The Clockmaker's Daughter - Review

Landor Theatre, London

****

Jennifer Harding

Written by Michael Webborn and Daniel Finn

Directed by Robert McWhir

As Carrie The Musical closes in Southwark, so another show about a misunderstood young woman, who's blessed with supernatural powers, opens south of the river. But where Carrie was the re-imagining of a classic modern horror story, The Clockmaker's Daughter in Clapham’s Landor Theatre is a boldly written new fairy tale.

There are hints of Alan Menken, Stephen Schwartz and Howard Goodall in the music as we learn how many years ago clockmaker Abraham made himself a clockwork young daughter named Constance (geddit?) to replace his young dead wife. Notwithstanding the potentially "mechanically incestuous" complications that the scenario suggests (and which need to be ironed out in the inevitable future re-writes), the very best of fairy tales, on close examination, are all horror stories and there are distinct nods to Mary Shelley's Frankenstein as a starting point for this fable. We see Constance, like Dr Frankenstein's creature before her, learning to reason and to feel emotions and going on ultimately to be shunned by the world around her.

The plot is simple - and as Constance goes around the village performing acts of kindness, she represents a wholesome focus for the story to pivot upon. Her craving a human mortality only adds to the story's poignancy and with the inclusion of an appropriately boo-worthy villain, the show offers some gorgeous potential.

That this story works at all is largely due to the outstanding performance of Jennifer Harding in the title role. Robert McWhir has coaxed from her a subtly portrayed reality that convinces us of her soulless plight. Her robotic movements are just right, not too pronounced and Harding's gold-painted face defines her as being not of this world. Her singing is gorgeous too, making fine work of her big solos A Story Of My Own and the climactic Clockwork.

Jo Wickham hams it up magnificently (though she could shout a bit less) as the wicked Ma' Riley, out for Constance's downfall, Alyssa Martyn convinces as a charming young bride Amelia, whilst elsewhere the large company numbers again demonstrate Robbie O'Reilly's ability to achieve impressive ensemble work in the Landor's compact space, with both Keep It To Yourself and Market Day being cleverly staged numbers that were easy on both eye and ear. 

David Shields' stage design works wonders with a set that's a combination of trucks, projections and ingenious contraptions and credit too to Richard Lambert's lighting work that for the most part enhances both ambience and location.

This ain't the finished product yet, but it's a damn good work in progress. The show needs to lose at least 30 minutes and its script would benefit from some expert treatment too. But make no mistake, The Clockmaker's Daughter is a charming show that celebrates the ingenuity of today's new writing - it's fun to watch and a bit of a tear-jerker too. This wonderful story deserves a future life, possibly as a Xmas show somewhere or who knows, possibly on screen? There's enough potential in the story to hook even the most Disney-fied of today's audiences and I wish it well.

Runs until 4th July 2015

Picture credit: Poppy Carter Portraits at www.poppycarterportraits.com

She Loves Me - Review

Landor Theatre, London

****

Music by Jerry Bock
Lyrics by Sheldon Harnick
Book by Joe Masteroff
Directed by Robert McWhir

Emily Lynne (l) and Charlotte Jaconelli

It's been more than twenty years since She Loves Me was last performed in the West End. This charming confection of a tale, penned by Harnick and Bock at the same time as they were writing Fiddler On The Roof, only had a short life on Broadway in 1963 although went on to enjoy award winning revivals on both sides of the pond in the 1990s. Drawn from Hungarian Miklos Laszlo's 1937 play Parfumerie (which in turn was to also inspire the Tom Hanks/Meg Ryan movie You've Got Mail) the plot revolves around an unlikely pair of star-crossed lonely hearts, who fall in love through an exchange of letters, whilst working side by side in the same perfume store and (initially at least) both blissfully unaware of who their paramour truly is. The story is as heart-warming as it is corny and in today's digital era, playing to a modern audience, it is barely more than a frothy fairy tale.

