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

Private Lives - Review

Churchill Theatre, Bromley


***

Written by Noël Coward
Directed by Tom Attenborough

Laura Rogers and Tom Chambers

Pleasing on the eye and ear, this 1930s Noël Coward script is brought to life for 2016 by director Tom Attenborough and a cast of five. 

Telling the story of two newly married divorcees who find themselves honeymooning in conjoining suites, the play follows Elyot and Amanda as they differentiate between love and marriage and perception and reality – both with each other and their new partners. 

The cast inject the tongue-in-cheek script with a generally well received joie de vivre. Although there are some remarks that distinctly date the script, the issues of misogyny and domestic violence – thorny at the best of times, not least in front of a 21st century audience – are tackled with sufficient comedy to set the audience somewhat at ease. 

Richard Teverson as the booming and pompous Victor Prynne delivers a solid performance, but confined by the script, it is difficult for the audience to warm to him. The same is true of Charlotte Ritchie’s Sibyl Chase – but her Sibyl evolves to gradually show more gumption and, in the second half, seems to be taking increasing inspiration from Amanda, in a good way. 

There is a disappointing performance from Tom Chambers, playing Elyot Chase, who struggles to match the presence of his fellow actors and – although he has some excellent moments – the lack of consistency is noted. 

But Laura Rogers (as Amanda Prynne) steals the show; her fluidity and energy makes her a captivating performer to watch, and seeing her hurtle through varying degrees of passion and back with apparent ease is wonderful. 

The set and costuming work well, effectively transporting the audience back to the grandeur of the lives lived by England’s wealthy. 

A classic piece of theatre and, for the most part, an entertaining evening. 

Runs until 23rd January - Then tours.

Guest reviewer: Bhakti Gajjar

White Christmas - Review

Dominion Theatre, London

****

Music and lyrics by Irving Berlin

Book by David Ives and Paul Blake

Directed by Morgan Young

Aled Jones and Tom Chambers

If your idea of a Christmas theatre visit trip is to enjoy warm, sweet festive fayre, then White Christmas' arrival in London is the perfect choice. Loosely (very loosely) based on the classic Bing Crosby/Danny Kaye movie, David Ives and Paul Blake have used Irving Berlin's songs as baubles to decorate their delightfully improbable plot. This new tale just about bears a passing resemblance to the movie's story of 4 troupers attempting to put on a show at a Vermont ski resort enjoying an unseasonal heat wave, as in the background the most sugary of romances sees true love blossom across the generations.

For so long an established part of Britain's Christmas TV tradition, it is only fitting that Aled Jones should descend from Walking In The Air to inherit Crosby's mantle. The square-jawed Welshman and Radio 2 regular gets the combination of cheese and charm spot on as his Bob Wallace gradually falls for singer Betty Haynes. Alongside Jones, Tom Chamber's fame is relatively recent - but this fabulously footed NYMT alumnus is fast becoming one of the West End's hottest properties when a show requires a flourish of traditional lavish Broadway with a generous dose of tap. He pulls off the Danny Kaye tribute as Phil Davis delightfully.

Opposite the men, Rachel Stanley smoulders as the beautifully indignant Betty, whilst Louise Bowden, playing her stage sister Judy, stuns with both movement and voice. Graham Cole (famously of Sun Hill nick) is prematurely aged to play General Waverley, whilst the deliciously lovable Wendi Peters gives a belt that has to be heard to be believed.

The songs are comfortably familiar gems. Sisters early in act one is a treat, whilst the first half's closing number, Blue Skies, is a masterpiece of a pinpoint ensemble routine, clad in the sharpest white suits. Youngster (on the night), Sophia Pettit delivers a suitably precocious Let Me Sing And I'm Happy with enough confidence in voice and dance to charm the (already sympathetic) crowd, whilst the second act moves inexorably towards an ending that couldn't be happier, as the by now warmed up audience are encouraged to join in with the record-breaking eponymous title number.

Whilst the sets are neat if a touch simple, the costumes are lavish and Randy Skinner's choreography is immaculately drilled (congratulations captains Grace Holdstock and Gary Murphy). Peter Wilson's 20 piece orchestra give Berlin's compositions a gorgeous lilt.

White Christmas is a show that's a snowfall of non-demanding loveliness - just like the ones we used to know.

Runs to 3rd January 2015

Top Hat - Original London Cast Recording - CD Review

****

Music and Lyrics : Irving Berlin

Producer : Chris Walker

This review was first published on The Public Reviews.


The Original London Cast recording of Top Hat Is a delightful recording of a show that has brought a slice of 1930s Hollywood to the West End. Irving Berlin’s words and music proved to be the bedrock of one of the most successful films of that era, and the movie gave the world several musical numbers that have since been immortalised.

As well as songs, the film is famed for its stunning Busby Berkeley choreography and dance routines, with the legendary Fred Astaire and Ginger Rogers being a massive act for Tom Chambers and Summer Strallen to follow. Chambers is of course one of the leading dancers of his generation and his casting in the stage show has been an inspired choice. However, on the strength of this CD, with the imagery of the show’s opulence and his own stunning footwork and tap dance stripped away, his voice needs more impact. Tuneful and clear throughout, though with an accent that is at times a little too forced, his numbers lack an “American Smooth”-ness that should be a strength of classics such as Cheek to Cheek along with Top Hat, White Tie and Tails and Putting On The Ritz.

Summer Strallen’s performance transfers effortlessly to the recording, in particular the sublime delivery of her number You’re Easy To Dance With. In a smaller but equally polished performance, the duo of Vivien Parry and Martin Ball sing Outside of That, I Love You with a deliciously sarcastic comic turn.

This 2012 recording is well produced and very easy on the ear. For those that have seen the show, you will love the CD for its aural recreation of the Aldwych Theatre’s magic. If you have not seen the production then the recording , replete with the authentic sound of much of Chamber’s tap work, is a lovingly crafted re-working of a Hollywood classic.

Released by First Night Records