Night Of The Living Dead - Review

Pleasance Theatre, London


****


Written by Christopher Bond, Dale Boyer and Trevor Martin
Created by Christopher Harrison and Phil Pattison
Directed by Benji Sperring

Ashley Samuels and Marc Pickering

George A Romero’s 1968 movie Night Of The Living Dead not only unleashed zombies upon an unsuspecting world, but was also one of the first movies to fuse horrific gore with political allegory and just a spattering of satire. The film rapidly garnered cult status and it was a bold move from the 5 (predominantly Canadian) minds behind the stage show’s inception to translate the picture from stage to screen.

Holed up in a remote farmhouse and surrounded by hordes of the rapacious undead, 5 survivors seek to avoid the gruesome demise that inevitably awaits them. Aspects of the movie’s plot surface throughout the narrative, and it is a tribute to Diego Pitarch’s outstanding set design and costume theme, that the era and location (including frequent switches between the farmhouse’s ground floor and basement) are delivered so convincingly. Reflecting the original black & white photography of the story, Pitarch deploys an effective monochrome throughout.

But the narrative depends on the people and co-producer Katy Lipson has chosen wisely in engaging Benji Sperring to helm the show. As seen with The Toxic Avenger a couple of years ago at the Southwark Playhouse, Sperring is an accomplished director of comic ghastliness and he has chosen two of his Southwark stalwarts, Marc Pickering and Ashley Samuels to drive the evening’s morbid irony. A seminal 60s work, Romero ensured (and the play repeatedly acknowledges) that the issues of the Cold War, civil rights and sexual inequalities that were riving America’s psyche at the time fuelled his satire.

Mari McGinlay plays the eponymous Barbara while Jennifer Harding doubles up for Helen and Judy – with their respective interactions being as deliciously nuanced as a Roy Lichtenstein cartoon. The sound (Samuel West, James Nicholson and Paul Gavin) and lighting (Nic Farman) are top notch too, enhancing the shock comedy horror and providing the perfect complement to Pitarch’s designs.

The tropes and familiar plot lines play out well, though a re-run scene between a cop and his assistant (Mike Bodie and Tama Phethean respectively) proves a little tiresome. Nonetheless a quality and innovative piece of theatre that offers up a neat tribute to Romero’s original.

Runs until 8th June

Photo credit: Claire Bilyard

It's Only Life - Review

Union Theatre, London


****


Music and lyrics by John Bucchino
Conceived by Daisy Prince and John Bucchino
Directed by Tania Azevedo

The cast of It's Only Life

What happens if you throw together 23 songs, five musical theatre performers, a pianist, and tons of colour? The answer is It’s Only Life, a musical review based on several ‘orphan songs’ (John Bucchino’s own description) interwoven to create a fun production about love and life. With the American songwriter’s work having been performed by numerous stars of stage and screen, including Kristin Chenoweth, Liza Minnelli and Art Garfunkel, It’s Only Life was assembled in 2004 to tie this collection of music and lyrics together within a framework that provides context and a semblance of narrative.

The result is a firmly entertaining showcase put on through excellent casting and an outstanding ensemble. The cast of five have a genuine chemistry that shines through a polished veneer. Tight choreography and blended vocals are coupled well with complementary set and lighting design. As the cast weave in and out of different characters and dynamics, emotions and energy levels, with each number bringing a distinct identify to the stage, the Union Theatre’s compact railway arch location amplifies the sense of intimacy created by the score.

Under Nick Barstow’s direction, the music is beautifully delivered, but more impressive is his ability to deliver on the piano throughout the performance with increasing fervour and bite. The score is challenging, and the influence of Sondheim (cited on several occasions throughout) is more than evident. Bucchino’s compositions are demanding, fast paced and smart, holding the performers to a high level of accountability, which they achieve admirably. 

Yet it takes a while to get going. While the first half is enjoyable, the quality and energy of deliver is noticeably supercharged after the interval, bringing the production to a roaring crescendo. The most memorable numbers either have heart or humour - or in some cases both - such as On My Bedside Table (Will Carey), This Moment (Sammy Graham) and I’ve Learned To Let Things Go (Jennifer Harding).

It’s all very sweet, if not just a tad too sickly towards the end, when the message about simply enjoying life gets laid on a bit too enthusiastically, free of any subtleties. There’s also a bit of audience participation which, despite its best intentions, feels slightly disjointed and overall unnecessary.

