Guys and Dolls - Review

Kilworth House, Leicestershire



*****


Music and lyrics by Frank Loesser
Book by Jo Swerling and Abe Burrows
Directed and choreographed by Nick Winston

Daniel Stockton and company

Not since 1982 at the National Theatre have the opening bars of Runyonland (the preamble / overture to Guys and Dolls) generated such a tingle of excitement as Philip Witcomb’s set design, built within Kilworth House’s ingeniously covered open-air space, captures the essence of New York complete with billboards, steam, and a glimpse of the Manhhattan Bridge.

Guys and Dolls was described by Kenneth Tynan as "the second greatest American play after Death of a Salesman". He's not wrong for the show is surely the most sparkling study on the human condition that has ever been set to song. The enduring love between Nathan Detroit and Miss Adelaide is as gritty, real and recognisable as it is hilarious – while the romance that evolves between Sky Masterson and Sarah Brown is straight out of an everyday fairytale. The tunes and lyrics are both Broadway’s and Frank Loesser’s finest. For the show to soar, all that is needed is a faultless cast - thus the greatest plaudits in this production belong to director /choreographer Nick Winston and his casting director Anne Vosser for having assembled some of the nation's finest musical theatre talent to create this sensational revival.

Daniel Robinson and Holly Dale Spencer are the interminably engaged Nathan and Adelaide and if there is one (tiny) niggle, it is the inconsistency of their New York accents. Spencer pronounces person as “poysson” perfectly, whereas Robinson’s American twang is just a bit too mild and preppy. But ‘tis a minor flaw – because the chemistry between the pair, along with their solo energies too, is just non-stop pleasure, delivered with pinpoint timing. The “blossom time” scene, as Adelaide inadvertently interrupts the hoodlums assembling for their floating crap game is, in 10 seconds of exquisite drama, perhaps the finest example of musical theatre comedy to be found today.

Nathan Detroit as a role doesn’t demand vocal perfection – but it does require presence and nuance in spades and Robinson’s diminutive features see him rise to the challenge magnificently. Holly Dale Spencer however is a vocal powerhouse of raucous, raunchy excellence, Her Hot Box routines emphasising that venue’s sleazy burlesque in a way that few other productions have dared to portray so honestly.

As Sarah, Harriet Jones brings a soprano strength to the role that has rarely if ever been heard. In I'll Know, her first duet with Sky, she takes the roof (OK, the canvas awning) off of Kilworth House leaving this reviewer stunned in his seat. Jones sings with a power and perfection that makes spines tingle. Opposite her, Simon Thomas’ Sky Masterson is another delight. Authoritative, persistent and yet vulnerable, Thomas’ chiselled looks and majestic voice define this ultimate gambler. And as for the chemistry ( yeah,  chemistry, again) betwixt him and Jones, its flawless!

The supporting guys and dolls are equally entertaining. Adam Venus’ Benny Southstreet is a neat turn, while the crackingly corpulent Daniel Stockton makes fine, full work of Sit Down, You’re Rockin’ the Boat, stopping the show wonderfully in act two and arguably, well worthy of a mid-show encore too . Martin Neely’s Brannigan breathes life into the tiniest of roles, while Graham Hoadly’s Arvide Abernathy is a masterclass in avuncularity. Hoadly’s take on More I Cannot Wish You, again, another tiny song in the show, is similarly perhaps the best ever. A nod too for Will Kenning’s Big Jule who manages a marvellous mix of menace and mirth and for NeilMacDonald's 12 piece band, tucked away in their off-stage marquee, who make fine work of the timeless score.

It is also the inspired little touches that make this such a standout production. In what could be a nod to Follies, Winston has his mink-laden Hot Box Girls enter down staircases for their second act opener; Chris Whybrow’s sound design doesn’t just subtly overlay New York traffic sounds but in the romantic Cuban moments, listen carefully to waves lapping on the shore; and as Sarah and Adelaide rue the men in their lives with Marry the Man Today, we see the typically sober sergeant pull a bottle of Bacardi from her handbag. Genius!

