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

Guys and Dolls - Review

Kilworth House, Leicestershire



*****


Music and lyrics by Frank Loesser
Book by Jo Swerling and Abe Burrows
Directed and choreographed by Nick Winston

Daniel Stockton and company

Not since 1982 at the National Theatre have the opening bars of Runyonland (the preamble / overture to Guys and Dolls) generated such a tingle of excitement as Philip Witcomb’s set design, built within Kilworth House’s ingeniously covered open-air space, captures the essence of New York complete with billboards, steam, and a glimpse of the Manhhattan Bridge.

Guys and Dolls was described by Kenneth Tynan as "the second greatest American play after Death of a Salesman". He's not wrong for the show is surely the most sparkling study on the human condition that has ever been set to song. The enduring love between Nathan Detroit and Miss Adelaide is as gritty, real and recognisable as it is hilarious – while the romance that evolves between Sky Masterson and Sarah Brown is straight out of an everyday fairytale. The tunes and lyrics are both Broadway’s and Frank Loesser’s finest. For the show to soar, all that is needed is a faultless cast - thus the greatest plaudits in this production belong to director /choreographer Nick Winston and his casting director Anne Vosser for having assembled some of the nation's finest musical theatre talent to create this sensational revival.

Daniel Robinson and Holly Dale Spencer are the interminably engaged Nathan and Adelaide and if there is one (tiny) niggle, it is the inconsistency of their New York accents. Spencer pronounces person as “poysson” perfectly, whereas Robinson’s American twang is just a bit too mild and preppy. But ‘tis a minor flaw – because the chemistry between the pair, along with their solo energies too, is just non-stop pleasure, delivered with pinpoint timing. The “blossom time” scene, as Adelaide inadvertently interrupts the hoodlums assembling for their floating crap game is, in 10 seconds of exquisite drama, perhaps the finest example of musical theatre comedy to be found today.

Nathan Detroit as a role doesn’t demand vocal perfection – but it does require presence and nuance in spades and Robinson’s diminutive features see him rise to the challenge magnificently. Holly Dale Spencer however is a vocal powerhouse of raucous, raunchy excellence, Her Hot Box routines emphasising that venue’s sleazy burlesque in a way that few other productions have dared to portray so honestly.

As Sarah, Harriet Jones brings a soprano strength to the role that has rarely if ever been heard. In I'll Know, her first duet with Sky, she takes the roof (OK, the canvas awning) off of Kilworth House leaving this reviewer stunned in his seat. Jones sings with a power and perfection that makes spines tingle. Opposite her, Simon Thomas’ Sky Masterson is another delight. Authoritative, persistent and yet vulnerable, Thomas’ chiselled looks and majestic voice define this ultimate gambler. And as for the chemistry ( yeah,  chemistry, again) betwixt him and Jones, its flawless!

The supporting guys and dolls are equally entertaining. Adam Venus’ Benny Southstreet is a neat turn, while the crackingly corpulent Daniel Stockton makes fine, full work of Sit Down, You’re Rockin’ the Boat, stopping the show wonderfully in act two and arguably, well worthy of a mid-show encore too . Martin Neely’s Brannigan breathes life into the tiniest of roles, while Graham Hoadly’s Arvide Abernathy is a masterclass in avuncularity. Hoadly’s take on More I Cannot Wish You, again, another tiny song in the show, is similarly perhaps the best ever. A nod too for Will Kenning’s Big Jule who manages a marvellous mix of menace and mirth and for NeilMacDonald's 12 piece band, tucked away in their off-stage marquee, who make fine work of the timeless score.

It is also the inspired little touches that make this such a standout production. In what could be a nod to Follies, Winston has his mink-laden Hot Box Girls enter down staircases for their second act opener; Chris Whybrow’s sound design doesn’t just subtly overlay New York traffic sounds but in the romantic Cuban moments, listen carefully to waves lapping on the shore; and as Sarah and Adelaide rue the men in their lives with Marry the Man Today, we see the typically sober sergeant pull a bottle of Bacardi from her handbag. Genius!

Only on at Kilworth House for two more weeks – this is a truly fabulous fable.

Runs until 8th July

Legally Blonde - Review

Kilworth House Theatre, Leicestershire


****


Music and Lyrics: Laurence O’Keefe and Nell Benjamin
Book: Heather Hach
Director and Choreographer: Mitch Sebastian

Jennifer Harding

Omigod - as autumn approaches and the nights are drawing in, Legally Blonde is creating a fabulously pink infusion of summer fun in the gorgeous grounds of Kilworth House Hotel’s theatre. 

