Death Takes A Holiday - Review

Charing Cross Theatre


*****


Music & lyrics by Maury Yeston
Book by Thomas Meehan and Peter Stone
Based on the play La Morte in Vacanza (Death Takes A Holiday) by Alberto Casella

Chris Peluso and Zoe Doano

It is rare that a musical is presented with such exquisite elegance as Thom Southerland delivers with Death Takes A Holiday, making its European premier at the Charing Cross Theatre. The essence of Maury Yeston's musical, itself drawn from Alberto Casella's 1920s Italian play, is that of a love story spun from the finest filigree, yet, like Mary Shelley’s Frankenstein, played out against a hauntingly gothic backdrop. 

The prologue sees the beautiful Grazia thrown from a speeding car in a horrific crash. Her death must surely be unavoidable but Death himself, so captivated by her beauty, spares her. Intrigued by the mysteries of humanity, whose lives he has claimed and stalked over the centuries, for one weekend only Death grants himself two days of mortality. Assuming the identity of a Russian Prince, he visits Grazia's home as an unexpected house guest and what follows is quite literally a fairy tale of enchanted love and ultimate tragedy. Throughout Death's weekend vacation no-one (anywhere) dies, Grazia's family discover new depths of relationships, while Grazia herself falls in love with Death, in a passion that is as deeply doomed as it is reciprocated. 

It's a brave story to stage - for to suspend the audience's disbelief and convincingly create a world that is potentially of the darkest horror, requires nothing less than precision stagecraft. Leading the show are Zoe Doano and Chris Peluso as Grazia and Death. The two are magnificent and with both having only recently led in major West End roles, their pedigree is breathtaking. Zoano's soprano voice combines power with fragility. Her four solos are compelling and commanding, while her duet with Peluso, More And More, is a heartbreaker. Likewise Peluso, whose striking performance captures the inscrutable paradox of his weekend of humanity. We believe he is a man with the ultimate of powers and yet at the same time reduced to a childlike curiosity when confronted with that most profound and rawest aspect of humanity, the power of love.

It’s impossible not to care for nearly all of the supporting characters too. Mark Inscoe is the Duke Lamberti, Grazia's father, already mourning the recent death of his son and as the host, charged by Death not to reveal his house guest’s true identity. As he watches his daughter fall for Death's charms and knowing what could potentially await her, Inscoe's delivery of this most complex of emotional struggles adds yet another layer of tragic beauty to the plot. In a modest role Kathryn Akin's Stephanie, Grazia's mother delivers the most poignant of numbers that mourns her son with Losing Roberto, Yeston’s composition truly touching the heart.

Samuel Thomas offers another ingenious cameo as the battle-hardened fighter pilot who recognises the Russian Prince for who he really is, while James Gant's butler Fidele, offers occasional moments of well nuanced comedy that are beacons of relief along the story's bittersweet arc. There are equally weighted moments of brilliance from Anthony Cable and Gay Soper as a veteran star-crossed couple finding love, their ageing temporarily paused during the weekend's magic and from Scarlett Courtney and Helen Turner as Grazia’s contemporaries. 

The creative talent behind the show is as topnotch as the cast with Morgan Large's set proving as simple as it is wondrous. A rotating set of palazzo walls and doorways, graced by rococo chairs, ingeniously create the Lamberti home, complemented by Jonathan Lipman's period-perfect costuming, with Matt Daw's lighting proving both sinister and spectacular in equal measure. Hidden away offstage, Dean Austin's 10 piece band could easily pass for a far larger West End orchestra, such is their treatment of Yeston's soaring score.

The show deserves to be snapped up for a longer run or transfer - it really is that good, but until then rush to the Charing Cross Theatre. Death Takes A Holiday is the darkest of fairytales in a work of musical theatre that is at the very top of its game.