Only on at Kilworth House for two more weeks – this is a truly fabulous fable.

Runs until 8th July

Top Hat - Review

Kilworth House Theatre, Leicestershire

*****

Music & lyrics by Irving Berlin
Book by Matthew White & Howard Jacques
Directed & choreographed by Stephen Mear

Lauren Stroud and  Dan Burton

Stephen Mear’s take on Top Hat, just opened at Leicestershire’s Kilworth House Theatre is further proof that for this summer at least, the very best musical theatre openings are all taking place outside of London. 

Top Hat is one of those shows that feels like it should have been around forever, but is in fact a relatively new arrival to the stage. The show premiered in London only a few years ago with a new book from Matthew White and Howard Jacques that was lovingly based upon the RKO film of the same name. Fans of both dance and Hollywood will of course know that Top Hat (the movie) is arguably the partnership pinnacle of Fred Astaire and Ginger Rogers. 

So in putting on his Top Hat, Mear has extremely large shoes to fill – and he fills them magnificently. The story behind the show is the most ridiculously light-hearted piece of froth – theres’s farce, dropped trousers, mistaken identity and a multitude of malapropisms. It’s as corny as heck, but as the comedy greats of years gone by have demonstrated, this type of comedy is the toughest to master.

Mear and his cast however don’t just master the gags – they make them soar. The timing is spot on throughout and aside from the song and dance, the contributions from Ashley Knight as the much put upon valet Bates and Stephane Anelli as Alberto Beddini, an Italian fashion designer / Lothario, are a masterclass in  comedy cameos.

But of course Top Hat is all about hearing those beautiful Irving Berlin songs and seeing them danced to perfection. The lead role of Jerry Travers is taken by Dan Burton – a performer who has much history with Mear – and the director knows just how to coax magic from this talented man. On stage virtually throughout the first half (and much of the second) Burton brings his mellifluous tenor voice to the show's classic songs in a way that earlier productions just haven’t been able to reach. As the show opens with Puttin’ On The Ritz, from the number's very first bars the evening’s standard of song and dance is defined. And as is Mear’s way, the ensemble have been drilled to ruthless perfection – to watch these routines is to float away in an ethereal delight.

Opposite Burton, Lauren Stroud plays the feisty Dale Tremont. Stroud mirrors Burton’s dance talent from the outset, and when we eventually hear her sing (well into act one with You’re Easy To Dance With) it’s a delight that has been well worth the wait. The two lead the show perfectly.

In close support as the lead comic protagonists, Charles Brunton and Nia Jermin are wonderfully cast as Horace and Madge Hardwick. Their overstated comic lampoonery (and Brunton’s buffoonery) is perfectly weighted, making  the narrative flow effortlessly. When they finally get their chance to sing in the deliciously anti-romantic, Outside of That, I Love You, its yet another barrel of (beautifully sung and danced) laughs.

There is excellence elsewhere, nestling in the show’s company with barely a programme credit to show for it. Daisy Boyles puts in a fabulous turn leading the delightful What Is Love? routine, while the footwork from the enchanting Chantel Bellew, dancing opposite Burton in an early routine, is another of the many gems that encrust this production.

Berlin’s melodies demand a strong band and Michael England’s 11 piece ensemble, tucked just off stage in a marquee, immaculately capture the elegance of the era and its melodies, with toes set tapping from the overture. The show's songs are massive and England’s orchestra rise magnificently to the challenge.

The open-air setting of Kilworth House is skilfully tackled by the show’s team. Morgan Large’s set offers an Art Deco vision that is as ingeniously multi-functional as it is dreamily elegant, never overshadowing the performers, merely enhancing their work. Similarly Chris Whybrow’s sound design works well with the venue’s unconventional acoustics – not a word or note is missed, while Jason Taylor’s lighting work takes on an increasingly subtle beauty as the sun slowly sets.

There's no finer finer tribute to the American Songbook in the land, but only a very privileged few will get a chance to savour this masterpiece of musical theatre - the run is completely sold out!

Runs until 17th September
Photo credit: Jems Photography

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