Nonetheless, this remains a delightfully poignant evening that imbues a buoyancy and zest for life.

Runs until 7th July

Reviewed by Bhakti Gajjar

Photo credit: Pamela Raith

The Great Jewish American Songbook - Review

Upstairs At The Gatehouse, London


****


Written by Chris Burgess
Directed by Matthew Gould

The Ensemble

Once upon a time Jews wrote the shows…Now it seems they ARE the shows, with revues and plays, some good, some Bad lining up to have the “J” word in the title. The latest pot-pourri - or should that be cholent (google it) – of kosher-themed offerings is Aria Entertainments’ rather charming The Great Jewish American Songbook, which includes many of the 20th century songwriters who composed for Broadway and Hollywood. Note “many”, but significantly, not “all”, with notable omissions on the night including Bernstein, Sondheim, Styne, Kander, Ebb. 

Anyway – this ensemble is really rather good. Their set list runs in chronological order, kicking off with "the daddy" of the Broadway musical, Jerome Kern and ending up somewhere in the 1960’s with Jerry Bock and Sheldon Harnick’s Fiddler On The Roof. Such was the familiarly of the numbers that the (mainly silver-haired) crowd could barely stop tapping their feet.  

Jennifer Harding first made audience spines tingle with a thrilling Can’t Help Loving That Man from Show Boat and if Lee Ormsby’s Ol’ Man River wasn’t quite as sensational (Lee, a tip, the “d” in Ol isn’t just silent, it’s non-existent!), it offered a chance to re-visit one of the biggest songs ever, from Ormsby’s gorgeous baritone. 

Harding was soon to stun again with a sizzling extract from Gershwin’s Summertime, in a section of the show that illustrated the classy structure of Chris Burgess' book, linking the songs with insightful narrative. The poignancy of the cast telling of Gershwin’s death and then immediately singing They Can’t Take That Away From Me was a link of heartbreaking magnitude. Jessie May who was on top form throughout, went on to deliver the composer’s gorgeous Our Love Is Here To Stay.

Burgess’ skill is not just in showcasing the favourites, but also unearthing some rare gems. Grant McConvey made great work of Irving Berlin’s Cohen Owes Me Ninety-Seven Dollars – a number so full of Jewish American humour it could easily have been penned by Tom Lehrer or Mel Brooks. It was Harding and May however who were again to break the hearts of a packed Gatehouse with Berlin’s Suppertime, from the little known show As Thousands Cheer, the song’s harrowing lyrics telling of an African American woman having to tell her kids their father’s been lynched.

The second half offered a whirl through first Rodgers and Hart, then Hammerstein with perhaps one of the evening’s rare duds, Oklahoma. The song was written to be sung by a full company – and scaling it down to just four voices left it denuded. Also – whilst much of the narrative was fascinating, some of it, told on this night to a predominantly Jewish audience from a predominantly non-Jewish cast sounded occasionally just a tad patronising. Nothing that can’t be tweaked mind and anyway, what's a review of a Jewish show without at least one complaint!

The biggest accolade of the night has to go to Musical Director Neil MacDonald and his unseen Musical Arranger Andy Collyer. The whole gig was a seamless segue of musical excellence, MacDonald’s three piece band capturing the distilled classics perfectly.

Whilst its Highgate run is about to end, this delightful evening deserves a (to misquote Tevye) Long Life! There’s wit and wisdom in abundance as well as a respectful acknowledgment of the century’s horrors that so decimated European Jewry. When it comes around again, don’t miss it!

Runs until 28th February, then at The Radlett Centre on 6th March

Photo credit: Kim Sheard

Legally Blonde - Review

Kilworth House Theatre, Leicestershire


****


Music and Lyrics: Laurence O’Keefe and Nell Benjamin
Book: Heather Hach
Director and Choreographer: Mitch Sebastian

Jennifer Harding

Omigod - as autumn approaches and the nights are drawing in, Legally Blonde is creating a fabulously pink infusion of summer fun in the gorgeous grounds of Kilworth House Hotel’s theatre. 

From a distance the show’s story couldn’t be cheesier. Elle expects boyfriend Warner to propose to her but instead the cad dumps her, prior to his leaving town to study law at Harvard – and find a fiancée of greater intellect and social standing. Not to be put down, Elle pursues her man, studying hard and also joining Harvard Law School. What follows is a story as delicious as it is improbable, as through a combination of hard work and sassy female intuition Elle heroically wins the day.

