La La Land - Review

*****

Certificate 12


Written and directed by Damien Chazelle

Emma Stone and Ryan Gosling

Opening in the UK with a haul of Golden Globes, La La Land deserves every one of its awards and possibly one or two more too. Damian Chazelle's movie, all about hopes and dreams in Los Angeles is a delightful look back to the days when movies literally brought the word "fantasy" into "fantastic". It has an extravagance of song and dance in movie musicals that hasn't been seen since the days of Fred Astaire and Ginger Rogers, but which with Chazelle's script, is brought bang up to date.

Emma Stone and Ryan Gosling play Mia and Sebastian. She’s a frustrated actress working as a barista on the Warner Studios backlot, while he is a jazz pianist reduced to playing cheesy Xmas background tunes as the only way of earning a living. The two meet, fall in love and through the most romantic yet credible of circumstances, inspire each other to go on and achieve their dreams. If the ending isn't exactly the happiest, the film's journey is nothing less than two hours of sheer, delightful cinematic whimsy.

The opening number sets the tone - even before the titles have rolled we have seen a line of Los Angeles traffic, stuck in a jam (remember this is LA, where traffic never moves) where the drivers leap from their cars to sing and dance the most ingeniously choreographed Another Day Of Sun. This is a movie where the mundanity of a traffic jam becomes a thing of dancing beauty - and what a refreshing joy it is to see a musical that’s prepared to see its characters fantastically burst from speech into song and dance and to erupt into numbers that are new and fresh, a world apart from the all too common juke-box regurgitations of a famous bands' or artist's greatest hits.

Justin Gurvitz scores the picture, with lyrics by Benj Pasek and Justin Paul. The duo’s reputation precedes them with their 5* Dogfight a few years ago and yet again they pitch their lyrics spot-on, adding just the right amount of saccharine-infused schmaltz to bittersweet scenarios. The movie’s written wit is as sharp as it is sensitive, while Gurvitz's tunes prove to be perpetually hummable - City Of Stars and Mia & Sebastian's Theme proving to be gems.

Gosling and Stone's footwork is spectacular. Sure, Stone has a Broadway track record but who knew Gosling could either dance or play piano? Mandy Moore's choreography deserving its own award alongside Linus Sandgren's breathtaking cinematography with its wondrous, never-ending tracking shots. 

La La Land represents new musical writing that all composers and librettists should be aspiring too. Its numbers are a delirious cocktail of balladry, ballroom and brash braggadocio, all framed around a story that’s nothing more than an exploration of the highs and lows of the human condition. An unashamed delight that has to be enjoyed on the big screen. Go!

Now screening at all major cinema chains

Dogfight - October 11th - A brief return to London

As Danielle Tarento's award winning production of Dogfight returns to London's St James Theatre for one day only on Sunday 11th October, here is an opportunity to re-visit my my interview from last year with the show's acclaimed star, Laura Jane Matthewson. Read on....  

Laura Jane Matthewson - A Star Is Born

STOP PRESS NOVEMBER 30 2014

This article was originally published on October 30 2014

Exactly one month later, Laura has won the Evening Standard Theatre Award for 2014 for her performance as Rose in Dogfight at London's Southwark Playhouse theatre. Read on to learn a little more about this sensational new talent to grace the stage...

This week the newest sensation to hit London's musical theatre scene, Laura Jane Matthewson was crowned champion of the Talent 2014 competition by Michael Ball. After winning all her heats Laura was thrilled to receive some top notch goodies plus a thousand pounds too. Not a bad haul - but for this young actress, the true spoils of her entering Talent 2014 had been gained some months ago, when heat-judge Danielle Tarento laid eyes on her for the first time and signed her up as leading lady for her London premier production of the off Broadway hit Dogfight.

