The MGM Story - Review

Upstairs at the Gatehouse, London


****


Book by Chris Burgess
Directed and choreographed by Matthew Cole

The quartet of performers

Transporting us through the history of musical theatre’s golden age, The MGM Story dives into the tale of how the Hollywood studio nurtured the talent of stars that were to include Judy Garland and Gene Kelly alongside composers such as Cole Porter, Irving Berlin and countless others.

Directed and meticulously choreographed by Matthew Cole and with Charlie Ingles perceptively directing his band, this newly compiled musical revue flips back to some timeless movie classics, featuring songs from Singin’ in the Rain, An American in Paris and The Wizard of Oz. Imaginatively set on a studio back lot, the world of the MGM musicals is brought to life and genially animated by the four performers who sparkle in this narrative.

As the evening unfolds, each actor at some point represents one the celebrated names of the Golden era. Emma Kayte Saunders embodies the young Judy Garland and her casting is inspired. Saunders’ voice is earthy and beautiful, with an ability to portray the starlet’s innocence in her early days of fame that is mesmerizing.

Similarly, James Leece’s portrayal of Gene Kelly in the iconic dance sequence of Singin’ in the Rain appears almost effortless. With no streetlight for Leece to hang off of, the use of a step ladder is inspired and the routine still proves an absolute charmer. 

West End veteran Miranda Wilford feels somewhat underused toward the beginning of the performance, appearing firstly and rather oddly, as the Cowardly Lion in Follow the Yellow Brick Road But during the second act, her performance of They Say It’s Wonderful from Annie Get Your Gun, as Betty Hutton, was indeed, wonderful – and note too that there is an incredible resemblance between Hutton and Wilford.

Steven Dalziel, brings a wonderful energy to the quartet that, like Saunders, has you watching him continuously through the show. Each gesture and facial expression has been well thought out and while vocally, he may not have been as showcased as the other three performers, his embodiment of a number of different characters throughout the night highlighted his multi-talented skills. 

Katy Lipson, whose Aria Entertainments co-produces, continues to show real flair in putting together these gorgeously staged revues. Like the rest of London’s fringe, her productions cost a fraction of a West End ticket, yet offer first class production standards and outstanding value for money.

The MGM Story is a sparkling example of the legacies of talent and sophistication that brought about today’s modern musicals and if you love the songs of that era, it’s a perfect night out.

Runs until 25th September, then touring to Windsor, Norwich and Radlett

Reviewed by Charlotte Darcy

Tommy - Review

Greenwich Theatre, London

*****

Music and lyrics by Pete Townshend

Book by Pete Townshend and Des McAnuff

Additional music and lyrics by John Entwhistle and Keith Moon

Directed by Michael Strassen

Ashley Birchall

Amidst the present day plethora of so called "juke box" musicals, in which bands' and singers' back catalogues are ruthlessly plundered to provide musical highlights for a show that is either autobiographical or worse still, downright anodyne in its narrative, it is an absolute joy for London to be re-united with Tommy.

Released in 1969, The Who's brave and stunning concept album was the first (and arguably the best ever) rock opera, telling an original tale of a young boy turned deaf, dumb and blind after witnessing his RAF pilot father, until then missing presumed shot down in a Second World War dogfight, return home unexpectedly after the War and shoot dead his wife's (Tommy's mother) new lover.

Trapped in a life of sensory deprivation, evil and abusive family members heap merciless bullying and sexual abuse onto Tommy's torments until, by chance, he discovers a gift for pinball - and a road to his salvation emerges. Painting a gritty if sometimes psychedelic picture of a post-war Britain struggling to define itself through rock music, Tommy is not only a fabulous work of fiction – it also makes for fascinating social comment.  

I must declare an interest. Having grown up with Tommy as one of my soundtracks to the 1970s, along with hard-wired memories of Ken Russell’s 1975 film adaptation, my expectations (riskily) ran high for Michael Strassen's production at the Greenwich Theatre. Those expectations were not only met, but like Tommy's mirror they were smashed, in a show that offered an all too rare trinity of perfection in song, movement and music.

Credit first to the band. Under Kevin Oliver Jones' direction and guitar work, Lauren Storer on keyboards, bassist Paolo Minervini, with Kamil Bartnik on drums create a sound that offers a beautifully weighted tribute to the original mix, with a rock pulse that could have come straight from a time machine. One minor criticism is that the show’s sound desk still need to get the balance finely tuned.