Yet this production of She Loves Me is another example of London's fringe theatre at its very best. Robert McWhir is one of the few directors in town who can strip down a forgotten show from Broadway's golden era and with a talented cast, make it sparkle with sentiment, wit and fabulous melodies.

Charlotte Jaconelli and John Sandberg play Georg and Amalia, the hapless lovers. Jaconelli a finalist on TV's Britain's Got Talent and already an accomplished recording artiste, makes a brave stage debut in a leading role with a performance that occasionally wobbles, but which will surely smooth out as she settles into the run. It is when Jaconelli sings though that this remarkable young woman defines herself as one of the leading voices of her generation. Her voice fills and thrills the compact Landor with amongst many songs, her Will He Like Me? being a particular treat. Sandberg carries the male lead with confidence and gusto. Half way through the second act, his treatment of the show's title song, with a cleared stage to himself, is a glorious demonstration of panache filled showmanship.

Credit to casting director Benjamin Newsome, who has selected a cast of gems for McWhir to work with. In a key supporting role at the parfumerie Emily Lynne’s Ilona Ritter is a combination of flawless voice, movement and comic timing, with her two big numbers, Ilona and A Trip To The Library, both proving perfectly annunciated songs. Matthew Wellman is a definitive moustachioed love-rat Steven Kodaly, whilst Joshua LeClair’s Arpad, the delivery boy desperate for a job in the store itself, sheds the years brilliantly to play the keen teenager.

McWhir also works wonders with the show’s outstanding ensemble. The close harmony work, occasionally sung a-cappella, is sensational with Rosie Ladkin and Annie Horn in particular maintaining a striking presence throughout. The comic highlight of the night however rests with Ian Dring doubling up as both the elderly Mr Maraczek the parfumerie’s owner and as a Waiter in a romantic nightspot of questionable repute, offering a bewigged performance of outrageous camp-ness suggesting Joel Grey crossed with Julian Clary.

As ever, McWhir's creative crew are formidable. There is not too much dance in the show, but nonetheless Robbie O’Reilly’s work again shows how well her ideas partner the directors'. Ian Vince-Catt on keyboards conducts a stringed duet that give a finely reduced interpretation of Bock’s original score as David Shield’s designs seal the Hungarian illusion of the piece. His art nouveau painted backdrop and mini-trucks that whirl around the stage to create the store, a café and an apartment as well as exterior settings are inspired creations.

A period piece for sure, but Harnick and Bock have written some fabulous songs and opportunities to see works this rare, performed this well, don’t come around often. Like a tube of Maraczek’s eponymous beauty cream the production oozes romance and as Valentine’s Day approaches, there are few shows that match the fabulous feel-good factor of She Loves Me.

Runs until 7th March 2015

Read my revealing interview with lyricist Sheldon Harnick here.

Photo credit: Darren Bell

Damn Yankees - Review

Landor Theatre, London

****

Words and music by Richard Adler and Jerry Ross
Book by George Abbott and Douglass Wallopp
Directed by Robert McWhir

Poppy Tierney

There is genius at work in Clapham North as the Landor Theatre’s creative powerhouse of Robert McWhir alongside choreographer Robbie O’Reilly, again combine to make theatrical magic from a once charming tale of Faustian compromise, set in 1950’s Washington DC.

In a time when the New York Yankees dominated US baseball, Damn Yankees explores the frivalous scenario of Joe Boyd, a middle-aged overweight fan of rivals, the Washington Senators, striking a pact with the Devil to be transformed into a youthful athlete, get signed by the Senators and lead his team to victory over the (damn) Yankees. This slight story, often ridiculous, fails to pass muster in the modern era however, but as can be so often the case, the devil really is in the delicious detail of this show.