Dogfight was always going to be a "marmite" musical. Tackling a troubling subject: the mysogynist, sexist and abusive antics of a group of US marines pre their Vietnam deployment, a small handful of critics hated it. But they were just a few. The morning after press night the reaction to the show was "rave" - and in the first time that I can recall for a fringe production, Matthewson  was repeatedly singled out for buckets of praise. Libby Purves formerly of The Times and now perhaps the most respected independent critic on the circuit devoted half of her review to Mathewson whilst other notable pundits such as Baz Bamigboye of the Mail and The Stage's Mark Shenton also waxed lyrical. As the ripples of amazement crossed the Atlantic, even The New York Times added their penn'orth in praise of Laura.

So - as Matthewson was only last week preparing for her competition final and as Sunderland FC had just been thrashed 8-0 by Southampton, (though albeit a proud Wearsider, she did confess, in a shrimp-like state of embarrassment, a total ignorance of that humiliating score-line, explaining that "football's not her thing") I grabbed the opportunity to ask her a few questions.

The reviews of Dogfight predominantly described you as a newly-graduated (from the Royal Academy of Music) arrival on the professional scene. Was that an accurate description?

Actually it's a bit far from the truth! Whilst I was certainly new to the London stage, for the last five years (in fact ever since winning The Panto Factor) I have had regular professional roles. My first part was in a Sevenoaks pantomime, opposite former EastEnders star Leslie Grantham (who was an absolute delight to work with) and since then I have done panto every year along with numerous TIE gigs and other out of town productions.

"Dog" is a vile description of a woman. At the core of Dogfight is how a group of young men get their kicks out of debasing women and labelling them as ugly. Putting the show's politics aside, how humanly challenging was it for you to play such a role?

It's never written anywhere that Rose (my character) or that any of the women in the show are ugly. Within the parameters of 1960's America they are required to to be perceived as unconventionally attractive. For Rose, the breakdown said that the role needed somebody a bit overweight and as I have never been a stick-thin leading lady anyway, that's fine. She is somebody "quite plain and reserved but with heart", a phrase that I loved.

Rose almost has a light from within. The more that you get to know and like her, the more that she becomes attractive, which is sort of what happens with everybody in real life. You know when you meet somebody that looks beautiful and then they turn out to be a horrible person and immediately become less attractive? I don't think that the Rose is an ugly girl, she is just not "stick-thin Miss America" and neither am I.

The show stirred up a hornets nest of reactions amongst some critics. Tell me about that.

I completely agree with one of the cast members, Ciaran Joyce who played a marine, one of the marines who said he didn't  understand why people were coming to see the show and complaining about the misogyny, suggesting it was like going to see Les Mis and then complaining that it's set in France.

I feel that Rose comes out as triumphant. The show doesn't condone the dogfights - it simply acknowledges that they exist amongst some of the armed forces, and continue today. A serving US serviceman saw Dogfight and commented on its authenticity.

What was it like to read the reviews of Dogfight and find some of the harshest critics in the land raving about your performance.

Before the show I didn't really care that much what people were going to say. I was already in love with the entire project and what Matt Ryan (the director of Dogfight) was doing with the show and I think that even if the reviews had been less favorable, it would have just gone over my head.

To have that praise though was like the cherry on the cake. I was feeling  like I'd won the lottery and I'd think that this is just hilarious that they think I'm this good! I would never be naïve enough, because of the five years that I have spent leading up to this,  to think "This is going to last forever" or "This is my big break. I have made it now" or "This is", because above all, I know that these moments come but that they can also disappear overnight. When the New York Times mentioned me in an article I thought"This is perfect. Thank you!", but really, as the notices came in I was like, "That's so lovely... I'll share that on my Facebook... My Dad will be dead proud."

And what for the future?

Dogfight has really opened doors for me and in addition to musical theatre parts I am now being considered for film and television work.

This sounds cheesy, and so often what I say sounds like a cliché, but I was thinking this the other day, about the appreciation I have for this job.  I was remembering some of the TIE I did, in particular a show about the history of Olympia. We were going around schools, doing three shows a day and setting up the set ourselves and taking it back down. There was one day, when I was with a cast of four people, where we all had to get changed in a Maths cupboard behind the stage. The central heating was on full blast and we were sweating and disgusting, and I was having the biggest laugh ever and I was like, "Guys, how lucky are we that we are being paid to do something that we love? This is just amazing."