Runs until 4th March
Photo credit: ScottRylander

Kings Of Broadway - Review

Palace Theatre, London

*****

Directed by Alastair Knights

Conducted by Alex Parker

James Bolam and Anne Reid

Christmas came early to the West End last night, for just like Max Bialystock, Mel Brooks’ legendary king of Broadway, Alex Parker has done it again with his own Kings Of Broadway. Though where Bialystock famously flopped, yet again this remarkable conductor cum impresario succeeded spectacularly in mounting a one-night only extravaganza of the work of Jule Styne, Stephen Sondheim and Jerry Herman. Either Parker has amassed a multitude of favours to call in, or, and this is far more likely, he has simply earned the respect of an army of talented professionals including a 30-piece(!) orchestra and a cast of stellar proportions, to put on a concert that proved to be as polished as it was entertaining.

Reprising a partnership that worked well for the recent A Little Night Music, Alastair Knights again directed, with Parker remaining strictly on the baton. This time around however, Knights was assisted by Emma Annetts’ choreography, an addition that only enhanced the show. Staged only amidst a small space to the front of the on-stage orchestra, and with all the performers pleasingly “off-book” the whole occasion was really rather splendid. In a nod to Broadway’s Golden Age, and with Imelda Staunton’s spectacular Gypsy having closed only the night before, Parker got the evening underway with that show’s overture (abbreviated) delivered with panache and flair. 

The night was packed with riches. In a duet that was to stun the packed Palace, the accomplished Anne Reid and James Bolam performed Jerry Herman’s Almost Young from the little known Mrs Santa Claus. Who knew Bolam could sing? And even if this likely lad wasn’t quite pitch perfect, to see these two national treasures singing side by side re-defined the phrase “northern powerhouse”.

Knights and Annetts were at their best in their arrangements for female ensembles. The first half was to close with a medley of “parade” themed numbers that featured Caroline Sheen offering Before The Parade Passes By, Zoe Doano singing Parade In Town and Celinde Schoenmaker storming her way through Don’t Rain On My Parade, the three women creating an exquisite harmony. 

Towards the end of the second half a phenomenal female five-some left the audience stunned as Sheen smashed If from Two On The Aisle, Anne Reid was divine with And I Was Beautiful whilst Janie Dee came close to making everybody rise with a scorching Ladies Who Lunch. Caroline O’Connor (London’s original Mabel from nearly 20 years ago) brought a heartfelt nuance to Time Heals Everything, whilst completing this quintet the ever excellent Laura Pitt-Pulford (who is arguably the best Mabel we’ve seen this century) delivered her own particular version of excellence with a thrilling take on Funny Girl’s People. 

In an evening festooned with sparkling performances, Laura Tebbutt’s Diamonds Are A Girls Best Friend proved another treat whilst Jordan Lee Davis’ glamorously frocked interpretation of I Am What I Am was mostly excellent – but when we see Davis do this number again (and let’s hope we do) he needs to give more of a belt to the song’s spectacular build-up.

A novel twist saw Jamie Parker and real life wife Deborah Crowe play the Baker and his Wife from Into The Woods, whilst the impressively maned Bradley Jaden sang West Side Story’s Maria with a perfect and rugged fidelity. A mention too for Andy Conaghan’s Mack, singing Movies Were Movies and to Richard Fleeshman who gave a whole new slant (literally) to Buddy’s Blues.

Two impressive ensemble numbers wrapped the show up. A gorgeous Being Alive stunned with its group harmonics, before Jack North led the entire company in Hello Dolly's Put On Your Sunday Clothes. 

To be fair, this review only mentions a selection of the musical theatre talent that Parker and Wrights had assembled – there was much, much more on stage and London (or maybe a tour, producers take note) surely deserves nights like these to run for longer. The Kings Of Broadway demonstrated not only excellence in execution, but also a meticulous approach in its planning and arranging, with Parker’s attention to orchestral detail, evident in the cleverly tailored number-linking segues, a craft in itself.

Here’s to his next event. Everybody rise.


Photo credit: Darren Bell

Les Miserables - Review

Queens Theatre, London 


*****

PROLOGUE 

It has been a while since I'd last seen Les Miserables in the West End, but every now and then a show’s casting proves so irresistible that it cries out to be seen again. 

