Harold and Maude - Review

Charing Cross Theatre, London

****

Written by Colin Higgins

Directed by Thom Southerland

Bill Milner and Sheila Hancock

The art of telling truly great stories is in part a science. A captivating premise and fully formed characters can offer an opening for an audience to connect with a production. Occasionally it’s done well. But when the formula is perfected, the result is undeniably pure magic. 

Hopeful, joyous and hilarious, Harold and Maude is one of these instances that nudges towards perfection. It is the story of a nineteen-year-old who is deeply disconnected from the world, a much older woman who with a profound connection to life and their effect upon one another after meeting at a funeral. Yet while much may be made of the scandalous nature of the relationship for the age gap spanning several decades, to describe it in these terms alone is reductive. 

Harold Chasen (Bill Milner) perfectly articulates the façade that a young man might put up to shield himself from a mother’s projections on to her son. Mrs Chasen (Rebecca Caine) is a formidable yet not monstrous woman, desperate only for her son to grow up and take responsibility, but in the form of a respectable marriage. It is, after all, all she knows.

As Harold spends more time with Maude, we witness how he blooms beneath her revitalising effect. She has lived so many lives, while Harold has yet to live one and the contrast is stark.

Sheila Hancock as Maude is utterly captivating; a magnetic, technicolour whirling dervish, it should come as no surprise that Harold falls in love with her. She is spectacularly lovable and unbelievably believable.  

A snappy – yet not rushed – script lovingly draws out the nuances in key relationships; between the titular characters, Harold and his mother, Harold and the world, Maude and the world. Amidst it all there are many things including a seal, a gong, a tree and some extraordinary paintings. None of this is superfluous, though. Everything has a part to play and bears testament to a masterful feat of set design (Francis O’Connor) and direction. 

The supporting cast are fantastically humorous and talented, alternating between bringing Michael Bruce’s score to the stage with an array of instruments and playing various characters. Samuel Townsend delivers a particularly noteworthy performance.  

When told well, coming of age stories are very often a reminder of the fragility and beauty of life, inspiring a carpe diem attitude tempered with immense gratitude. That the ‘Harold and Maude effect’ delivers this message completely liberated of any subtleties is a shining beacon of hope for humanity in otherwise trying times. Like Maude herself, it really is ‘an original talker’ and a production entirely befitting her sparkle.

Runs until 31st March

Reviewed by Bhakti Gajjar

Photo credit: Darren Bell

Grey Gardens - Review

Southwark Playhouse, London


*****


Book by Doug Wright
Music by Scott Frankel
Lyrics by Michael Korie
Directed by Thom Southerland

Jenna Russell and Sheila Hancock

Making its European premiere, Grey Gardens is a blend of fact and fiction that tells of Edith Bouvier Beale, aunt to and her daughter Edie. What sets this family apart is that the two women were respectively aunt and first cousin to the woman who was to become the world’s First Lady, Jacqueline Kennedy Onassis

Based upon an acclaimed documentary, the show is a cultural fusion that blends Billy Wilder's Sunset Boulevard with Galton and Simpson's Steptoe and Son (with just a hint of The Great Gatsby). The first half, set in 1941, describes the patrician ascendancy of the Bouvier Beale family whilst act two pitches forward thirty years, depicting almost unbelievably, the flea-infested squalor to which mother and daughter had descended. Grey Gardens their mansion, now overrun with cats. 

The drama of this show is as magnificent as its music, with an ingenious casting conceit. We meet Sheila Hancock, the elderly Edith as the curtain rises, though she is quickly transformed into Jenna Russell who plays (the younger) Edith in act one and (an elder) Edie after the break. Hancock, amongst the finest of her generation, is witheringly contemptuous towards her daughter and yet desperately dependent upon her. She can also sing with remarkable presence - her take on The Cake I Had, a treat.

Russell as Hancock's younger self, captures the manipulative dominance that was to stifle her daughter's attempts at love, whilst in playing the 56 yo Edie (brilliantly costumed in an array of scarves suggesting variously cat-woman crossed with a jihadi bride) she also captures the profound love that her character feels for her mother. If the whole thing wasn't so damnably credible as a dysfunctional family, it would be ridiculous.

And then there's Jenna Russell's voice. Virtually peerless in musical theatre and picking on just two of her stunning moments, Russell’s act two opener The Revolutionary Costume For Today raises the roof, whilst her 11 o clock number Another Winter In A Summer Town touches hearts with its perfectly weighted pathos.

It's not just Russell and Hancock though. Edie in the 1940's is given a captivating performance by Rachel Ann Rayham, whose Daddy's Girl, sung with her hopefully intended Joseph P Kennedy is a glorious fusion of music and movement. (Great choreography Lee Proud). Credit too to the remarkable Aaron Sidwell as the young Kennedy. From Loserville, through American Idiot, to now playing JFK's older brother, Sidwell masters the dynasty's manicured scion. 

Jeremy Legat as Edith's preppy consort musician George Strong offers another perfect cameo, whilst Ako Mitchell and Billy Boyle in a number of roles complete the adult company. As is her custom, Danielle Tarento has cast as well as produced the show and her work here is flawless.

To be fair though, all the creative team have been surpassed themselves. Tom Roger's multi layered set is magnificent, Howard Hudson's lighting again highlighting the subtleties of time and location, Andrew Johnson's sound design ensures neither note nor word are lost, whilst Michael Bradley's 10 piece band make Frankel's complex score a delight.

Tarento and Southerland have never been better and in all honesty there's not much on offer anywhere in London right now that could top this production. Southwark Playhouse should be rightly proud of Grey Gardens. It is unmissable theatre that demands a transfer.