I just think that just sums it up. If you can be happy doing that, then everything else is a bonus. Those reviews were like winning the lottery.

NOW READ MY 5* DOGFIGHT REVIEW OF THIS CAST, LAST YEAR

Dogfight - Review

Southwark Playhouse, London

*****

Music and lyrics by Benj Pasek and Justin Paul
Book by Peter Duchan
Directed by Matt Ryan

Laura Jane Matthewson and Jamie Muscato

In 1991 the Warner Brothers movie Dogfight, starring River Phoenix and Lili Taylor, told of a quirky poignant romance between Rose and Eddie, born out of the cruellest of games. Set up by a group of young Marines the night before they deploy to Vietnam, the dogfight demands each Marine competes to bring the ugliest girl they can find to the party. It makes for a harsh dynamic that is uncomfortably recognisable.

In 2012, the young composing duo of Benj Pasek and Justin Paul, together with bookwriter Peter Duchan translated the compelling saga into an off-Broadway show that opened to rave reviews. Their cast album followed some months later (reviewed here on its UK release) but it has taken until now, and the inspirational vision of Danielle Tarento arguably the most dynamic of London’s off-West End producers, to carry the show across the pond.

The Southwark Playhouse cast bring a wonderful energy to Pasek & Paul’s vibrant and exciting compositions. Making her professional debut, Laura Jane Matthewson shines as Rose, an unsophisticated, naive country girl with an innocent  purity. Never sentimental, she displays an intelligence and strength clearly demonstrating that innocent doesn't mean stupid. She continually challenges Eddie about his anger and bad language, going on to beat him at his own game in a hilarious second act exchange. Jamie Muscato plays a multi faceted Eddie, as Rose draws his vulnerable softer self out from the on-display tough, angry, bullshitting Marine, deserted by his father as an infant. Both voices singing with technical brilliance and soul-searing intensity.

Eddie is well supported by his buddy marines, notably the bespectacled Bernstein played by Nicholas Corre and Hardman Boland played by Cellen Chugg Jones, all three bonded by Bee tattoos. Amanda Minihan, not long stepped off the Arcola’s wonderful Carousel gives a beautiful depth, warmth and musicality to Rose's mother, whilst Rebecca Trehearn plays hooker Marcy with perceptive humour and fantastic vocals.

Duchan’s book makes judicious use of the movie's simply crafted screenplay. George Dyer conducts a tight, nuanced band enhanced by some beautiful string playing, fully releasing the score as the cast deliver punchy lyrics, lush harmonies, and some beautifully judged pianissimo moments. Impressive choreography by Lucie Pankhurst with some carefully detailed and seamless scene links holds the story. Matt Ryan’s powerfully realised production demonstrating that crass attitudes and behaviour all hide a desperate need for purpose and a sense of belonging. In an increasingly fractured world, Dogfight speaks to us on many many levels. Unquestionably a must-see show, the performances are stunning and the writing sparkles. 

Diamond Dozen - My 12 Best Shows Of 2014

In Chronological Order:

Oh What A Lovely War

Terry Johnson's remarkable recreation of this show, on the stage where it all began: Theatre Royal, Stratford East. A beautifully crafted tribute to the horrific legacy of the First World War and the artistic legacy of Joan Littlewood

http://www.jonathanbaz.com/2014/02/oh-what-lovely-war.html

King Henry IV Parts 1 & 2

In Stratford upon Avon, Greg Doran fashioned tragi-comic excellence from Anthony Sher's Falstaff, supported by Alex Hassell's Hal. 2015 will see this trio re-united in Arthur Miller's Death Of A Salesman. I can't wait!

http://www.jonathanbaz.com/2014/04/henry-iv-part-1.html
http://www.jonathanbaz.com/2014/04/king-henry-iv-part-ii.html