To say any more would spoil – for actually Legally Blonde is all about brilliantly executed song and dance, the breaking and mending of hearts and the lampooning of men whose attitudes to female equality belong in the Stone Age.

Fresh up from being nominated in London’s Off West Awards for Best Female Performer of the Year, Jennifer Harding is Elle. Barely off stage throughout, the strikingly blonde Canadian drives the show with stunning vocals and breathtaking presence. We sense her indignation, resilience, passion and yes at times, a deliciously ditzy blondeness that fuels the narrative. All of Harding’s singing is a treat, with her take on the title song and its Remix, proving spectacular. 

Supporting Elle are a raft of featured characters. Greg Miller Burns is good-guy Emmet, who convinces in his transformation from geek to chic. The accomplished Jodie Jacobs is a delight as Paulette – scene stealing deservedly in her big number Ireland and bringing the house down during the Find My Way/Finale number.

Jenny Gayner puts in an eye-wateringly energetic turn as fitness guru Brooke Wyndham, a woman whose circumstances provide the opportunity for Elle to triumph. Gayner’s Delta Nu Nu Nu duet with Harding proves to be another of the show’s ridiculously memorable moments.

Mitch Sebastian directs and choreographs imaginatively – and for such a charmingly quirky venue, Philip Whitcomb’s set along with Chris Whybrow’s well-crafted sound design ensure all the action is both seen and heard as the sun sets behind the trees, with John Morton’s 11 piece band making fine work of the sugary score.

Fun musicals don’t get better than this!

Runs until 20th September

The Clockmaker's Daughter - Review

Landor Theatre, London

****

Jennifer Harding

Written by Michael Webborn and Daniel Finn

Directed by Robert McWhir

As Carrie The Musical closes in Southwark, so another show about a misunderstood young woman, who's blessed with supernatural powers, opens south of the river. But where Carrie was the re-imagining of a classic modern horror story, The Clockmaker's Daughter in Clapham’s Landor Theatre is a boldly written new fairy tale.

There are hints of Alan Menken, Stephen Schwartz and Howard Goodall in the music as we learn how many years ago clockmaker Abraham made himself a clockwork young daughter named Constance (geddit?) to replace his young dead wife. Notwithstanding the potentially "mechanically incestuous" complications that the scenario suggests (and which need to be ironed out in the inevitable future re-writes), the very best of fairy tales, on close examination, are all horror stories and there are distinct nods to Mary Shelley's Frankenstein as a starting point for this fable. We see Constance, like Dr Frankenstein's creature before her, learning to reason and to feel emotions and going on ultimately to be shunned by the world around her.

The plot is simple - and as Constance goes around the village performing acts of kindness, she represents a wholesome focus for the story to pivot upon. Her craving a human mortality only adds to the story's poignancy and with the inclusion of an appropriately boo-worthy villain, the show offers some gorgeous potential.

That this story works at all is largely due to the outstanding performance of Jennifer Harding in the title role. Robert McWhir has coaxed from her a subtly portrayed reality that convinces us of her soulless plight. Her robotic movements are just right, not too pronounced and Harding's gold-painted face defines her as being not of this world. Her singing is gorgeous too, making fine work of her big solos A Story Of My Own and the climactic Clockwork.

Jo Wickham hams it up magnificently (though she could shout a bit less) as the wicked Ma' Riley, out for Constance's downfall, Alyssa Martyn convinces as a charming young bride Amelia, whilst elsewhere the large company numbers again demonstrate Robbie O'Reilly's ability to achieve impressive ensemble work in the Landor's compact space, with both Keep It To Yourself and Market Day being cleverly staged numbers that were easy on both eye and ear. 

David Shields' stage design works wonders with a set that's a combination of trucks, projections and ingenious contraptions and credit too to Richard Lambert's lighting work that for the most part enhances both ambience and location.

This ain't the finished product yet, but it's a damn good work in progress. The show needs to lose at least 30 minutes and its script would benefit from some expert treatment too. But make no mistake, The Clockmaker's Daughter is a charming show that celebrates the ingenuity of today's new writing - it's fun to watch and a bit of a tear-jerker too. This wonderful story deserves a future life, possibly as a Xmas show somewhere or who knows, possibly on screen? There's enough potential in the story to hook even the most Disney-fied of today's audiences and I wish it well.

Runs until 4th July 2015

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