Sister Act - Review

 Eventim Apollo, London

****

Music by Alan Menken

Lyrics by Glenn Slater

Book by Cheri Steinkellner and Bill Steinkellner

Additional book material by Douglas Carter Beane

Directed by Bill Buckhurst

Beverley Knight and Company

Beverley Knight leads a cracking cast as the pandemic-delayed production of Sister Act finally arrives at the Eventim Apollo. In a glitter-ball enthused celebration of kitsch, Knight is on top form as singer Deloris Van Cartier, hiding for her life from her gangster boyfriend Curtis amidst the nuns of Philadelphia’s Church of Perpetual Sorrow convent.

The story is a Hollywood confection that taps into the joy of the human condition as Deloris brings sunshine and singing to the downtrodden sisters. Jennifer Saunders is perfectly cast as Mother Superior, catching her character’s nuances of disapproval with immaculate comic timing. Stunt-casting maybe, for Saunders cannot sing, but in a show that’s as much fun as this that’s no big deal. Elsewhere in the convent Leslie Joseph and Keala Settle are on fine form, but the standout turn amongst the nuns is Lizzie Bea’s Sister Mary Robert, displaying a vocal strength that is simply breathtaking.

Jeremy Secomb as Curtis is a delicious baddy and his take on When I Get My Baby is the best one-man tribute act to the 1970s that you are likely to see. It is Clive Rowe however as veteran cop Eddie whose soul number I Could Be That Guy offers up the standout male performance of the night.

Bill Buckhurst directs effectively within the shallow confines of the Eventim stage - ably assisted by Morgan Large’s designs and Alistair David’s choreography. Alan Menken’s score is a disco-driven collection of tunes, which while not being memorable are nonetheless gorgeously delivered by Jae Alexander’s 12 piece band.

For a night of slick West End entertainment that’s wonderfully performed, Sister Act is a delightful evening of musical theatre.

Runs until 28th August and then on tour

Photo credit: Manuel Harlan

42nd Street - Review

Theatre Royal Drury Lane, London


*****


Music by Harry Warren
Lyrics by Al Dubin
Book by Michael Stewart and Mark Bramble
Directed by Mark Bramble

The Finale of 42nd Street

42nd Street at the Theatre Royal Drury Lane is a feast of musical theatre. This revival of the 1980s show, itself inspired by the 1930s recession busting movie of the same name, is nothing less than a homage to Busby Berkeley’s lavish Hollywood tap routines, framed around a fairytale of Broadway. 

Peggy Sawyer is a kid fresh off the bus from Allentown. She's also a gifted dancer who manages to work her way into the cast of Pretty Lady, the latest production being mounted by Julian Marsh, a tyrannical Broadway producer. When ageing star Dorothy Brock crocks her ankle and is unable to continue in her role, Sawyer is plucked from the chorus to replace her. It’s all magical whimsy, surrounded by a  handful of comic-book subplots that really don't bear close scrutiny.

What makes this show pulse with life is its dance. All credit to the two Michaels, Grade and Linnit, who’ve produced the revival – their 55 (yes 55!) strong company is simply breathtaking. There's barely any (visible) fancy new technology here and no gimmicks at all. Even Douglas W. Schmidt’s scenery is (for the most part) in a refreshingly simple style with hand painted 2D backdrops. It is evident that in this multi-million pound show the producers' money has been lavished on the actors, their sensational costumes and countless pairs of tap shoes.

Amongst the featured roles Clare Halse’s Sawyer is just a delicious whirl of wonderful. Her feet defy belief as she works the show’s fiendishly fierce routines, taking us with her as Sawyer comes to realise her dream. Opposite her and with a modest love interest is Stuart Neal’s Billy Lawlor – again fleet of foot, a joy to behold and a beautifully voiced young man.

Tom Lister’s Marsh is spared much of the dancing responsibility, but he nonetheless creates a believably driven megalomaniac, with just a glimpse of heart. When his voice finds its pitch, he commands the stage.

Making her West End debut,  Sheena Easton is Brock. Easton's is a beautiful voice for sure – her I Only Have Eyes for You is a vocal delight – but her acting lets her down, failing to give the shallowness of her character the body it cries out for. If there is but one criticism of director (and writer) Mark Bramble, it is that he hasn’t taken Easton to fully fill the role.

