Hadestown - Review

Lyric Theatre, London

****

Music, lyrics & book by Anaïs Mitchell

Developed with & directed by Rachel Chavkin

The company of Hadestown

Anaïs Mitchell’s Hadestown is drawn from one of the strongest tragic storylines around: Orpheus’ love for Eurydice that draws him into the Underworld in his quest to rescue her from Hades’ grasp and return her to the mortal world. It’s a banger of a yarn and credit to Mitchell and Rachel Chavkin whose cracking songs and outstanding cast have breathed a bold life into this ambitious vision. The UK first encountered the show in its 2018 premier at the National Theatre. Now in the West End it’s a glorious fusion of a raft of musical styles, sung perfectly.

Dónal Finn and Grace Hodgett Young are the two doomed lovers. Both are magnificent with Finn possessing a gorgeously fragile tone that makes his number Wait For Me sparkle. Amidst the grown-up roles, Zachary James’ Hades offers a bass baritone the like of which is rarely heard in musical theatre. His is a towering performance of vulnerable cruelty. Gloria Onitiri is Persephone, wonderfully reprising the part from her time at the National, while in a sensational turn as (basically, narrator) Hermes, Melanie La Barrie cleverly weaves the tale’s threads together. Sung through, the show is an impressive performance from Tarek Merchant’s 7-piece onstage band. Rachel Hauck’s set design is ingenious - think Hell fused with New Orleans - brilliantly lit by Bradley King.

The show’s frustration lies in its crass shoehorning of a modern political agenda onto the Greek classics, with the narrative not being enhanced by the childishly oversimplistic That’s Why We Build The Wall that closes the first act.

But there is excellence on stage here and for what is (mostly) a bold piece of new writing, Hadestown is worth seeing.

Booking until 22nd December

Photo credit: Marc Brenner

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

The Bodyguard - A New Musical

Adelphi Theatre, London

****

Based on the Warner Bros. Film

Screenplay by Lawrence Kasdan

Book by Alexander Dinelaris

Directed by Thea Sharrock



Mark Letheren as Rachel Marron's stalker



The Bodyguard at London’s Adelphi Theatre has been around for almost three months and played this week to a reassuringly packed house on a wintry Thursday night. Alexander Dinelarishas has taken Lawrence Kasdan’s twenty year old screenplay that was embellished with the starring roles of singer Whitney Houston and Kevin Costner as the gun hired to protect her and filleted it down to a staged tale, taking not only a few (modest) liberties with the storyline but also cannily identifying moments along his story’s journey to liberally add in Houston’s hits at any available opportunity. And do you know what? It's a little corny, but it works!

The story broadly follows fictional singer Rachel Marron and her family and entourage and how following the receipt of crazed threats, a skilled bodyguard is hired for the close protection of the star. Any more detail would spoil a good show. If you know the film, expect a few surprises and if you are new to the tale then expect an entertaining ride with a few thrills and spills and the occasional tear too.

The American actress Heather Headley is headlined as starring as Marron. Not so well known in the UK, her Broadway credentials are impeccable. However, it was with a little initial (and short lived) disappointment that we learned that Gloria Onitiri was to take the lead at the performance reviewed here. The cast list states Onitiri as an Ensemble member, yet her detailed bio in the programme describes her as Alternate Rachel Marron. We subsequently learned that she regularly covers for Headley in what is clearly a demanding role. Note to producers : If you regularly have an alternate playing a lead role, then do what Phantom Of The Opera have done for the last 25 years and own up to the fact on your posters and publicity. The honesty does you no harm. Rant over, back to the talent.

Onitiri is quite frankly an unexpected diamond in a glittering show. Her take on Houston’s hits that are sung exquisitely. She was all of rock star, diva, mom and woman-in-love, performed with a gorgeous sound. Her climactic number, Houston's signature hit I Will Always Love You that is an absolute roller-coaster of a song soaring from intimate to epic, was spine tingling. Lloyd Owen as bodyguard Frank Farmer is a turn that is strong and credible. The professional demands of his character demand modest understatement and a performance that is mostly sardonic and laconic. Farmer is allocated few songs in the show (a wise call as a singing bodyguard could well send an audience’s suspended disbelief crashing to the ground) but his rare tuneful moment raises a knowing smile amongst an audience familiar with the tale. The other stunning chanteuse of the night is Debbie Kurup, playing Marron’s sister Nicki. Her delivery of Saving All My Love is exquisite and when she duets with Onitiri, the close harmony work is West End vocal perfection.

Thea Sharrock directs on Tim Hatley’s imaginatively designed set. I suspect the producers have not only an eye on a Broadway opening for the show, but Vegas too, as the classic hits, glitzy sets and not too demanding storyline, will go down well in Nevada’s Sin City. Richard Beadle’s band deliver a very polished and authentic sound ( the delicate guitar lead in to I Will Always Love You was a joy) and for a night of top production values in song and dance, The Bodyguard is another shining example of what makes London the theatre capital of the world.

 

Booking until September 2013