The Man Who Shot Liberty Valance

Jethro Compton (writer and director) scaled down this iconic Western to fit the Park Theatre, without losing a drop of the story's nuances and tensions. John Wayne and Jimmy Stewart would have been proud.

http://www.jonathanbaz.com/2014/05/the-man-who-shot-liberty-valance.html

Carousel

On a shoestring budget at the Arcola, Morphic Graffiti with Lee Proud's visionary choreography, breathed a new life into this beautifully tragic classic. Gemma Sutton broke hearts as the girls and gays swooned for Tim Rogers.

http://www.jonathanbaz.com/2014/06/carousel.html

Amadeus

In the first of three nods on this list for both Chichester and for Stephen Mear, Rupert Everett's Salieri paired with Joshua McGuire's Mozart marked a gloriously styled re-opening of the Festival Theatre as this South Coast centre of excellence gave the most exciting take on Amadeus since the play's 1979 National premiere.

http://www.jonathanbaz.com/2014/07/amadeus.html

Dogfight

Producer Danielle Tarento spotted the dramatic potential for this tale of misogyny misfired, set during the Vietnam war. The best of the critics loved it, including (eventually) the Evening Standard who went on to give leading lady Laura Jane Matthewson their 2014 Emerging Talent Award.

http://www.jonathanbaz.com/2014/08/dogfight-review.html

Guys and Dolls

Chichester again, for another show that was the best since the National's version in 1982. A cracking cast led by Peter Polycarpou, Jamie Parker and Clare Foster made the Festival Theatre's first musical, memorable.

http://www.jonathanbaz.com/2014/08/guys-and-dolls-review.html

Gypsy

And again! Imelda Staunton (with Lara Pulver and Gemma Sutton) was scorching as Mama Rose, whilst Stephen Mear choreographed par excellence and Jule Styne's brassy brilliant sound filled Chichester's cavernous orchestra pit for the first time. Arriving in London in March 2015, don't miss this one.

http://www.jonathanbaz.com/2014/10/gypsy-review.html

The Scottsboro Boys

A deserved West End returning transfer for last year's sensational debut at the Young Vic. Broadway may have shunned this tragic stain on America's history, but London critics recognised Kander & Ebb's final collaboration for the work of troubling genius that it is and the Evening Standard have proclaimed it Best Musical of the Year.

http://www.jonathanbaz.com/2014/10/the-scottsboro-boys-review.html

On The Town

Broadway does what it does best in this sensational celebration of song and dance. Bernstein's classic score underpins this fairytale of New York.

http://www.jonathanbaz.com/2014/11/on-town-review.html

Assassins

Rarely seen commercially, Jamie Lloyd's directs a stellar cast (Jamie Parker included) in Sondheim's caustic commentary upon the USA. Sold out at the Menier until March '15 this show may transfer but it will never be the same anywhere else. Oh, and Soutra Gilmour's Arkham inspired design is a knockout!

http://www.jonathanbaz.com/2014/12/assassins-review.html

City Of Angels

Stephen Mear's third UK triumph, where with director Josie Rourke the pair craft a world class company into musical theatre perfection. Hadley Fraser cheats (on stage) on real life wife Rosalie Craig and Peter Polycarpou drops his trousers, again. Sold out but tickets released daily and weekly for this clever, classy comedy. Kill to get your hands on one!

http://www.jonathanbaz.com/2014/12/city-of-angels-review.html

Laura Jane Matthewson - A Star Is Born

STOP PRESS NOVEMBER 30 2014

This article was originally published on October 30 2014

Exactly one month later, Laura has won the Evening Standard Theatre Award for 2014 for her performance as Rose in Dogfight at London's Southwark Playhouse theatre. Read on to learn a little more about this sensational new talent to grace the stage...