From a distance the show’s story couldn’t be cheesier. Elle expects boyfriend Warner to propose to her but instead the cad dumps her, prior to his leaving town to study law at Harvard – and find a fiancée of greater intellect and social standing. Not to be put down, Elle pursues her man, studying hard and also joining Harvard Law School. What follows is a story as delicious as it is improbable, as through a combination of hard work and sassy female intuition Elle heroically wins the day.

To say any more would spoil – for actually Legally Blonde is all about brilliantly executed song and dance, the breaking and mending of hearts and the lampooning of men whose attitudes to female equality belong in the Stone Age.

Fresh up from being nominated in London’s Off West Awards for Best Female Performer of the Year, Jennifer Harding is Elle. Barely off stage throughout, the strikingly blonde Canadian drives the show with stunning vocals and breathtaking presence. We sense her indignation, resilience, passion and yes at times, a deliciously ditzy blondeness that fuels the narrative. All of Harding’s singing is a treat, with her take on the title song and its Remix, proving spectacular. 

Supporting Elle are a raft of featured characters. Greg Miller Burns is good-guy Emmet, who convinces in his transformation from geek to chic. The accomplished Jodie Jacobs is a delight as Paulette – scene stealing deservedly in her big number Ireland and bringing the house down during the Find My Way/Finale number.

Jenny Gayner puts in an eye-wateringly energetic turn as fitness guru Brooke Wyndham, a woman whose circumstances provide the opportunity for Elle to triumph. Gayner’s Delta Nu Nu Nu duet with Harding proves to be another of the show’s ridiculously memorable moments.

Mitch Sebastian directs and choreographs imaginatively – and for such a charmingly quirky venue, Philip Whitcomb’s set along with Chris Whybrow’s well-crafted sound design ensure all the action is both seen and heard as the sun sets behind the trees, with John Morton’s 11 piece band making fine work of the sugary score.

Fun musicals don’t get better than this!

Runs until 20th September

20th Century Boy

New Wimbledon Theatre, London

***

Director and choreographer - Gary Lloyd

Warren Sollars

Some twenty years ago, Steven Spielberg shocked the world, bringing life to a T. Rex in Jurassic Park. Today the movie-maker's feat has been more than matched by the clever pair of Gary Lloyd and John Maher, who having successfully delivered Michael Jackson's hits to the West End in Thriller Live, turn their creative focus to Marc Bolan and his eponymous band.

Where other juke box musicals attract an audience that spans the ages, The New Wimbledon Theatre was a packed out sea of grey as a throng of 60-somethings re-lived (or more likely imagined) a mis-spent youth. Either way, it didn't really matter. They were there to enjoy the recreated glam-rock sensation and the show did what it said on the tin. The sound (all played live) was a nigh on perfect cover and in hiring Warren Sollars to play the wild-haired rock star, casting director Anne Vosser has found a performer recognisably Bolan-esque to those of us old enough to remember the 1970's. Sollars is simply immense as the doomed singer and leads a cast that matches his skills. Donna Hines and Lucy Sinclair as Gloria, Bolan's girlfriend and June his ex-wife respectively, both put in turns that are vocally thrilling and contribute to spine-tingling moments, whilst Katia Sartini offers up a convincing Helen Shapiro.

Away from the songs, the narrative is trite and cliche-ridden. The show tracks Bolan's (real life) son Rolan on a fictional journey from LA to London, to learn about his father and ultimately reconcile Phyllis (a decent performance from Sue Jenkins), Bolan's grieving mother with June. Whilst Bolan's back story is fascinating, the show renders it trivial, with a mediocrity clearly signalled in the evening's programme: always be suspicious when no book writer is credited amongst a show's creative team.....

It is however when the band is in full spate that 20th Century Boy becomes a slick pulsating display of excellence. Lloyd's dance work is inspired and with Maher's musical arrangements, this replica T.Rex roars with an authentic magnificence. Diego Pitarch's sliding screens of scenery, married to projections that range from powerful to occasionally cheesy, lend themselves well to the touring production and credit to Chris Whybrow's sound design which was perfectly balanced on this first night in Wimbledon. A nod also to Ben Cracknell, whose lighting design that needed to segue from moments of intimacy to simulated stadia performances, was never less than convincing.

Fans will not be disappointed. All the band's hits are there and a 3 song encore had everyone dancing in the aisles and cheering for more. Technically and musically, there's no finer company in town.

Plays until 28th June then tours