Firstly, there is the wonderful Carrie Hope-Fletcher's take on Eponine. Having seen Carrie perform at a couple of concert events I had long hankered after catching her acclaimed interpretation first hand. And then there’s Rachelle Ann Go’s Fantine. I’d adored her Movie In My Mind in Miss Saigon, but on hearing Rachelle sing I Dreamed A Dream at Hugh Maynard’s Hippodrome gig a few months ago, she simply set spines tingling.  

However, both of those yearnings were eclipsed by the announcement, earlier this year, that Phil Daniels was to play musical theatre’s ultimate scum-meister, taking over as M. Thenardier. 

Virtually a national treasure, Daniels etched himself into the nation’s psyche in the 70s and 80s. Along with a youthful Ray Winstone he offered a brutal perspective on British borstal life in Alan Clarke’s controversial movie, Scum – if you haven’t seen that picture, download it and find out why Winstone has been known forever since as The Daddy. And from then on, including The Who's iconic Quadrophenia and later film and stage performances, Daniels’ work has been nothing sort of exceptional. 

And so it was, that with this cast, Les Mis moved back on to my “unmissable” list…

REVIEW

Author/Dramatist ALAIN BOUBLIL
Book & Music CLAUDE-MICHEL SCHÖNBERG
Lyricist HERBERT KRETZMER
Adaptation & Direction TREVOR NUNN
Adaptation & Direction JOHN CAIRD

Les Miserables has long impressed me, not just for having such a stirring libretto, but also for the cheekily economic creativity of Alain Boublil and Claude-Michel Schoenberg that was able to hang quite so many different songs on just a handful of (oft repeated) melodies! Herbert Kretzmer deserves handsome credit for the lyrics. Kretzmer has compressed Victor Hugo's panoramic vision of 19th century France into 3 hours of sung-through genius, with a wit and nuance perfectly tailored to the modern idiom.

On the night of this review Adam Bayjou was standing in for Peter Lockyer as the eponymous ex-con Jean Valjean. Youthful but nonetheless assured, Bayjou mastered the gravitas of driving the show, stirring and inspirational as needed and touching souls with an exquisite Bring Him Home.

Hunting him across the years is Jeremy Secomb's Javert. Secomb, with the full built frame of a cop, pound for pound probably outweighs the more diminutive Bayjou whose lifting of both cart and carcass through the show as required defies probability. Secomb though brings just the right amount of dour, booted, gravitas to the lugubrious lawman including a thrilling delivery of Stars. And as Javert grapples with Valjean's divine mercy that he simply cannot comprehend, this talented actor displays a truly tortured soul. 

There can never be a great deal to write about Fantine, perhaps one of theatre's most underwritten leading ladies, but Rachelle Ann Go carries the pride of the Philippines with her as she re-defines the role, making I Dreamed A Dream truly her own.

Carrie Hope-Fletcher's Eponine must surely have proved an inspired casting over the last couple of years. She embodies her character's sincerity with beauty, coquettish charm and a voice of amazingly youthful power. And as her coat falls open to reveal that bloodstained blouse, even seeing the show for the umpteenth time one can't hold back the tears. For Hope-Fletcher her Les Mis time is running out and one looks forward to see how her talents will next be deployed.

Perhaps the toughest roles in the show are those of Cosette and Marius - their love is sincere, but where Eponine is endowed with a tragically romantic death, these youngsters see their finale wedding overshadowed first by the Thenardiers' thievery and then Valjean's demise. Tough gigs indeed, but Zoe Doano, as ever, defines enchanting as she falls for her handsome student, filling the role with a passionate credibility and a celestial voice. And if Rob Houchen's Marius is a slightly understated gem, at least it’s well polished.

And then there's Katie Secombe and Phil Daniels as the ghastly Thenardiers. The pair's timing, acting and song are a masterclass in bitter-sweet grotesque. Blessed with comedy in her genes Secombe's Mme T is every inch a Lady Macbeth of her time, keeping her performance just the right side of pantomime. Daniels simply lives up to expectations. With his park life voice that’s been dredged from somewhere east of Tilbury, Daniels defines the red-nosed brigand perfectly. It will take some double act to match this monstrous couple.

