one who also possesses a touching vulnerability, with chiselled good looks perfectly matching the strength and sweetness of his tenor voice. In the opening number, describing his early career, Bowman sings Movies Were Movies with an energy and flair that it is nigh impossible to look away from . Later in the first act, alone with Mabel, he defines his lack of loving sensitivity with the poignant I Won't Send Roses, the melody from which serves as an occasional emotionally charged motif at subsequent moments.  The show opened two weeks prior to this review and already Bowman is deservedly being spoken of as a nominee for an Off West End award for leading actor.

 An outstanding Mack needs a Mabel of similar pedigree. Laura Pitt-Pulford shone in Parade last year, and knowing that she would lead in this show, only added to the pre-show anticipation. Pitt-Pulford’s performance exceeded expectations that were already sky high. She charted Mabel’s journey, plucked from obscurity to super-stardom, the enjoyment of the movie-star’s life and her ultimate succumbing to substance abuse, simply exquisitely. Mabel is drawn ironically moth-like, to her love for Mack and movies and the show gives her songs that are often melancholy. Wherever He Ain't, and Time Heals Everything, whilst both of different tempos, are very much are the expressions of a woman who is suffering. Throughout Act 2, Pitt-Pulford puts on a masterclass of fragility that is at once heartbreaking, yet sublime. She captures Mabel’s vulnerability in a performance the fidelity of which is rarely seen on the West End, let alone London’s fringe.

The supporting cast excelled to a person. In the key role of Lottie Ames, Jessica Martin sung and tap-danced inspiringly. The accomplished Stuart Matthew Price played a slick Frank Capra, the one regret of the evening being that the book did not allow his character more solo spots.  Impressive too was Steven Serlin as movie producer Kessel, portraying his characters Jewishness skilfully and recognisably whilst avoiding crass stereotype.

It has been written before that Tarento is committed to the highest of production values. It is clear that she commands the respect of many of theatre’s most talented practitioners, evidenced by the strength of the shows creative team. Lee Proud’s choreography was dazzling. Whilst all of the the show’s movement was slick, his working of Hundreds Of Girls, Hit ‘Em On The Head. Tap Your Troubles Away truly seemed to transport one from a vault in Southwark to a Hollywood back-lot with a tap routine that could have easily graced any major commercial show.

Good light is critical to movie making. From the outset Tarrento’s team have sought to ensure that Jason Denvir’s design is lit effectively and Howard Hudson has delivered what is perhaps the best lighting design seen in London’s fringe. Cleverly evoking at different times studio lights both in front of and behind camera as well as the bright Hollywood sunshine, Hudson’s craft adds another dimension to the rich tableau of this production.  Michael Bradley’s musical direction and vocal arrangement were also well planned and Andrew Johnson’s sound design ensured that lyrics and dialog remained clear above the faultless sound of the band. And all of this directed by Thom Southerland, who has longed to put on this show for many years. He is a credit to his ambitions.

Mack & Mabel has no fancy hydraulics, green costumes or make up, and even the projected movies are simply suggested by a flickering light . (Another inspired Hudson touch)  Mercifully, it has also been spared the modern day casting couch of a TV talent show. In place of those gimmicks it presents a stunning theatrical company delivering excellence through every word, musical note and dance step.

Runs until August 25th