Midnight - Review

Union Theatre, London


***


Music & lyrics by Laurence Mark Whythe
Book & lyrics by Timothy Knapman
Based on the play Citizens Of Hell by Elchin

Leon Scott

Set in Azerbaijan in 1937 and based upon Elchin’s play, Midnight tackles life under Stalin’s terrifying rule where a midnight knock on the door could be followed by trumped up charges of counter-revolutionary activity, torture and in all probability, death. For musical theatre this is an ambitious subject to grapple with and a show seeking to compress Stalin’s grip on the Soviet Union into one small Baku flat on a New Year’s Eve some eighty years ago, needs some sensational songs and narrative if it’s going to pack a punch.

Unfortunately, it’s punches-pulled here, although Midnight does prove to be an evening of two halves. A bunch of (for the most part, talented) actor musos lead a first half that either needs a massive trim or a re-write, before the show comes alive in act two with twists and revelations that mingle Faust with Kafka. The tale is one of those that to even hint at would spoil, suffice to say that combining horror and the supernatural with totalitarian politics makes for an excellent second half cocktail.

Whilst some of the melodies are magical, (Let Yourself Go and The Colonel in particular) there is too much mawkish balladry sprinkled throughout with the first act’s closing number, The Great Machine, feeling contrived and lacking the devastation that should send the audience reeling into the theatre bar for half-time revival.

But within this curious piece, there are some gems. Leon Scott as the Visitor/Officer has a captivating presence that demands our attention in every scene. Perfect in voice and poise, it is Scott’s energy at the heart of this machine. And in a tiny role amongst the musical ensemble Melania Maggiore (who based upon her bio in the programme appears to be making her first UK performance in this show) delivers an absolutely exquisite soprano performance singing Let Me Sleep, matched only by her enchanting work on the violin.

Kate Golledge uses the space imaginatively, with Chris Cuming’s choreography being worthy of its Offies nomination and a rare shout out for a show’s fight director, Jonathan Holby, who with minimal use of props and make up, convinces us of appalling violence.  

The People vs an all-powerful and unfair State has long been the source of good musical theatre (Les Mis anyone?) but this show’s emotional reach rarely ventures out of the shallow waters other than perhaps reminding us of the perils of far-left socialism.

There’s something special around Midnight, but it needs more work.

Runs until September 29th

Photo credit: Lidia Crisafulli

A Night At The Oscars - Review

Upstairs At The Gatehouse, London

****

Written by Chris Burgess

Directed by Bronagh Lagan

Laura Sillett, Kieran Brown, Steven Dalziel, Natalie Green

A Night At The Oscars is the latest revue to showcase some of the last century’s finest songs. In two hours (and two acts) Bronagh Lagan’s cast whirl their way through snatches of 60 songs all of which have an association with either Academy Award nominees or winners.

Chris Burgess has weaved a well-researched narrative that interjects moments of history and comment along the way. The strength of the show though rests in the talents of the 4 performers who make this snapshot tour of much of the American Songbook (and indeed, beyond) such a polished gem.

Kieran Brown, Steven Dalziel, Natalie Green and Laura Sillett are all on top form. Amidst so many classic songs it is hard to highlight the (many) treats, but the stand out moments from the women were both Judy Garland numbers from the first half. Sillett delivered an exquisite take on Yip Harburg’s Over The Rainbow that captured the song’s powerful fragility. The act’s closing number saw Green sing The Man That Got Away with a handling of the song that made for a spine-tingling heartbreaker, a reminder that this is a number that’s not heard often enough.

Dalziel and Brown offered a memorably tight duet of Brother, Can You Spare A Dime? (Harburg again) and also an unexpected close harmony of What’s New Pussycat. The tongue in cheek highlight of the gig however was undoubtedly Brown’s powerful delivery of Live And Let Die – he was magnificent!   

It is a credit to producer Katy Lipson for assembling such spot-on talents for her quartet who are well supported by musical director Ben Ferguson and choreographer Chris Cuming, who has produced well drilled excellence from his tiny cast in the Gatehouse’s compact space.

Carefully curated by Burgess, A Night At The Oscars is a charming production of a delightful idea.

Runs until 4th March, then playing at the Radlett Centre on 11th March

Photo credit: Tim Hall

Yank! - Review

Hope Mill Theatre, Manchester


***

Music by Joseph Zellnik
Directed by James Baker
Lyrics and book by David Zellnik

The Ensemble

Manchester’s Hope Mill theatre yet again presents another powerful show with their energetic and touching production of Yank!, a show first brought to life off-Broadway in 2010.

The Zellnik brothers’ World War Two love story focuses on shy and unsure new Army recruit, Stu (Scott Hunter) and his forbidden, blossoming romance with the ever charming - and typical G.I Joe stereotype - Mitch (Barnaby Hughes).

Hunter’s performance is excellent. Despite some flaws in the book his ability to portray the journey from an unconfident and naïve teen, growing into a haunted, hardened young man through his harrowing war experiences is breathtakingly honest. His numbers are beautifully sung, but much like most of the show’s material, lack variety or range; it was clearly a choice of the composer to make an honorable tribute to the music of the era, but all the numbers sadly bleed into one another. 

Similarly, Hughes performance is strong, evidence of a deeply charismatic actor. Mitch’s inner turmoil, battling his feelings inside a highly homophobic and patriarchal society is incredibly convincing. He is the embodiment of a typical Golden Age actor, and while his character may not be as as particularly well written as Stu, his performance complements Hunter’s.

As an ensemble the company are vocally very strong, blending with ease into the space and for a cast of essentially all men, bar the ever outstanding Sarah-Louise Young, they succeed in creating a very rich and full sound.  The choreography however is inconsistent. While steps be correct, the finish is sloppy specifically in a number such as Click. This is a full company tap routine where the overall impression still remains quite rough (and this nearly a week after the opening press night) and probably nowhere near as effective as choreographer Chris Cuming might have envisioned.

A particularly memorable member of of the company is Kris Marc-Joseph as the boisterous and loveable Czechowski. Though an ensemble number, his comic timing is impeccable and what moments he does have, in numbers such as Betty and Your Squad Is Your Squad are hilarious. 

Overall Yank! is a moving story that touches its audience’s heart. Notwithstanding its flaws, the show is enjoyable, with James Baker again highlighting some beautiful talent currently to be found in the British theatre Scene.

Runs until April 8th

Reviewed by Charlotte Darcy

Photo credit: Anthony Robling