Above all, the credit for Les Mis' continued excellence has to lie with its producer. Cameron Mackintosh may have elevated this particular show to the level of a global franchise - but he's never sacrificed a moment of its quality, Amidst John Napier’s ever revolving designs, the show’s details remain finely honed. And whether it is (simply by way of example) Adam Pearce's immaculate multi-role ensemble work, or Alex Parker's pinpoint musical direction, Les Miserables remains an example of world class excellence.

Now booking into 2016

The Grand Tour - Review

Finborough Theatre, London

****

Music and lyrics by Jerry Herman

Book by Michael Stewart and Mark Bramble

Directed by Thom Southerland

Nic Kyle and Alastair Brookshaw

Thom Southerland's production of Jerry Herman’s The Grand Tour may tell a bittersweet fable, but the show defines all that is good in fringe theatre today. Whilst Broadway success may have eluded its 1979 premier, a staging in the 50 seater Finborough offers the rare privilege of seeing this eclectic work make its maiden voyage across the Atlantic.

The pedigree of Herman, Bramble and Stewart was already established when they collaborated on this tale of tragic whimsy, set against a backdrop of France's encroaching Nazi occupation. Jacobowsky, a Jew who has already fled his native Poland and subsequently Austria and Czechoslovakia must flee Paris. So too must Colonel Stjerbinsky of the exiled Polish Army. Like the Nazis, Stjerbinksy hates Jews but the Germans are after both men and so out of necessity an unlikely allegiance is formed. Throw in a beautiful French woman Marianne, to whom not only is the Colonel betrothed but who can also recognise the human decency of Jacobowsky and the tale evolves into the most tragi-comic of Road movies, as the Holocaust’s tragedy looms.

Alastair Brookshaw’s Jacobowsky is a stunning performance that leads the show. Avoiding caricature, Brookshaw (an actor whose choral career has seen him more accustomed to Westminster’s Abbey rather than Syngaogue and who now, following his outstanding Leo Frank in Tarento’s 2011 Parade confirms his Jewish credentials) nails Jacobowsky’s desperate vulnerability in a performance that combines hilarious chutzpah with profound pathos. Onstage almost throughout, Brookshaw’s opening number I’ll Be Here Tomorrow, sung as he walks, stumbling, across the outstretched arms of the company, evokes the frailty and the tragedy of the time perfectly.

Nic Kyle is the Colonel. His is a tough act, playing the bad-guy/straight-guy to Jacobowsky’s antics, yet the kiwi Kyle skilfully manages his character’s transition as he learns to love his Jewish travelling companion. Completing the trio is Zoe Doano’s Marianne. Doano’s singing matched by her perfect poise and presence that convinces without once becoming sugary, evidences her West End experience.

As well as producing, Danielle Tarento casts the show and her eye for talent is, as ever, spot on. Blair Robertson’s murderous SS Captain defines a villainy that is cliché free, whilst Vincent Pirillo’s Jewish father whose grief as the Nazis destroy his daughter’s wedding (in a scene that is one of several gloriously choreographed routines from Cressida Carre) is a beautifully sung turn that also avoids melodrama.

The Finborough’s stage is tiny yet Phil Lindley’s ingenious scenery, comprising panels that open to reveal differing backdrops sets the locations wonderfully. The act one closing number, One Extraordinary Thing, set in a circus big top complete with high wire routine is a particular delight. Max Pappenheim’s well crafted sound design adds authenticity, whilst Joanna Cichonska’s filleting of the orchestral score to an arrangement for just two pianos maintains the charm of Herman’s melodies whilst never drowning the un-mic’d actors. Southerland has got the balance of song and setting just right – every lyric is crystal clear.

Reflecting the fate of France’s Jews, The Grand Tour offers no happy ending. The narrative may be fiction, but the backdrop is the most painful truth and in this expertly assembled troupe, Danielle Tarento offers up yet another slice of theatrical genius.

Runs until 21st February 2015