This week the newest sensation to hit London's musical theatre scene, Laura Jane Matthewson was crowned champion of the Talent 2014 competition by Michael Ball. After winning all her heats Laura was thrilled to receive some top notch goodies plus a thousand pounds too. Not a bad haul - but for this young actress, the true spoils of her entering Talent 2014 had been gained some months ago, when heat-judge Danielle Tarento laid eyes on her for the first time and signed her up as leading lady for her London premier production of the off Broadway hit Dogfight.

Dogfight was always going to be a "marmite" musical. Tackling a troubling subject: the mysogynist, sexist and abusive antics of a group of US marines pre their Vietnam deployment, a small handful of critics hated it. But they were just a few. The morning after press night the reaction to the show was "rave" - and in the first time that I can recall for a fringe production, Matthewson  was repeatedly singled out for buckets of praise. Libby Purves formerly of The Times and now perhaps the most respected independent critic on the circuit devoted half of her review to Mathewson whilst other notable pundits such as Baz Bamigboye of the Mail and The Stage's Mark Shenton also waxed lyrical. As the ripples of amazement crossed the Atlantic, even The New York Times added their penn'orth in praise of Laura.

So - as Matthewson was only last week preparing for her competition final and as Sunderland FC had just been thrashed 8-0 by Southampton, (though albeit a proud Wearsider, she did confess, in a shrimp-like state of embarrassment, a total ignorance of that humiliating score-line, explaining that "football's not her thing") I grabbed the opportunity to ask her a few questions.

The reviews of Dogfight predominantly described you as a newly-graduated (from the Royal Academy of Music) arrival on the professional scene. Was that an accurate description?

Actually it's a bit far from the truth! Whilst I was certainly new to the London stage, for the last five years (in fact ever since winning The Panto Factor) I have had regular professional roles. My first part was in a Sevenoaks pantomime, opposite former EastEnders star Leslie Grantham (who was an absolute delight to work with) and since then I have done panto every year along with numerous TIE gigs and other out of town productions.

"Dog" is a vile description of a woman. At the core of Dogfight is how a group of young men get their kicks out of debasing women and labelling them as ugly. Putting the show's politics aside, how humanly challenging was it for you to play such a role?

It's never written anywhere that Rose (my character) or that any of the women in the show are ugly. Within the parameters of 1960's America they are required to to be perceived as unconventionally attractive. For Rose, the breakdown said that the role needed somebody a bit overweight and as I have never been a stick-thin leading lady anyway, that's fine. She is somebody "quite plain and reserved but with heart", a phrase that I loved.

Rose almost has a light from within. The more that you get to know and like her, the more that she becomes attractive, which is sort of what happens with everybody in real life. You know when you meet somebody that looks beautiful and then they turn out to be a horrible person and immediately become less attractive? I don't think that the Rose is an ugly girl, she is just not "stick-thin Miss America" and neither am I.

The show stirred up a hornets nest of reactions amongst some critics. Tell me about that.

I completely agree with one of the cast members, Ciaran Joyce who played a marine, one of the marines who said he didn't  understand why people were coming to see the show and complaining about the misogyny, suggesting it was like going to see Les Mis and then complaining that it's set in France.

I feel that Rose comes out as triumphant. The show doesn't condone the dogfights - it simply acknowledges that they exist amongst some of the armed forces, and continue today. A serving US serviceman saw Dogfight and commented on its authenticity.

What was it like to read the reviews of Dogfight and find some of the harshest critics in the land raving about your performance.

Before the show I didn't really care that much what people were going to say. I was already in love with the entire project and what Matt Ryan (the director of Dogfight) was doing with the show and I think that even if the reviews had been less favorable, it would have just gone over my head.

To have that praise though was like the cherry on the cake. I was feeling  like I'd won the lottery and I'd think that this is just hilarious that they think I'm this good! I would never be naïve enough, because of the five years that I have spent leading up to this,  to think "This is going to last forever" or "This is my big break. I have made it now" or "This is", because above all, I know that these moments come but that they can also disappear overnight. When the New York Times mentioned me in an article I thought"This is perfect. Thank you!", but really, as the notices came in I was like, "That's so lovely... I'll share that on my Facebook... My Dad will be dead proud."

