McQueen - Review

St James Theatre, London

***

Written by James Phillips

Directed by John Caird

Tracy-Ann Oberman and Steven Wight

James Phillips’ new play McQueen offers a lavish tribute to one of Britain’s most acclaimed fashion designers. That Alexander McQueen was to tragically take his own life at 40 only (ghoulishly?) adds to his iconic mystique – though as the play opens with McQueen contemplating his own mortality and then proceeds to take us through what is suggested to be his last night alive, the narrative’s structure at times suggests a re-branded Arthur Miller. In place of Salesman, think Death Of A Designer.

In the title role Stephen Wight is a marvel. The accomplished performer literally becomes McQueen in a relentless performance that never sees him off stage. Wight masters the cocky, cockney genius that so defined McQueen – and when the dialog offers his character profound moments of reflection, Wight’s delivery is scorching. During a dialogue with journalist Arabella (a perfectly weighted performance from Laura Rees), McQueen offers his explanation of what makes a woman feel valued and there is an analysis in his words that is both relevant and recognisable, as Wight speaks with a touching and convincing resonance. 

But if McQueen was haute-couture, Phillips choice of dramatic vehicle to portray the man is last seasons Primark. Dahlia, a fan and stranger has let herself into his home, providing the designer to re-tell his flashback tableaux.

Dianna Agron, star of the US TV series Glee plays Dahlia and one has to conclude that she has been “stunt-cast” based upon a Twitter following of two million, rather than ability. Her biography offers no hint of stage experience and it shows. Performing in close up to camera and with the safety net of re-takes is one thing but live theatre is a cruel master, demanding that an actor communicates at all times with voice and presence in a way that makes the audience suspend their disbelief. Agron tries valiantly, but her performance never gets above mediocre. John Caird is one of our leading directors and he should know better than this. His performer needs to be coached into filling the auditorium with her persona and one hopes that Agron will find her feet as the run matures.

David Shaw-Parker is a flawless delight as John Hitchcock, the master tailor under whose tutelage McQueen mastered the art of cutting fabrics. When Shaw-Parker speaks, it is though he has walked in from Savile Row. Tracy-Ann Oberman plays the complex role of Isabella Blow a style icon/muse to the designer, whose own suicide three years before his, hit him hard. Oberman delivers a trademark classy turn, though in a show that’s all about style, if her costume is to hint at décolletage, then it needs to be tightened up to conceal the actor’s underwear. McQueen would spin in his grave…

An imaginative twist sees a soundtrack of music selected by McQueen that accompanied a number of his collection launches, with tracks ranging from Handel to Bjork and Marilyn Manson. Set to the music, Christopher Marney’s choreography is electric, with a company of androgynous mannequins drilled into a perfect graceful poise. Particularly striking are Carrie Willis and Eloise Hymas’ shock-headed twins, en-pointe in unison throughout. A chic, bravura touch.

Timothy Bird’s ingenious video projections and Linda McKnight’s stunning wig design go a long way to suggesting the ascetic élan that McQueen became a part of, though Phillips stops short of offering too close an explanation of why McQueen chose to kill himself.

In what is largely a celebration of style over substance, McQueen offers a highly charged look at a very contemporary era in British fashion. Flawed for sure, but there is content here that makes for stimulating and sometimes exhilarating theatre.

Runs until 27th June 2015

The Color Purple

Menier Chocolate Factory, London

*****

Book by Marsha Norman

Music & lyrics by Brenda Russell, Allee Willis and Stephen Bray

Directed by John Doyle

Cynthia Erivo

Catching up with this show just before its run ends is to witness musical theatre at its very best. A cast of 17 with a bare stage, some chairs and the simplest of costumed props, depict America's Deep South and occasionally Africa in the early twentieth century. The tale is of the grim life of Celie, whose illegitimate children are taken from her in her youth, who is then "married" to the most brutal of men, yet who goes on to find the most unlikely of redeemers in a scarlet woman who has few morals but a heart of gold. The story tracks Celie's difficult life yet ends with hope and inspiration. 

John Doyle has cleverly envisioned the work. Slavery is long abolished, but civil rights remain a dream. When Celie reveals that her father was lynched, the disclosure is so casual as to underline the ingrained racism of the South. With an entirely black cast, the story tells of the cruelty and contempt that lived within the African-American community, itself born out of a culture of contempt and slavery. Yet it is the humour and compassion that shines out from within these people that makes the show sparkle. Rarely has the term "bittersweet" been so apt.

Cynthia Erivo is the diminutive Celie. Her character grows throughout, from an abused pregnant child in the opening scene, to a wise and elderly mother by the end. Erivo's look is plain and hers is to play the cruelly labelled uglier of two sisters. Yet whilst her abusive husband Mister, a first class performance of bullying calculated menace, yet also vulnerability, from Christopher Colquhoun condemns her for her ugliness and servility, Erivo shines throughout with a vocal and physical beauty that is rare to witness. Her solo I'm Here saw the audience rise as one to salute her midway through the second act. Whilst the production's success is of course due to the company as a whole, Erivo has proved to be its dazzling star. Nearly 30 years ago Steven Spielberg's Color Purple movie blasted Whoopi Goldberg's career from modest actress to global celebrity. In a more modest manner, so is history repeating itself. Whilst Erivo was little known outside of the profession before The Color Purple, it has recently been announced that she is to take a leading role at London’s Palladium Theatre next year.

