Grindr Mom - Review

Waterloo East Theatre, London

**

Written by Ronnie Larsen

Directed by Gerald Armin

Jessica Martin

Billed as a “funny, fast-paced comedy” and “a riotous plunge”, Grindr Mom turns out to be neither. 

Jessica Martin turns in a fabulous performance as a married Mormon mother who discovers that her son is gay, however Ronnie Larsen’s 80-minute monologue does not deserve her acting and (sometime singing) genius.

Larsen’s script lurches from one tediously bigoted cliché to the next, and while the drama’s closing chapter comes close to genuine pathos, the story’s ultimate finale is predictable and trite.

Rarely does an evening of comedy fall so flat.

Runs until 1st March

Jerry's Girls - Review

Menier Chocolate Factory, London

****

Music and lyrics by Jerry Herman

Concepts by Larry Alford, Wayne Cilento and Jerry Herman

Directed by Hannah Chissick

Jessica Martin, Cassidy Janson, Julie Yammanee

A showcase of Jerry Herman’s most acclaimed compositions, Jerry’s Girls is an evening of a sung-through medley of numbers in a compilation that allows the songs to speak for themselves. Cassidy Janson, Julie Yammanee and Jessica Martin share the singing honours that sees Herman’s compositions either maintained as solo numbers or rearranged into duets or three-handlers. 

For the most part the evening is a delight, requiring little of the audience other than to sit back and enjoy the melodies, either free of the narrative that accompanied them in their original musical theatre outings or alternatively pricking our collective memories, inviting us to recall Herman’s marvellous shows and his gift for translating the human condition into song.

As always, Janson is fabulous, handling the big solos of I Won’t Send Roses and Time Heals Everything from Mack And Mabel with finesse. From the same show, Yammanee offers up a deli-cious Look What Happened to Mabel. Martin grabs the spotlight wonderfully in the comedy routine from Take It All Off. 

As would be expected Hello, Dolly! and La Cage Aux Folles feature heavily in the revue’s setlist as Janson powerfully closes act one with The Best Of Times. The second half goes on to include a gorgeous arrangement for three voices of I Am What I Am.

Hannah Chissick’s direction makes good use of the Menier’s compact space, but Matt Cole’s choreography could have been tighter. Some of his routines lacked precision and to replace the tap-dance of Tap Your Troubles Away with tapping typewriters rather than a short, but what could have been impressive, tap routine from his talented leading ladies was an opportunity missed.

Sarah Travis leads her 6-piece all-female band magnificently and her arrangements of Herman’s tunes are fabulous. If you’re looking for an evening of mellifluous musical pleasure, Travis’s music alone is worth the ticket!

Runs until 29th June

Photo credit: Tristram Kenton

Elf - Review

Dominion Theatre, London

***

Book by Thomas Meehan and Bob Martin

Music by Matthew Sklar

Lyrics by Chad Beguelin

Directed and choreographed by Morgan Young

Ben Forster and Kimberley Walsh

Twelve years after the movie scored itself into the global psyche as a modern day Christmas classic, the musical version of Elf makes its London premiere at the Dominion Theatre.

Elf's cute story would melt even the most glacial of hearts as it tells of apparently orphaned Buddy, who is inadvertently swept into Santa's sack and flown back to the North Pole. The movie's success proved the tale's potential for comedy along with much seasonal schmaltz as it follows Buddy's growing up with Santa and his quest to return to New York City to discover his true family.

Ben Forster as Buddy steals the show with an un-relenting charm and wide eyed enthusiasm. Forster's performance may well be inspired by the movie's Will Ferrell, a tough act to follow for sure, but the young Brit brings something new to the character and does a smashing job of maintaining an upbeat energy throughout the show.

TV and popstar Kimberly Walsh looks and sounds fabulous as Buddy's love interest Jovie, interjecting a perfectly measured counter-balance of humour to Buddy's Christmas enthusiasm.

Amongst the cast Joe McGann as Buddy's natural father Walter, who has to learn to love his newly-discovered son, offers up an ultimately touching turn. The elfin Jessica Martin as his wife Emily similarly convinces and there is a standout performance from Jennie Dale as Walter’s secretary Deb. Delivering one of the show's funniest performances, Dale earns rapturous applause from the crowd.

The producers have adopted a pricey ticketing approach to this show, with top premium tickets going for an eye watering £250+! Not unreasonably, expectations are stratospheric and they are not met. For that price one might well have expected the movie's famously hilarious shower scene to have been played out on stage in a fully plumbed in set (it isn't). And where Hollywood sprinkled the film with a generous helping of classic Christmas songs, Sklar and Beguelin's numbers (which to be fair are imaginatively staged by Morgan Young, including some lovely tap routines) written for the show are, for the most part, quickly forgotten. And, thinking of the little ones, bear in mind that even for £250, the show is at least 30 minutes too long. 

