Five Guys Named Moe - Review

Marble Arch Theatre, London

*****

Music and lyrics by Louis Jourdan

Book by Clarke Peters

Directed by Clarke Peters

Dex Lee

In what is so much more than just a show, Five Guys Named Moe is a flawless spectacle that enlightens and thrills. Created thirty years ago by Clarke Peters and swiftly transferring from the Theatre Royal Stratford East across town to the West End and then to Broadway, it is a delight to see the show return to London. where it simply outclasses many of  today's long running musicals.

The story is uncomplicated. Nomax, a recent heartbreak-ee, returns home in a drunken stupor and is visited by five ghostly jazz spectre’s, who attempt to show him the error of his ways and convince him that he can change and win back the love of his life not just through their advice, but most importantly, through the words and melodies of jazz legend, Louis Jordan.

The pop-up Marble Arch venue is a new take on theatre production in Britain. In what is so much more than just an evening at a show, under takis’ ingenious designs the Spiegel tent is kitted out as an immensely detailed New Orleans Mardi Gras-esque street party. Musicians and understudies, atop a band stand, perform jazz classics before and after the show as well as during the interval, that keep the vibe and theme of the show alive throughout the entire evening.

The energy that the six strong cast then bring to the stage is enthralling. There is not a single dip in the vibrancy of the performance and the charisma and charm brought to the numbers is magnetic. This is, quite simply, a feel good show that keeps on giving.

Andrew Wright’s choreography is slick and faultless, at times leaving one thinking that with all the on-stage frivolity, a cast member could tumble off of the cleverly designed revolve at any moment. But the execution of each move is tight and seemingly effortless. Praise especially to Dex Lee and Idriss Kargbo (Know Moe and Little Moe), their vocals were accomplished and despite not seeming to keep one foot on the ground for very long, there wasn’t a single waver in either of their performances. 

The medley arrangement of, Is You Is Or Is You ‘Aint My Baby as the penultimate number is a masterful piece of music, showcasing finitely crisp harmonies, blended with unblemished ease. Led by pianist Steve Hill, the jazz sextet fill the theatre with a lush and authentic jazz feel, Jessamy Holder’s breath taking sax solo’s, though infrequent, proving  astonishing. The company should be proud to be paying such a true homage to some of Louis Jordan’s best known numbers.

Five Guys Named Moe triumphs in what is quite possibly the most exciting piece of theatre in the West End.

Runs until 17th February 2017

Reviewed by Charlotte Darcy

Photo credit: Helen Maybanks

How to Succeed in Business Without Really Trying - Review

Royal Festival Hall, London

****

Music and lyrics by Frank Loesser

Book by Abe Burrows, Jack Weinstock and Willie Gilbert

Directed by Jonathan Butterell

Clarke Peters (l) and Jonathan Groff in rehearsal

There must be something in the Thames as it flows around the bend of Waterloo Bridge that enchants the work of Frank Loesser. Back in the 1980s the National Theatre gave the capital a groundbreaking Guys and Dolls and yesterday, for one night only, Jonathan Butterell directed a sensational production of Loesser’s How to Succeed in Business without Really Trying (almost) next door at the Royal Festival Hall.

It’s been fifty years since How to Succeed in Business without Really Trying last popped up in the West End and Butterell was blessed with a star-studded cast to perform this concert staging. In a story that is occasionally heavy on a complex narrative, the show set in the offices of the World Wide Wicket company takes us on a whirlwind tour of ladder-climbing both literal and metaphorical, as we watch “the rise” of window cleaner J. Pierrepont Finch and his studious devotion to a self-help book on business success. In today’s parlance the show would represent a mash-up of The Office with The Apprentice and all set to show-tunes of a deliciously cheesy improbability. 

Crossing the Atlantic to play Finch, Jonathan Groff is probably best known here for his time on the US TV series Glee. Make no mistake though, Groff has serious stage credentials, with spurs earned both on and off-Broadway and stellar vocals that make Finch the true hero of the piece. It should also be noted that given the very  limited rehearsal time available, his performance oozed a charming confidence that forgave his occasional glances at the script.

Cynthia Erivo and Hannah Waddingham made for Finch’s vibrantly intriguing colleagues. As love interest Rosemary, Erivo brought a warmth and sincerity to her vocals that truly allowed us to understand her desires beyond the office walls whilst Waddingham’s Hedy La Rue brought another aspect of sexual desire to the tale in a role as perfect to listen to as to gaze upon. 

Making a rare and welcome return to a London stage, Clarke Peters’company President J.B Biggley provided a strong backbone to the office set up. Elsewhere Clive Rowe as Trimble was as ever delightful in his fleeting appearances, with Rowe’s soaring vocals lending a massive contribution, not least to the glorious ensemble numbers Company Way and Brotherhood Of Man. In another neat touch, London's Loesser cognoscenti will have noted that both Peters and Rowe include the National’s Guys and Dolls in their biographies

A nod too to Amy Ellen Richardson as Smitty and Anna-Jane Casey’s Miss Jones, who both brought quirk and charm to the office table on top of their stunning stage presence. 

Loesser’s luscious and vibrant score, boasting many forgotten and understated classics, was expertly executed under Mike Dixon conducting the Royal Philharmonic Concert Orchestra. It is a treat to hear a classic score so excitingly pitched and performed at that by a full size orchestra too.

The company’s excellence left one longing for a fully staged return of this charming old show and with such a remarkable array of talent and so finely polished too, Butterell certainly showed how to succeed in musical theatre!


Picture credit: Poppy Carter Portraits at www.poppycarterportraits.com