No matter, for elsewhere there is acting excellence - as Dorothy Brock's septuagenarian, strung-along sugar daddy Abner Dillon, the always excellent Bruce Montague gives a mini masterclass in musical theatre comedy. Likewise Jasna Ivir and Christopher Howell as Pretty Lady's writers are a well polished double act, while Norman Bowman, as ever, brings perfectly nuanced excellence to the modest role of Pat Denning.

But never forget - 42nd Street is all about its song and dance and it's been a long time since a company so large and so perfectly drilled, has wowed a London audience. The classic numbers We're In The Money and Lullaby Of Broadway are joyous - while Keep Young And Beautiful, with the ensemble's Girls horizontal on a revolve as a Berkeley-style mirror is suspended above them to show the ingenious routine, makes it feel like a time machine has brought Broadway and Hollywood's Golden Age to London.

And as for the jaw-dropping finale, it is a festival of synchronised genius, a cascade of glitter and light celebrating the beauty of perfectly performed tap.

As the world on both sides of the Atlantic cautiously enters a new era, it’s just so refreshing to be shown a full-blooded glimpse of the heritage of happiness that beautifully crafted musical theatre can deliver. 

Bravo to musical director Jae Alexander and choreographer Randy Skinner. Drury Lane's 42nd Street is the most spectacular show in town!


Booking to July 2017
Photo credit: Brinkhoff & Moegenburg

An Evening of Gershwin

Kenwood House, London

****

Royal Philharmonic Concert Orchestra

Conductor - Jae Alexander

An afternoon of Gershwin, in the glorious grounds of Kenwood House, on a balmy late summer’s afternoon, gave a whole new meaning to "Sunday in the park with George". The last in the 2013 series of the Live By The Lake concerts got underway at the altogether rather civilised time of 5pm with the event having a strangely grand but nonetheless traditional feel of sitting in front of a rather sumptuous bandstand.

The Royal Philharmonic Concert Orchestra returned to the stage for the occasion with Jae Alexander conducting. Alexander had already amassed years of Gershwin experience from the pit of the Prince Edward Theatre’s Crazy For You run, but with the orchestral magnificence of the Kenwood sound dwarfing even the finest West End show band, he can rarely have conducted such a musically magnificent take on the New York composer's work.

The afternoon’s cast were magnificent. Gina Beck taking time out from her Glinda’s Wicked swansong was a soprano delight with The Man I Love and defined the afternoon’s Gershwin credentials with a sublime Summertime in the second half.

Kerry Ellis, who with We Will Rock You’s Meat and Wicked’s Elphaba performed on both sides of the Atlantic to her credit, must surely be West End royalty, gave the classic Someone To Watch Over Me an absolutely sparkling treatment, having already warmed up with one of the most bittersweet numbers written, But Not For Me.

David Bardsley provided some fabulous baritone work with A Foggy Day In London Town being appropriate for the location (if not the delightful weather).

Michael Ball, billed as the show’s star, was conspicuously absent through much of the first half until that set’s closing number. Walking modestly onto the stage, as Alexander struck up the band, so Ball eased himself into Strike Up The Band, re-imagining the song with soul and sensitivity in a delivery that was simply spine-tingling. The audience who had been baying for his arrival were swiftly placated and as the number played out, the cheers from the crowd as they headed off for a tea and champagne break were rousing.

The second half featured Ball extensively, including a delightful duet with Ellis who gave perhaps the most enchanting corpse ever. Embraceable You had been carefully planned and rehearsed by the pair, yet Ellis, heavily pregnant so therefore of course forgiveable for any vocal wanderings that she may commit, collapsed into infectious laughter and just giggled her way through Ball’s having to turn the prepared two-hander into a solo. It was all rather lovely.

Highspot of the half though was Viv McLean’s Rhapsody In Blue. For one to be able to lie back on the Kenwood lawns, bubbly in hand, gaze at the skies and listen to this man’s virtuoso take on one of the most glorious piano compositions of the 20th century canon, was nothing short of a fine and rare privilege. 

Bravo to Rouge Events who have had the vision and tenacity to negotiate with Kenwood’s neighbours and re-instate these concerts as a fixture of London’s calendar. Here’s to the 2014 season and their beautiful contribution to the capital’s Summertime.