But hey, it’s Christmas - and whilst Elf may be little more than typically festive theatre fayre, it makes for a fun night out in the West End. The scenery and projections are smart and they even make it snow inside the Dominion!

Runs until 2nd January 2016

Guest reviewer: Josh Kemp

Mack & Mabel - Review

Norman Bowman and
Laura Pitt -Pulford

Southwark Playhouse, London

*****

Book by Michael Stewart
Music and lyrics by Jerry Herman
Revised by Francine Pascal
Directed by Thom Southerland

Mack & Mabel is a dark musical. A relationship between the two leads that is often defined by “anti-love” songs and a second act that spirals inexorably to a finale of misery. Yet within this darkness, musical numbers are included that range from the highest levels of hope, through to spectacular glitzy tap routines, and a hilarious pinch of slapstick. And such is the strength of this show that every single number is in perfect context.

Produced by Danielle Tarento, who together with Southerland, staged the award winning Parade at this venue last year, Mack & Mabel charts the interweaving of the lives of silent “two-reel movie” director Mack Sennett, with Mabel Normand, a deli delivery girl from Brooklyn whose charismatic beauty and potential he spots on set and who he elevates to stardom. For a review of Mabel's Wilful Way,  a Mack&Mabel movie, click here.

Set in the early 20^th century, the show in sub-plot touches upon the rise of the full length motion picture and the introduction of the talkies, but these are merely a backdrop to the arc of the ill fated lovers.

As Mack, Norman Bowman is outstanding. Costumed in a cream suit throughout, and frequently fedora’d to shield the bright Californian sun, he is every inch the caricature of a dominating movie director yet one who also possesses a touching vulnerability, with chiselled good looks perfectly matching the strength and sweetness of his tenor voice. In the opening number, describing his early career, Bowman sings Movies Were Movies with an energy and flair that it is nigh impossible to look away from . Later in the first act, alone with Mabel, he defines his lack of loving sensitivity with the poignant I Won't Send Roses, the melody from which serves as an occasional emotionally charged motif at subsequent moments.  The show opened two weeks prior to this review and already Bowman is deservedly being spoken of as a nominee for an Off West End award for leading actor.

 An outstanding Mack needs a Mabel of similar pedigree. Laura Pitt-Pulford shone in Parade last year, and knowing that she would lead in this show, only added to the pre-show anticipation. Pitt-Pulford’s performance exceeded expectations that were already sky high. She charted Mabel’s journey, plucked from obscurity to super-stardom, the enjoyment of the movie-star’s life and her ultimate succumbing to substance abuse, simply exquisitely. Mabel is drawn ironically moth-like, to her love for Mack and movies and the show gives her songs that are often melancholy. Wherever He Ain't, and Time Heals Everything, whilst both of different tempos, are very much are the expressions of a woman who is suffering. Throughout Act 2, Pitt-Pulford puts on a masterclass of fragility that is at once heartbreaking, yet sublime. She captures Mabel’s vulnerability in a performance the fidelity of which is rarely seen on the West End, let alone London’s fringe.

The supporting cast excelled to a person. In the key role of Lottie Ames, Jessica Martin sung and tap-danced inspiringly. The accomplished Stuart Matthew Price played a slick Frank Capra, the one regret of the evening being that the book did not allow his character more solo spots.  Impressive too was Steven Serlin as movie producer Kessel, portraying his characters Jewishness skilfully and recognisably whilst avoiding crass stereotype.

It has been written before that Tarento is committed to the highest of production values. It is clear that she commands the respect of many of theatre’s most talented practitioners, evidenced by the strength of the shows creative team. Lee Proud’s choreography was dazzling. Whilst all of the the show’s movement was slick, his working of Hundreds Of Girls, Hit ‘Em On The Head. Tap Your Troubles Away truly seemed to transport one from a vault in Southwark to a Hollywood back-lot with a tap routine that could have easily graced any major commercial show.

Good light is critical to movie making. From the outset Tarrento’s team have sought to ensure that Jason Denvir’s design is lit effectively and Howard Hudson has delivered what is perhaps the best lighting design seen in London’s fringe. Cleverly evoking at different times studio lights both in front of and behind camera as well as the bright Hollywood sunshine, Hudson’s craft adds another dimension to the rich tableau of this production.  Michael Bradley’s musical direction and vocal arrangement were also well planned and Andrew Johnson’s sound design ensured that lyrics and dialog remained clear above the faultless sound of the band. And all of this directed by Thom Southerland, who has longed to put on this show for many years. He is a credit to his ambitions.

Mack & Mabel has no fancy hydraulics, green costumes or make up, and even the projected movies are simply suggested by a flickering light . (Another inspired Hudson touch)  Mercifully, it has also been spared the modern day casting couch of a TV talent show. In place of those gimmicks it presents a stunning theatrical company delivering excellence through every word, musical note and dance step.

Runs until August 25th