Runs until 6th February

Photo credit: Scott Rylander

Peter Pan - A Musical Adventure

Adelphi Theatre, London

****

Music & lyrics by George Stiles & Anthony Drewe

Directed by Jonathan Butterell

Jenna Russell and Evelyn Hoskins

There have been many interpretations of J M Barrie's Peter Pan story but this musical version by George Stiles & Anthony Drewe, with book by Willis Hall, deserves a place of note. The tale of the boy who doesn't want to grow up and the three young Darling children of Bloomsbury he takes on an adventure to Neverland, has a charm which beguiles children and adults alike.

Stiles & Drewe (Honk!, Just So, Betty Blue Eyes) premiered Peter Pan in 1999. This concert version of the full production, imaginatively staged by Jonathan Butterell, worked well, with the actors and singers in front of a full orchestra on stage. Very often in concert productions, the larger group numbers can suffer from their lack of space and set; not so in this case. Astute choreography and spot-on delivery made a highlight of The Lost Boys Gang, a seriously catchy tune performed with gusto by the talented ensemble of Lost Boys.

George Stiles has written some enchanting melodies within a rich score, Never Land and There's Always Tomorrow having a distinctly timeless quality. In the hands of Jenna Russell, the show opened with accomplished vocals in Just Beyond The Stars, Miss Russell giving every phrase meaning; a skill she brings so effortlessly to her work. She imbues Mrs Darling with a warmth and the relationship between her and her husband Mr Darling (Bradley Walsh who also plays Captain Hook) seemed real, setting the tone for the evening. The casting of the three Darling children was spot on. Toby Nash and John McCrae as Michael & John were both funny, with huge spirit and not a hint of wimp about either of them.

However, Evelyn Hoskins as Wendy was a revelation. Her solo, Who Will Mother Me? was a show stopper, delivered beautifully. Miss Hoskins' voice soared within the Adelphi Theatre, her interpretation of the eldest Darling child a delight to watch. 

The cleverness of Anthony Drewe's lyrics is particularly apparent in the pirate songs. Bradley Walsh relished playing Captain Hook, making Murder For a Pirate with a Heart a hilarious musical soliloquy. His closing of Act 1 was terrific. Walsh was admirably supported by pirate crew of imaginative actors, each creating a unique character that you could "see" without them having costume or props. Particular note to Steve Elias and John Barr for their subtle nuances and physical precision that was both captivating and hilarious.

Sheila Hancock added gravitas as the story teller, holding the audience in the palm of her hand at the end of the show when revealing she is, in fact, Wendy, the wide eyed child now older, having lived her life fully, without fear. Peter's break down at this realisation at the close of the show was a satisfying twist to a familiar story.

The eponymous role was played with great energy by Ray Quinn. Quinn's interpretation of Pan was assured but a touch heavy handed at times, lacking innocence. However, his personal charm worked well for what is a tough role.

David Shrubsole conducted with aplomb and the finale, when orchestra, actors, children and choir joined together, a little bit of magic was cast within the Adelphi Theatre.

Guest reviewer: Andy Bee 

Barking In Essex

Wyndham's Theatre, London

***

Written by Clive Exton
Directed by Harry Burton

(l-r) Sheila Hancock, Lee Evans and Keeley Hawes

Barking In Essex is a new comedy to arrive in the West End. A classily cast show but nonetheless very much a tale of two halves. The play opens in a garishly tacky lounge somewhere in perma-tan Essex, where clearly no expense has been spared on a huge flat screen TV, a juke box and where chintzy posters of Brooklyn Bridge (complete with naff neon mini lights) and Pulp Fiction, adorn the walls. Rarely has a designer been so deliciously tasteless as Simon Higlett, in this perfectly contexted setting. The release of murderous villain Algie from jail is fearfully awaited by his family (don't worry, he never shows up and lest you think that is a spoiler, the programme and publicity, rather spoilingly, do not list Algie as a cast member.) The key to the plot is that whilst Algie's been locked up his family have spent all his swag and they know that his revenge will be ruthless.

Sheila Hancock is a marvellous ageing matriarch, whose withering put downs and occasional brilliantly timed dottiness are the mark of a true professional. This actress is long overdue a Dame-hood, but based on this show and its inconsistent material, she may yet have to wait a little longer. Lee Evans is her son and Keeley Hawes his wife. The play’s dialog is frequently foul mouthed and those who are easily offended should stay away. Littered with profanity indeed, but snobs beware, as for many years the language of the barrack room has gradually worked it's way into our common parlance, be it on the football terraces or in the reality TV shows that wallpaper our lives. People swear and as this blog has commented before, if mined responsibly both the f- and the c-word can yield rich seams of comedy. Well in Act One they do, with dialog that supports Evans' madcap antics in a tale that bears more than a nod to the genius of an Ealing Comedy complete with macguffin, laced with comeddia dell'arte and all brought bang up to date.

Act Two is more confused, with a strangely Latin-styled location and a story that whilst having been delightfully tenuous in the first half, crumbles away to a ridiculous ending. The only bit of humour post-interval is from Evans' physicality of performance though Karl Johnson puts in a craftily created performance as a doddering hitman and as a character who swears considerably less than his fellow performers, Exton has actually given this supporting role some of the show's funniest lines.

Lee Evans' fans will not be disappointed. His maladroit rubber faced presence is a gift to comedy writers, who when they sense their script may be tissue-paper thin, know that Evans' quirky gift will still salvage a laugh from the moment.

The first half of this show is an inspired work of funny fantasy, the second half is tedious. Exton's profanity dictates that this has to be a show for adults, so have a stiff drink before the show or even better, make it a large one in the interval. When you then find yourself watching Barking In Essex through beer goggles, you'll think its brilliant!


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