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Music by Steve Margoshes
Lyrics by Jacques Levy
Book by Jose Fernandez
Title song 'Fame' written by Dean Pitchford & Michael Gore
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| Shoko Ito |
Some 30 years after its European premiere in Plymouth, Fame The Musical returns to the Theatre Royal, giving “P.A.”, The New York Academy For The Performing Arts a 21st century interpretation, this time helmed and choreographed by Tom Jackson-Greaves.
Soutra Gilmour designs an ingenious set that perches on Plymouth’s revolve, taking us in and out of the dilapidated arts school located in midtown Manhattan, a blend of decades-old pipework, graffiti and suspended lightbulbs that all create an ingeniously effective, grimy backdrop to the narrative.
Jackson-Greaves’s roots hail from an impressive dance history and his take on Fame’s big numbers is impressive. Opening with Pray and then Hard Work, the staging and structure of the routines is breathtaking, with close harmony work that is gorgeous. Shanay Holmes leads the teaching staff as the highly-principled Miss Sherman. Well cast, Holmes is beautifully restrained throughout, not least in act two’s These Are My Children. It’s a neat touch that sees her given the opportunity to lead a belting singalong reprise of the title song as the cast take their bows.
There are standout gems amongst the cast, not least Megan Ellis as Serena who is exquisite in her singing as Let’s Play A Love Scene and Talia Palamathanan as the tragic Carmen Diaz who has to explore the full range of emotions across both acts, ranging from an outstanding Fame in the first half, to the bleakness of In L.A. after the interval. Harrison Wilde’s comic highlight of Can’t Keep It Down is another of the show’s treats. As Iris Kelly, Shoko Ito's dance moves are phenomenal.
Inspired by Alan Parker’s 1980 movie, Fame is a gritty tale of hope and endeavour, spiked by moments of tragedy. It is a tough script that requires a broad depth of performance from its cast, particularly in the dialogue scenes. Away from the moments of song and dance, the show’s pace drops and one feels that Jackson-Greaves lacks that director’s killer instinct, needed to extract the show’s full dramatic potential from his company.
But it’s the songs that power this show, not least the final full company numbers of an exhilarating I Sing The Body Electric leading into the bittersweet anthem of Bring On Tomorrow, both songs delivering powerful punches with the latter proving gorgeously poignant.
Only on for a short run, Fame The Musical has the potential to travel far beyond Plymouth. Bring on tomorrow for this beautiful show.
Runs until 15th August
Photo credit: Johan Persson