Satanically stealing every scene is Jonathan D Ellis' devilish Mr Appleyard, For a fringe production, Ellis' immaculately tailored shiny suit is worth the ticket price alone. His presence, voice and charisma are just a delight, whilst in his solo, Those Were The Good Old Days he single-handedly re-defines the eleven o'clock number. Partnering Appleyard is his infernal accomplice Lola played by Poppy Tierney, herself only recently seen on this side of the Styx in Newbury’s The Witches of Eastwick. Tierney, whose lipstick and outfits are as red as her name, looks as good as she acts, as good as she sings. Appealing to every red-blooded male in the house, she drapes herself around Boyd, desperately trying to lead him into temptation as her big solo, a tango-themed Whatever Lola Wants is not far short of meriting the great Charles Spencer's description of "pure theatrical Viagra".

For those whose preference is to gaze upon the well formed male physique, there is talented eye-candy in abundance. The act one reprise of Heart, set in the Senators’ locker room and sung by the team clad scantily only in towels, is delivered with such polished provocative gusto that one wonders if it had been rehearsed in a Chariots sauna.

The company work is a delight throughout. Nova Skipp is tenderly and plausibly menopausal as Joe's deserted wife Meg, whilst veteran newcomer Gary Bland gives a solid performance as Joe, coming to realise he ultimately loves his devoted wife more than his beloved baseball team. Amongst the newly graduated cast members Alex Lodge as the transformed "younger" Joe makes the best of a sugary-sweet role, whilst Elizabeth Futter puts in a fine turn as a journalist who suspects that there is more to young Joe than meets the eye.

But away from the stage and aside from Ellis and Tierney, the real stars of this strangely enchanting piece are McWhir and O‘Reilly. With more than a nod to Fosse and confidently underpinned by Michael Webborn’s three piece band this production's dance work, already Offie nominated, is a breathtaking delight. The plot of Damn Yankees may be unremarkable, but these performances are unmissable.

Runs until 8th November 2014

Meet Me In St Louis

Landor Theatre, London

****

Songs by Hugh Martin & Ralph Blane
Book by Hugh Wheeler
Directed by Robert McWhir

Robert McWhir directs a polished tribute to Vincente Minnelli’s classic movie with his Landor company staging the UK premiere of the 1944 movie’s more recent Broadway spin-off. Meet Me In St Louis starred Judy Garland (who was to meet Minnelli on set, marry him in ’45 and give birth to Liza one year later) and was to prove MGM’s biggest hit to date, eclipsed only by Gone With The Wind. Its tales of youthful love and petty family squabbles may be as whimsical as a World Fair candy-floss, but the film’s lavish budget and frivolous spectacle clearly proved a welcome distraction to a nation embroiled in WWII.

Based around the loves and passions of the Smith family daughters at the turn of the century, Emily Jeffreys plays Rose, the eldest of the girls, chasing a beau from New York, with angst, romance and sisterly giggling in a performance that is perfectly weighted for the era. Driving the narrative though is second daughter Esther, (Garland’s role in the movie), literally in love with The Boy Next Door. The movie was conceived as a Garland showcase and hence her character was also given the show’s two signature tunes, The Trolley Song and Have Yourself A Merry Little Christmas. Georgia Permutt’s Esther is a charming professional debut with a presence that commands our focus, gels the company and sounds delightful. The lyrics of Have Yourself A Merry Little Christmas carry significant history written whilst so many US troops were away fighting. The song's message resonates with Vera Lynn’s We’ll Meet Again and with conflict even today in Afghanistan Permutt’s elegant rendition, amidst falling snowflakes, is poignant. 

Also notable in the cast are Carolyn Allen’s delightful Irish maid Katie and Rebecca Barry’s petulant infant sister Tootie, whilst Bryan Kennedy’s Alonso Smith, the head of the family, affectionately demonstrates that the challenges of fatherhood are timeless. 