Sophia Nomvete is a delightful Sofia. Feisty funny and furious early on, she breaks our hearts as the victim of a savage racist beating and as Nettie, Celie's sister whose being wrenched apart from her sibling causes such anguish, Abiona Omonua gives a performance of carefully crafted fragile hope. It is left to Nicola Hughes’ Shug Avery, Mister's mistress, who on visiting Celie's miserable home, reaches out to free her from her husband's abuse and set her on an inspirational path to liberty. Hughes' stage pedigree is impeccable and whilst Celie is the show's leading character, her interaction with Avery is an astonishing double act. Their duet What About Love? is as perfect a harmony as is to be found.

Tom Deering's musical direction alongside Catherine Jayes' supervision provides a soulful Southern sound, peppered with the Blues and with an intoxicating African interlude, all rhythm and drums for good measure. Matthew Wright's costume work sets scenes perfectly whilst Linda McKnight's wig design adds a slick authenticity to the actresses.

No need to recommend, it's sold out. But this work demands more. If the gods of the theatre can grant this show a West End transfer, it would be no less than what both London and this glorious production deserve. 

Runs to 14th September

The Pajama Game

Chichester Festival Theatre

***

Music and lyrics by Richard Adler and Jerry Ross
Book by George Abbott and Richard Bissell
Directed by Richard Eyre

The Chichester Festival Theatre has a grand track record in producing five star musicals. With Sweeney Todd and Singing In The Rain having recently enjoyed successful transfers to the West End, the  expectations for Richard Eyre’s The Pajama Game, run high indeed. Sadly however, the press night reports of this show’s excellence turn out to have been great exaggerations.

Eyre established his credentials as a musical theatre director with Guys and Dolls at the National Theatre in 1982. That inspired vision, matched with a creative team to die for, stunned London. Whilst The Pajama Game does not sit as high in the musical theatre canon as the Frank Loesser epic, it offered Eyre similar potential that has frankly been squandered in what at times seems to be little more than an odd tribute to his Guys and Dolls triumph. There is scene-setting neon, a big Latin dance number, the lampooning of American culture and Eyre has even gone so far as to hire his Sarah Brown from the 1996 revival, Joanna Riding, who when she leans back in the arms of Hadley Fraser, still shows that elegantly profiled poise of the sergeant from the Save A Soul mission.

But this is The Pajama Game, a moderately corny piece albeit with its heart in the right place, that against a backdrop of conflict between unionised pyjama workers and their corrupt employer creates an unlikely love story between factory superintendent and the boss’ right hand man, Sorokin (played by Fraser) and his adversary, the union rep Babe Williams (Joanna Riding's role).

Pippa Ailion who cast the show has a lot to answer for. Whilst Riding looks downright gorgeous for her age and her singing and movement are perfect, she is by some years Fraser’s senior. The chemistry betwixt these two thus seems at best improbable and at worst, forced. The other minor love interest of the show is between factory time keeper Hines and office secretary Gladys. Peter Polycarpou’s Hines is a scene stealer. This outstanding actor’s voice and timing are perfect and the farcical moment when his trousers fall down is eye-wateringly funny. Alexis Owen-Hobbs however, who plays the glamorous Gladys, (un)fortunately looks young enough to be his daughter. This is a credit to her beauty, matched also by her talent, but it does nonetheless provoke disbelief that a young woman could date such a visibly older guy. Hadley Fraser’s voice is dreamy and his delivery of Hey There (You With The Stars In Your Eyes) is a spine tingling rendition of the classic, but whilst he sure can sing, his acting on the night seems flat. The final failing of the show is the choreography. The big dance number of Hernando’s Hideaway seemed at best sloppy and un-drilled and the act two opener, Steam Heat, with Gladys and two factory men, evolves into a slick tap routine that is brilliantly performed but needs a lot more of the company tap dancing on stage to fully achieve the song’s spectacular potential. In an age that has just witnessed a revival of Irving Berlin's Top Hat, to have just three people tap-dancing smacks of micro-budgetted constraint that can surely not be the case at Chichester?

Eugene McCoy’s Prez and Jenna Boyd’s Mae are excellent in support and creatively Tim Hatley’s design, Jack Galloway’s costumes and Linda McKnight’s wig work all add perfectly to establishing the show’s location and period. Credit too to Gareth Valentine’s band who provide a beautiful sounding and perfectly balanced backing to the show.

There is talk of The Pajama Game following that now well-worn path up the A3 to a London transfer. That would be inhumane. This production, as it stands, should be allowed to gracefully see out its days amongst the retirement homes of England’s South Coast. It’s a touch more pants than pajamas.

Runs to June 8 2013