And what for the future?

Dogfight has really opened doors for me and in addition to musical theatre parts I am now being considered for film and television work.

This sounds cheesy, and so often what I say sounds like a cliché, but I was thinking this the other day, about the appreciation I have for this job.  I was remembering some of the TIE I did, in particular a show about the history of Olympia. We were going around schools, doing three shows a day and setting up the set ourselves and taking it back down. There was one day, when I was with a cast of four people, where we all had to get changed in a Maths cupboard behind the stage. The central heating was on full blast and we were sweating and disgusting, and I was having the biggest laugh ever and I was like, "Guys, how lucky are we that we are being paid to do something that we love? This is just amazing."

I just think that just sums it up. If you can be happy doing that, then everything else is a bonus. Those reviews were like winning the lottery.

Dogfight - Review

Southwark Playhouse, London

*****

Music and lyrics by Benj Pasek and Justin Paul
Book by Peter Duchan
Directed by Matt Ryan

Laura Jane Matthewson and Jamie Muscato

In 1991 the Warner Brothers movie Dogfight, starring River Phoenix and Lili Taylor, told of a quirky poignant romance between Rose and Eddie, born out of the cruellest of games. Set up by a group of young Marines the night before they deploy to Vietnam, the dogfight demands each Marine competes to bring the ugliest girl they can find to the party. It makes for a harsh dynamic that is uncomfortably recognisable.

In 2012, the young composing duo of Benj Pasek and Justin Paul, together with bookwriter Peter Duchan translated the compelling saga into an off-Broadway show that opened to rave reviews. Their cast album followed some months later (reviewed here on its UK release) but it has taken until now, and the inspirational vision of Danielle Tarento arguably the most dynamic of London’s off-West End producers, to carry the show across the pond.

The Southwark Playhouse cast bring a wonderful energy to Pasek & Paul’s vibrant and exciting compositions. Making her professional debut, Laura Jane Matthewson shines as Rose, an unsophisticated, naive country girl with an innocent  purity. Never sentimental, she displays an intelligence and strength clearly demonstrating that innocent doesn't mean stupid. She continually challenges Eddie about his anger and bad language, going on to beat him at his own game in a hilarious second act exchange. Jamie Muscato plays a multi faceted Eddie, as Rose draws his vulnerable softer self out from the on-display tough, angry, bullshitting Marine, deserted by his father as an infant. Both voices singing with technical brilliance and soul-searing intensity.

Eddie is well supported by his buddy marines, notably the bespectacled Bernstein played by Nicholas Corre and Hardman Boland played by Cellen Chugg Jones, all three bonded by Bee tattoos. Amanda Minihan, not long stepped off the Arcola’s wonderful Carousel gives a beautiful depth, warmth and musicality to Rose's mother, whilst Rebecca Trehearn plays hooker Marcy with perceptive humour and fantastic vocals.

Duchan’s book makes judicious use of the movie's simply crafted screenplay. George Dyer conducts a tight, nuanced band enhanced by some beautiful string playing, fully releasing the score as the cast deliver punchy lyrics, lush harmonies, and some beautifully judged pianissimo moments. Impressive choreography by Lucie Pankhurst with some carefully detailed and seamless scene links holds the story. Matt Ryan’s powerfully realised production demonstrating that crass attitudes and behaviour all hide a desperate need for purpose and a sense of belonging. In an increasingly fractured world, Dogfight speaks to us on many many levels. Unquestionably a must-see show, the performances are stunning and the writing sparkles. 

Runs until 13th September 2014

Guest reviewer - Catherine Francoise

Pasek and Paul - Live at the London Hippodrome

Hippodrome, London

****

Justin Paul and Benj Pasek

Benj Pasek and Justin Paul, a wunderkind brace who are the current creative young darlings of Broadway were in London for just one night. Unknown on this side of the pond outside of the musical theatre bubble, they nonetheless packed out the Hippodrome’s Matcham Room and attracted some of London’s top talent to join them in a late-evening showcase presented by Nathan Amzi.

