Fly More Than You Fall - Review

Southwark Playhouse, London

****

Music and lyrics by Nat Zegree

Book and lyrics by Eric Holmes

Directed by Christian Durham

Keala Settle and Robyn Rose-Li

In a show founded on the writers’ personal experiences, Fly More Than You Fall is an exploration of loss through the eyes of 15year old Malia. An aspiring writer, we often see Malia’s emotions expressed through the development of her two fictional creations, a pair of injured birds, Willow and Flynn. 

Whisked back from summer camp early following her mother Jennifer’s diagnosis with a stage-4 cancer, the show’s first half offers a sensitive interpretation of Jennifer’s decline and its impact upon her husband Paul and upon Malia. As well as the most painful of sadnesses there is also an anger that is expressed at the cruelty of Jennifer’s dying - and all portrayed through song and dialogue that is perfectly weighted and free of mawkish sentiment.

The second act opens following Jennifer’s death - and while it delivers some moments of poignant grief there are also patches of shallow cliche that detract from the evening’s impact, particularly in the exchanges with and between the two imaginary birds.

The performances are exquisite. Keala Settle's Jennifer, journeying through the ghastliness of chemotherapy yet trying to remain strong for her family, is an acting masterclass. Cavin Cornwall makes fine work of the more two-dimensional Paul, however it is Robyn Rose-Li as Malia who soars throughout the show. And in particular, those numbers that involve multi-part harmonies are gorgeously delivered.

Fly More Than You Fall is a powerful concept for new musical theatre based on a strong core narrative. With a re-worked second half, it could yet prove sensational.

Runs until 23rd November

Photo credit: Craig Fuller

The Color Purple - Review

Cadogan Hall, London

****

Book by Marsha Norman

Music & lyrics by Brenda Russell, Allee Willis and Stephen Bray

The Company

The Color Purple’s book, movie and musical have all told the extraordinary story of a Celie, a brutally oppressed woman who against all odds, overcomes racism, abuse and misogyny to find her unique place in 20th century America. Not seen in London since the Menier’s sensational production in 2013, the musical returned to the capital this week for a one night only concert-staged fundraiser.

Taking time out from her West End debut as Dreamgirls’ alternate Effie White, Marisha Wallace shone as Celie. This site has already  raved about Wallace’s current work at the Savoy and yet again, her phenomenal voice and emotional, heart wrenching performance proved that she had been perfectly cast. Back at the Menier, Cynthia Erivo’s Celie (a role that was to win her Broadway's Tony 3 years later) had stopped the show nightly with I’m Here. This time around Wallace matched that moment, bringing the packed Cadogan Hall to a mid-act standing ovation as she gave her own interpretation to this most defining of the show’s numbers.

Two other power house women were Wendy Mae Brown as Sofia and Rachel John’s Shug, Celie’s closest friends. Rarely can there have been two more spirited or sassy woman on stage together at one time. John was a phenomenally assertive and sexually confidant presence on stage, embodying her flirtatious character with ease and outstanding vocals. To describe her take on Push The Button as vocal gymnastics would be an understatement.

Likewise, the audience’s instant support and love for Sofia was tangible. Brown’s guttural and soulful voice was delicious. It proved impossible however not to scream with laughter at her perfectly weighted, sarcasm-filled pauses that she used to judge the patriarchal and cluelessly domineering men surrounding her. 

Clueless in character maybe – but the guys on stage were amongst London’s finest. Cavin Cornwall’s malevolent, misogynist Mister proved classily contemptible, whilst Tyrone Huntley delivered ingenious ineptitude with his emotionally bungling Harpo.

Alongside the British Theatre Academy, producer Danielle Tarento had assembled an outstanding cast to deliver a truly powerful production, with James Taylor conducting (unbelievably, only) an 8 piece band and making the score soar too. Bravo to Tarento and her stellar company, The Color Purple was magnificent!

Reviewed  by Charlotte Darcy

Photo credit: Scott Rylander