The Overture’s opening bars set the standard for the rest of the evening. As Jones' band work their way through the score's iconic motifs, Mark Smith's choreography plays out the prologue's complex narrative solely through dance and mime. Smith’s routines are expert in both conception and execution and combined with Strassen's interpretation of the libretto, give rise to tableaux that are breathtaking in their ingenuity, simplicity and brilliance.

In the title role Ashley Birchall leads the company, onstage throughout, with a performance fused with energy and sensitivity. Birchall’s energy in I’m Free complementing the heart rending sensitivity he offers in See Me, Feel Me.  In a role that by definition demands an extensive use of mime and physicality Smith and Strassen had between them coaxed excellence from the young man. Miranda Wilford delivers her usual level of brilliance as Mrs Walker (Tommy’s mother) having to age, both physically and in attitude, from carefree young teenager to a middle aged matriarch, her Smash The Mirror an impressive solo.

Giovanni Spano is every inch a school bully as his Cousin Kevin tortures Tommy, though even his wickedness is trumped by John Barr, whose sensational take on the vile paedophile, Tommy’s Uncle Ernie offers perhaps one of the nastiest characters in the canon. If the lyrics to Fiddle About are shocking, they were matched only by the ghastly yet skilfully undertstated performance of Barr’s toothless menacing molester. Barr’s monstrous creation is enhanced later in act one by Smith’s choreography of Eyesight To The Blind, with both Ernie and Kevin in a Fosse-inspired routine – tatty trilbys replacing the legendary choreographer’s signature bowler hats.

Confined by a modest budget, Nik Corrall’s vision of the show’s sets is masterful. A clever use of rope suggested a domestic living room – whilst the brilliance of the pinball sequence will not be given away in this review.

Only here for three weeks, Tommy is unmissable and up there with the very best of musical theatre on offer in London today. See it, hear it!


Runs until 23rd August
Photo credit: Claire Bilyard

When Midnight Strikes

Gatehouse Theatre, London

*****

Book and lyrics by Kevin Hammonds

Music by Charles Miller

Directed by Grant Murphy & Damian Sandys

Midnight Strikes.....

When Midnight Strikes is that rare event on London's fringe. It's a show with a respectably sized cast of 12, each of whom is a simply perfect performer. One can offer no criticism at all upon any of the actors and whilst the show itself is well suited to the fringe, the standard of acting on display would grace (or possibly even be better than) many a West End stage.

The show centres upon the New Year celebrations that Chris and Jennifer West are hosting in their stylish Manhattan apartment. Early on, we learn that Jennifer has just discovered an unsigned note that documents her husband's infidelity and in a further revelation we discover that the note's author's handwriting matches that of an unspecified party guest. So the plot thickens as the evening plays out against a back story of a sexual whodunit.

Miranda Wilford is Jennifer and her performance is an exquisite take on someone who has been shattered emotionally, trying to get by with an attempt at a facade at her own party. She captures every minute nuance in a beautifully voiced performance of painfully anguished maturity. Directors Grant Murphy and Damian Sandys have shown perception in coaxing such understated brilliance from this actress.

The magic of this show though is how as Jennifer's life is falling apart, a series of vignettes that showcase each guest in turn, play out around her. The skill that Hammonds displays, in segueing so effortlessly from hilarity to heartbreak is a rare craft indeed and almosts suggests a mash up of Stephen Sondheim with Edward Albee. Sarah Harlington and Stephanie Parker's characters Twyla and Nicole lead a brilliant number, Shut Up, that mercilessly dissects the banal bullshit of cocktail party small talk. Parker later performs way above her years with a painfully wry What You See Ain't Always What You Get, while Ashley Emerson's Chris leads one of several sassily staged company numbers, Smoke Em If You Got Em. It is left to Lucyelle Cliffe to deliver the comedy sub-plot highspot of the night as her cleavage-spilling predatory harridan Murial, the next door neighbour in the block, virtually devours the virtually virginal software millionaire uber-geek Edward (Newley Aucutt), in the sofa based romp When I Make Love To You.

Sexual desire permeates the tale. Jessica Anne Ball is a cracking all-seeing waitress, John Hicks and Samuel Parker keep the male numbers of the cast balanced out with stunning contributions whilst Victoria Croft as hippy Zoe makes the best of perhaps the least defined character of the piece. Tash Holman's Rachel leads Tom Millen's Greg a merry dance as he tries to reignite their relationship and amidst all this mayhem there remains Jennifer's gradual descent into dignified despair.

Music is simply provided by Matt Rampling on piano with cello accompaniment. It's a simple touch that suits the elegant New York ambience of the story. If you like your romance wry, with just a twist of bitter irony, then there are few finer shows to be found in London.

Runs until 29th September