An uber-talented pair, Pasek’s keyboard skills are exquisite and in performance the two dovetail together in perfectly synchronised harmony. They recently enjoyed Tony nominated Broadway success with their seasonal offering A Christmas Story, preceding that with the off-Broadway musical Dogfight helmed by Wicked director Joe Mantello. The cast recording of Dogfight has already been reviewed here and its fair to say that it reflects a carefully crafted tale, including action, tragedy and passion in equal measure. Based upon an unlikely and complicated love that emerges from a cruel prank played by a troop of US Marines before they ship out to war, the show’s lyrics demonstrate a perception and wisdom that belies Pasek and Paul’s youth. On stage in London, the Dogfight selection included the impressive First Date / Last Night along with the painfully poignant Pretty Funny, the latter sung by London’s Elphaba in waiting, Willemijn Verkaik. Amongst their achievements, as television songwriters the two men contributed Caught In A Storm to the TV series Smash. This song, also performed by Verkaik was a disappointment, sung by a voice that was too old and too polished for the number’s underlying mediocrity and not helped by Verkaik’s casual and untidy appearance that was at odds with the venue's glamour.

And thereby hangs the paradox of Pasek and Paul. Some of what they write is inspired and even if their patter went on too long, their refreshingly self-deprecating style along with a handful of numbers that Tom Lehrer would be proud of, served to remind us quite how razor-sharp their perceptive wits are. Yet the ballad With You Everywhere That You Are whilst having noble intentions and written as a memory of loved ones lost, came across as soppy and shallow, lacking the honesty of emotion with which Scott Alan easily seems to infuse his songs. Performing live, this pair who have been hailed as the next Rogers and Hammerstein bear a scary resemblance to Ant and Dec The Musical.

Yet their strengths undoubtedly outweigh their weaknesses and by some measure. Oliver Tompsett gave a beautiful version of Do You Remember, reminding us all why he is such an acclaimed performer, though perhaps the star turn of the night was Lauren Varnham whose take on the Pasek and Paul’s Perfect from their Edges song cycle, was a spine tingling moment. Clad in a simply elegant black dress, Varnham who had impressively dashed from performing From Here To Eternity looked as good as she sounded. The night closed on a standing ovation. Pasek and Paul may be inconsistent, but when they’re on their game they’re genius. 

Dogfight – Original Cast Recording

****

Music and lyrics by Benj Pasek and Justin Paul

Book by Peter Duchan

Produced by Kurt Deutsch, Lawrence Manchester, Justin Paul and Benj Pasek

This review was first published in The Public Reviews

Dogfight is an all-American musical set in Los Angeles between 1963 and 1967 around the time of the Vietnam conflict. Premiering off Broadway in 2011, it tells of three young Marines on their last night on the town before shipping out to war. The “dogfight” of the title is a cruel lads game in which each Marine has to find the least attractive girl to take on a date. The guy who, in the opinion of his buddies, brings the ugliest date wins the pot of cash that they have all funded.

It’s a simple, sadly plausible, premise for a tale already made into an acclaimed 1991 movie and Paul, Pasek and Duchan have plenty of rich material: reckless abandon; broken hearts; hope and despair, with the looming background of war’s potential fatalities, with which to fashion a musical that touches on many of life’s grand and sweeping issues.

Of the three Marines, Privates Bernstein and Boland are the most carefree and selfish, each inviting a girl to accompany them to the dance hall, before callously discarding their partners in favour of fairground rides and whores. It is Birdlace who gets caught up in the emotional turmoil of the upset he has caused his girl Rose and a complex love emerges between them.

