Midnight Cowboy - Review

Southwark Playhouse, London

**

Music & lyrics by Francis'EG' White

Book by Bryony Lavery

Based on the book by James Leo Herlihy

Directed and choreographed by Nick Winston

Max Bowden and Paul Jacob French

James Leo Herlihy’s 1965 novel Midnight Cowboy presented a bleak take on America. A land of hustle and exploitation that saw an unlikely friendship develop between Texan cowboy Joe Buck and the polio-riddled New Yorker Rico Rizzo, both men desperately lonely souls and each in pursuit of their own American dream. Buck by making his fortune as a stud and Rizzo with his dreams of reaching the sunshine state of Florida. John Schlesinger directed the triple Oscar-winning movie in 1969 and now Herlihy's famed fable has been reduced to a musical by Bryony Lavery and Francis 'EG' White. 

Paul Jacob French as Joe Buck possesses the required statuesque attractiveness - but is not allowed to come close to exploring the complexities of his character. Max Bowden’s Rizzo is a more rounded construction. Bowden goes some way to unlocking the crippled man’s tragic destitution in a sensitive interpretation that is filled with pathos. Both leads are also given a solo chance at the same number. Bowden wraps up the first half with the haunting Don’t Give Up On Me Now, as French gets his chops around the song to close the show. The tune was worth a repeat as it proved the evening’s only decent new composition.

In a moment of prematurely tantalising delight the show's musical money-shot, Harry Nilsson's Grammy-winner Everybody's Talkin', taken from the movie, was sung by French as the evening's prologue, but from then on it was downhill. To be fair though, the show also included frequent nods to the movie's haunting motif of a melody that had been scored by John Barry - a welcome respite as it transpired, from much of White’s mediocre new music. As a side comment, although the legendary lyricist Don Black had nothing to do with Midnight Cowboy, to see him in the audience at this musical's press night forged a strong connection with Barry, a man with whom Black had penned numerous movie classics.

Lavery’s book does not match Herlihy’s original and when one considers how much of the Midnight Cowboy movie’s magic came not just from its harrowing tale and its towering central performances, but also from its stunning photography and direction, one realises the extent to which this production does not do justice to the story’s famed previous iterations. The narrative demands a physical staging more inspired than Andrew Exeter’s set - projections onto a translucent screen are an ambitious conceit at the best of times. Throw in a 45 degree viewing angle for this reviewer and the projected backdrops become a distraction, with their intended scenic depictions becoming nigh-on invisible.

Midnight Cowboy demands scenes of a sexual nature that should trouble us with their tawdry casualness. In this production the intimacy is clumsily faked and so is the story's class.

Runs until 17th May

Photo credit: Pamela Raith

Rehab The Musical - Review

Playground Theatre, London

*****

Music & lyrics by Grant Black and Murray Lachlan Young

Book by Elliot Davis

Directed & choreographed by Gary Lloyd

Keith Allen

Rehab is one of those rare finds in the world of new musical theatre writing. A strong story, supporting stunning songs, brilliantly performed and all expertly directed.

In a story that’s drawn from writers Grant Black and Murray Lachlan Young’s personal mental health journeys, Jonny Labey plays Kid Pop, a rock star at the height of fame who gets papped doing a line of coke and is promptly sentenced to 60 days rehab at The Glade. Pop’s journey from denial to recovery is subtly yet brilliantly defined, alongside 3 other patients, with songs defining their respective addictions and flaws that capture a wryness of wit, honesty and humour and which show sensitive perception from both writers and performers.

The Glade of course is a supposedly safe and therapeutic place. Outside the clinic’s confines blows the cruel winds of the paparazzi and the media, with the villain of the piece, PR guru Malcolm Stone wonderfully defined by Keith Allen, delivering what has to be the greatest tribute act to Max Clifford ever. Pop is Stone’s client, with the PR man concocting vile and corrupt manipulations (no spoilers here) to keep his client in the headlines. As part of Stone’s deviousness he recruits Lucy Blake, a young mum who’s down on her luck (played wonderfully by Gloria Onitiri), as a honey-trap, paying her to check herself into The Glade. Onitiri has a magnificent presence and she takes the roof of the Playground with her second act number Museum of Loss

There are moments of musical theatre magic - and literal cheesiness - in the story that evolves, but such is the talent on display that the pathos evoked by the story is both credible and at times, deeply moving.

Supporting the story’s three principals are a cast that seamlessly segue in and out of various roles. John Barr as patient Barry Bronze, a man addicted to tanning is, as always, outstanding.  Phil Sealey as obsessive eater Phil Newman is equally compelling, while slightly more thinly-sketched is Annabel Giles’ Jane Killy. All of these three deliver top-notch musical theatre work, not least in their introductory number At The Glade. There is also a fine turn from Dawn Buckland in two modest cameos, firstly as Phil’s wife, singing the haunting Still Here and later with a comic masterpiece as an oligarch’s wife.

Jodie Steele is another of the evening’s treats as Stone’s assistant Beth. With her number Die At Twenty Seven And You’ll Live Forever, Steele steals the show (almost) with her breathtaking power and passion.

Above all, Rehab displays a bold, brave verve and vigour. With songs that range from first-class duetted balladry in Two Broken People through to the stadium-powered Everyone’s Taking Cocaine, slick lyrics are melded with Gary Lloyd’s pinpoint choreography and precise direction. This is a show that has invested as much in its production values as in its libretto (take a bow designers for set, light and sound Andrew Exeter and Chris Whybrow respectively) with Simon Lee’s 4-piece band, hidden atop the stage, making gorgeous work of the exciting score.

Rehab is destined for a larger future. With its brave narrative, exciting score and a company that define musical theatre excellence, catch it in The Playground for an outstanding night out.

Runs until 17th September

Photo credit: Mark Senior