I Wish My Life Were Like A Musical - Review

Live at Zedel, London



***



Written by Alexander S. Bermange
Directed by Paul Foster

For anyone who has sat through the drawn-out spectacle of a musical that just seemed to miss the mark completely, Alexander S. Bermange sympathises with you. From the opening number which promises so much, through to the second half that might feel as though it is dragging on just a bit too long, the audience’s plight is fully acknowledged in this spirited production.

What’s also apparent is that this is a decidedly un-rosy experience for the performers too. For all the contrived joviality and tightly directed cohesion on stage, the polar opposite is going on behind the scenes.

I Wish My Life Were Like A Musical is a satirical exposé of the life of a musical theatre performer, which poking fun at all those involved in a musical (the audience included) while the performers themselves also come to terms with why they endure such an ordeal.

The life of a musical theatre star is not an easy one. Auditioning is a gruelling and thankless task (beautifully communicated by Diana Vickers in her finest moment of the show), but even after getting a part, you could be resigned to waiting in the wings as an understudy to the star who will never willingly relinquish a show. Or you could be forced to contend with an unbearable star, as exquisitely portrayed by Suzie Mathers in The Diva Is Here. You may even end up with a stalker, before eventually becoming a teacher. The stories are all grounded in reality but layered with a healthy dose of comedy.

The cast of five - which includes Bermange on the piano, acting as narrator and an ensemble actor who longs to be recognised in his own right - is well assembled, with Oliver Savile and Liam Tamne rounding out the group. Strong vocals and on-stage chemistry means they are a delight to watch. Mathers and Savile are outstanding in their own rights, but even better together and no doubt this comes as a result of being reunited in their third production together.

Throughout however, it is apparent that rehearsal time was lacking; while the songs are broadly on point, the dialogue between numbers is rushed and often delivered off cue cards. This is a shame, since the material is sharp, creative and fiery and appropriately mirroring the energy levels that exist across a performer’s career, which gradually peters out.

Hopefully with time, the delivery will do the piece justice. Until then it remains a highly enjoyable evening and one which will no doubt give the audience a new perspective on the next musical they see.

Runs until 15 April, and then 19 April

Reviewed by Bhakti Gajjar

Hatched 'n' Dispatched - Review

Park Theatre, London


*****


Written by Gemma Page and Michael Kirk
Directed by Michael Kirk

The cast of Hatched 'n' Dispatched

Much credit to Jez Bond at London’s Park Theatre for boldly staging another innovative and provocative new play.

It is 1959, Arthur is dead and as his family gather for the wake, there are drunken giggles to be had and secrets to be spilled. They don’t write ‘em like this any more and more’s the bloody pity, for in his debut full length play Michael Kirk together with Gemma Page has captured a slice of British social history, hinting at the incisiveness that once hallmarked the BBC’s Play For Today and which latterly Mike Leigh can occasionally capture on screen. 

Kirk and Page place themselves on a literary high wire, such is the potential for melodrama and cliché that their narrative presents. However one can only assume that Kirk, who has based the play on his own experiences of growing up in the 1950’s, enjoyed(?) the most colourful of childhoods, for Hatched ‘n’ Dispatched is at all times credible and often excruciatingly funny. It is as act two unfolds that the carefully crafted text arguably suggests aspects of an English Arthur Miller, as the narrative scrapes away at both layers and years of hypocrisy and deceit, descending into an orgy of shame and humiliation.

Wendi Peters is Dorothy, Arthur’s sister in law. An overbearing matriarch and on the surface every inch a Hyacinth Bucket. But beneath her much manicured and kept-up appearance there’s a gimlet eye that sees everything, even the failings that lie closest to her heart.

Irene played by Wendy Morgan, is Arthur’s widow and Dorothy’s sister and has been (as we learn early in act one) having an affair with her sister’s husband Edward for as long as they’ve been married. The rich complexities of this most acute of sibling rivalries are finely played out by both women, with the sensitivities of their so very different pains represented on stage by the subtlest of movements and gestures. Blink and you risk missing a gem. It was not so long ago that Peters starred in Irving Berlin’s White Christmas, a show famous for amongst other numbers, Sisters. That song includes the line “And lord help the sister, who comes between me and my man” In the light of this play, that lyric can take on a whole new resonance. 

Peters and Morgan lead their flawless company with a masterclass in performance. Kevin McGowan turns in a brilliant Edward (who can't even keep his hands from groping his daughter in law for chrissakes) – all trousers but no backbone. Their son Kenneth (James Wrighton) is a whoring wife-beater, whilst Danielle Flett, playing his abused wife Corinne is tragically believable as the woman who’s had one cracked-rib too many. There is brilliantly fleshed out comic relief from the allotment loving but possibly infertile Oliver (classy work from Matthew Fraser Holland) whilst his wife Madeleine (Edward’s sister, played by Vicky Binns) desperate for a child offers a beautifully nuanced take on the sexual naivetés of the time.

Diana Vickers is a treat as Irene’s young daughter Susan. Sexy, blonde and quite possibly pregnant (unplanned and by a black guy and remember this is a racially troubled Britain in the 50’s), she combines just the right combination of 'ditzy' with compassionate love for her mother. Vickers' is another perfectly weighted performance.

Credit too to casting director Anne Vosser for again assembling a perfect troupe and to PJ McEvoy whose set – and it all takes place in Arthur and Irene’s Front Room – is for once an economic design that is completely justified and in context and whose costume design, including some stunning stilettos, nails the era perfectly. Most of all, further credit to Kirk for directing his own work with such measured assurance.

Hatched ‘n’ Dispatched is glorious new writing that deserves a longer life – either on a West End stage or maybe even on screen. This play is all about the gripping close up of intimate performance and agonised humanity. It is unmissable drama.

Runs until 26th September