The numbers are written with a perceptive ear for a 1960s sound yet still acknowledging the expectations of a 21st century audience. Birdlace’s ‘Come To A Party’ is a buoyant song as he lathers on the flattery to shy homely Rose. Her song that follows, ‘Nothing Short of Wonderful’, a sweet girly whirl of a tune as she preps her hair and outfit for the night out is all the more poignant for us knowing that she is being set up. The Marines ultimately vote Boland’s girl Marcy as the ugliest date, and when she, in the Ladies Room, tells Rose that the evening has been a dogfight, the lyrics have a raucous piercing honesty, as we hear Rose’s bubble bursting.

‘Hometown Heroe’s Tickertape Parade’ is a riotous explosion of pre-conflict optimism that the Marines sing whilst on the town. Its lyrics are cleverly reprised post-war, when emotions are far more grounded and those who survived the war confront a very unglamorous reality as homecoming veterans.

From a broader UK perspective however this show is likely to have little appeal and the prospect of it becoming a commercial success “over here” is remote. The story is so enmeshed in the post-Vietnam psyche of modern America that other than perhaps via an off West End or work-shopped production it is unlikely to cross the Atlantic.

Dogfight is nonetheless an album that is entertaining from the outset with a storyline and lyrics that are clear to follow. It’s an innovative sound that remains a pleasing purchase for all who have a passion for the musical theatre medium.

Available from Sh-K-Boom records

Dogfight - Original Cast Recording

****

Music and Lyrics: Benj Pasek and Justin Paul
Book: Peter Duchan
Producer: Kurt Deutsch, Lawrence Manchester, Justin Paul and Benj Pasek

This review was first published in The Public Reviews

Dogfight is an all-American musical set in Los Angeles between 1963 and 1967 around the time of the Vietnam conflict. Premiering off Broadway in 2011, it tells of three young Marines on their last night on the town before shipping out to war. The “dogfight” of the title is a cruel lads game in which each Marine has to find the least attractive girl to take on a date. The guy who, in the opinion of his buddies, brings the ugliest date wins the pot of cash that they have all funded.

It’s a simple, sadly plausible, premise for a tale already made into an acclaimed 1991 movie and Paul, Pasek and Duchan have plenty of rich material: reckless abandon; broken hearts; hope and despair, with the looming background of war’s potential fatalities, with which to fashion a musical that touches on many of life’s grand and sweeping issues.

Of the three Marines, Privates Bernstein and Boland are the most carefree and selfish, each inviting a girl to accompany them to the dance hall, before callously discarding their partners in favour of fairground rides and whores. It is Birdlace who gets caught up in the emotional turmoil of the upset he has caused his girl Rose and a complex love emerges between them.

The numbers are written with a perceptive ear for a 1960s sound yet still acknowledging the expectations of a 21st century audience. Birdlace’s ‘Come To A Party’ is a buoyant song as he lathers on the flattery to shy homely Rose. Her song that follows, ‘Nothing Short of Wonderful’, a sweet girly whirl of a tune as she preps her hair and outfit for the night out is all the more poignant for us knowing that she is being set up. The Marines ultimately vote Boland’s girl Marcy as the ugliest date, and when she, in the Ladies Room, tells Rose that the evening has been a dogfight, the lyrics have a raucous piercing honesty, as we hear Rose’s bubble bursting.

‘Hometown Heroe’s Tickertape Parade’ is a riotous explosion of pre-conflict optimism that the Marines sing whilst on the town. Its lyrics are cleverly reprised post-war, when emotions are far more grounded and those who survived the war confront a very unglamorous reality as homecoming veterans.

From a broader UK perspective however this show is likely to have little appeal and the prospect of it becoming a commercial success “over here” is remote. The story is so enmeshed in the post-Vietnam psyche of modern America that other than perhaps via an off West End or work-shopped production it is unlikely to cross the Atlantic.

Dogfight is nonetheless an album that is entertaining from the outset with a storyline and lyrics that are clear to follow. It’s an innovative sound that remains a pleasing purchase for all who have a passion for the musical theatre medium.

Available from Sh-K-Boom Records