Robbie O Reilly choreographs with verve. The cakewalk number Under The Bamboo Tree proves a well drilled hoot, whilst The Trolley Song, Christmas Waltz and The Banjo are ingeniously spectacular routines given the Landor’s intimacy. Michael Webborn's direction of the four piece band maintains his usual high standard of musical accompaniment. Credit too to Francisco Rodriguez-Weil whose sliding screens and immaculately painted backdrop make for clever scene transitions.

Meet Me In St Louis will appeal to those who want to relish a contemporary tribute to a Hollywood classic. It’s a beautifully crafted production and whilst the trolleys may no longer run to Clapham North, audiences should. It’s a shining star of a show.

Runs to 18th January 2014

[title of show]

Landor Theatre, London

****

Music and lyrics by Jeff Bowen

Book by Hunter Bell

Directed by Robert McWhir

(l-r) Sophia Ragavelas, Simon Bailey, Sarah Galbraith and Scott Garnham

One of the most talked about arrivals on London's fringe, [title of show] opens at that powerhouse of musical theatre, Clapham's Landor. Using the modern buzz-phrase, it is a "meta-musical" (a show that is written around the business of shows), about two guys who write a musical and the two actresses who hang with them and inspire them through the show's development. Musicals don't come more "meta" than this and [title of show] isn’t so much a show that eats itself, as a one that gives birth to itself. The plot is a broad representation of the two writers’ real life journey, composing an entry for a musical theatre competition and their story is one long, knowingly wry, look at the harsh aspects of both writing for and acting on, the musical stage.

By its very nature, the plot would suggest echoes of Merrily We Roll Along, recently seen at London’s Menier and then in the West End. In fact, the only similarity between this show and that Sondheim piece is the outstanding quality of the actors. McWhir's cast is only four strong, but he has selected some of London's finest talent who offer a masterclass in comedic musical theatre. Perfect harmonies, solos, duets and meticulously rehearsed ensemble work are a joy to behold. But where Sondheim's piece focused on the human frailties of vanity and greed in show biz, [title of show] is a far lighter piece, sometimes perhaps too light, that is no more than a sharply written piece of satire, often brilliant even if occasionally over-indulgent and shallow.

Simon Bailey and Scott Garnham play the real life writing duo of Hunter and Jeff respectively. Where Hunter is more the creative spark of the pair, Jeff who by is own admission spends too much time "procrastibating" either watching old TV series or porn, is quite the creative muse for the partnership. These two talented actors are wonderful with spot on timing, both in synchronised harmony and in working the script’s gags. They are a sublime double act and their take on the early number, Two Nobodies In New York suggests the potential of a modern day pairing to match that of Dean Martin and Sammy Davis Jnr. Maybe a future cabaret idea perhaps…

Sophia Ragavelas and Sarah Galbraith are Heidi and Susan the working/aspiring actresses who share the journey of the show's evolution. Susan introduces herself as a "corporate whore" resting from the stage as she works an office job. There isn't a weak song in the show, but her leading of the cast in Die,Vampire Die, an outpouring of hate against ne'ersayers, critics and her own personal self doubt is a glorious turn from the talented young American. Where Galbraith is a former Disney princess, Ragavelas is clearly current MT royalty with Fantine and Eponine already under the corsetry of her career. The expectations that surround her performance are consequently sky-high and you know what? She doesn’t just meet expectations she smashes them. This diminutive actress’ poise, presence and pitch are perfection and her solo I Am Playing Me is simply a treat.

As always, that inspired combo of Robbie O Reilly’s choreography with McWhir’s perceptive eye for nuance and interpretation, make for a polished production, with credit to Michael Webborn on piano and shaker and who also gives a very convincing turn as Larry the inner-show’s MD. That this creative team, enhanced by Ben Newsome’s casting, have assembled such a stellar company speaks volumes for their reputation and ability.

The in-jokes are frequent but not overpowering and there is more than enough witty meat on the bones of this show to please any lover of musicals, not just those “stagey-folk” connected with the industry. Go see [title of show]. To quote Sondheim : “It’s a hit!”

Runs until 14th September