Shucked - Review

Open Air Theatre, London

****

Music and lyrics by Brandy Clark and Shane McAnally

Book by Robert Horn

Directed by Jack O'Brien

The cast of Shucked

Deliberately corny and for all the right reasons, Shucked arrives in London bringing this gag-fest of a show to the Open Air Theatre in Regents Park.

The plot may be wafer-thin, but this is a show that doesn’t set out to be anything other than a homage to Broadway wrapped up in an old-fashioned sugary love story.

The delight in this show is not just its rapidfire gags and puns, but rather the outstanding cast and fabulous direction that Jack O’Brien can bring to a simple narrative, O’Brien being a proven master in distilling and extracting the entertainment from the everyday. He is helped by a gifted company that includes the vocal skills of Steven Webb, Monique Ashe-Palmer, Georgina Onuorah, Matthew Seadon-Young, Sophie McShera and Ben Joyce together with the comic talent of Keith Ramsay. Add in the cast's exquisite harmonies and Sarah O’Gleby’s immaculately delivered choreography and it all makes for a technically fabulous evening of new musical theatre.

The narrative sags a touch in the second half. Perhaps there's only so far that such a corny plotline can reach? Equally Brandy Clark and Shane McAnally's musical numbers rely too much on corn rather than Country, leaving them proving sometimes unsatisfying.

But bravo to the producers of Shucked for having the cojones to bring this show over from across the pond. It deserves a longer London run.

Runs until 14th June

Photo credit: Pamela Raith

Billy

Union Theatre, London

*****

Book by Dick Clement and Ian La Frenais

Lyrics by Don Black

Music by John Barry

Directed by Michael Strassen



Keith Ramsay



Billy at the Union Theatre is the most sparkling celebration of talent currently to be found in an Off West End show, as this musical adaptation of Keith Waterhouse and Willis Hall's Billy Liar makes its first London revival since Michael Crawford made the role his own at Drury Lane in 1974. (A production that this reviewer attended.) Musicals that comment on social issues and life's complexities are more often than not to be found set in the USA and it adds to the joy of Billy that the show is resolutely rooted on this side of the Atlantic, an infectiously glorious snapshot and celebration of 1960's England.

Set over the course of one day in the typical Yorkshire town of Stradhoughton, the show follows undertaker's assistant Billy Fisher. An incorrigible liar and fantasist, he chases the town's girls having deceitfully gotten engaged to at least of two of them, in pursuit of adolescent fumbling sex whilst lacking any sense of emotional commitment to anyone else at all.

His family and friends make up the show's company and avoiding complex staging or scenery, Michael Strassen has elicited the most eloquent performances from his cast, who with the use of skilful lighting and sound effects, create tableaux that range from bedroom to a crowded commuter bus to busy mainline train stations.

Keith Ramsay is Billy who we first encounter in flannel pyjamas as he daydreams a wartime aerial conflict. Ramsey is an inspired casting as he nails both the comedy and the  sadness of Billy's pursuit of fantasies at the expense of any jot of responsibility. He is but one of a handful of outstanding actors in a troupe that is never less than excellent. Mark Carroll and Ricky Butt are his much put upon parents. Carroll's frustration at his son's indolence is almost palpable and Butt wraps up a convincingly worn down mother and wife, who in one of Billy's fantasy sequences also shows that she remains very hot on her pins in a nifty tap routine. Paddy Glyn's Gran is a treat of a performance of understated perceptive ageing, whilst amongst Billy's cohort of fiancées Katerina Stearman breaks our hearts in her un-reciprocated devotion to the young man, Laura Bryars' Rita all cocky feisty mouth and open legs is a northern gem and Rosie Clarkson's Barbara, who has her wholesome dreams of a married life with Billy roundly shattered by his double-dating immaturity, is an exquisitely voiced soprano.

Rosie Clarkson and Laura Bryars

It is no wonder that the show is so poignant yet also so brilliantly observed. With a book by comedy giants Dick Clement and Ian La Frenais and lyrics by Don Black, the creative talent that underlies the work is impeccable, supported by John Barry's melodies.

The tight space of the Union Theatre is brilliantly exploited by Strassen's intelligent handling of the piece and Tim Deiling's lighting highlights the transition between fantasy and reality seamlessly. This near-faultless production is another example of British brilliance in both writing and performance and should not be missed.

Runs to 29 June 2013