BARGAIN THEATRE

TOP HAT

Ever since the glorious production of Lend me a Tenor closed at the Gielgud last summer, I’ve been a firm fan of 1930s farcical musicals with antique set designs and a classic score. Matthew White’s Top Hat fits this description perfectly, complete with tap-dancing bellhops, and even an ex Tenor cast member to boot (John Stacey). Needless to say, within the first 5 minutes, I was hooked.

Despite this being a musical based entirely on the 1935 film, I had no idea what to expect. Similar to most people in their late twenties, I saw the film as a teenager but could barely remember it, except for the more famous tracks ‘Let’s Face the Music & Dance’, ‘Cheek to Cheek’ and ‘Top Hat, White Tie and Tails’. On further inspection of the audience I quickly realised I was in the minority, with 80% being 50+. However, this should by no means prevent anybody, younger or otherwise, from giving this show a chance, even if you aren’t familiar with the songs or storyline, you’ll be enthralled from beginning to end.

Tom Chambers and Summer Strallen, play Jerry Travers and Dale Tremont respectively, two Americans who meet at a swanky London hotel during Travers’ run in a West End show. After an initially hostile first meeting, the couple slowly start to discover more about each other, during which some hilarious misunderstandings ensue. Chambers opens act one with an astounding tap number, proving his natural abilities, and perhaps somewhat surprisingly, a very pleasing voice. His accent is dubious at times, but the way he moves is effortless and at one point partnered by a hat stand, which is particularly impressive.

As wonderful as Chambers is in the role, Summer Strallen is surely the true star of the show. It’s not very often that an actor can immediately captivate an audience on stage before they’ve even spoken, but not every actor is Summer Strallen. Her characterisation of Dale is spot on, a cheeky yet likeable, quick-witted bombshell who takes no prisoners. I was particularly struck by her flawless accent and also her vocals, which aren’t given enough opportunity to shine as Chambers mostly leads.

A special mention must go to Ricardo Afonso, better known for his role as Galileo in We Will Rock You. Afonso’s Spanish, and somewhat camp, fashion designer is quite a departure from the angsty adolescent and thankfully wows the audience with an operatic solo, displaying some genius comedic timing. Other secondary characters, Marge and Horace Hardwick played by Vivian Parry and Martin Ball, are also given the chance to take centre stage in a charming duet.

The first act is short, being just an hour long (during previews) and flies by, but works well. An extra half hour of various tap dancing numbers would have been too much, and the fact that the relationship between Jerry and Dale is only just starting to establish itself means that the interval commences when the audience are just beginning to want more. I’m not sure if this is intentional, but it left me on the edge of my seat.

Top Hat is a beautifully balanced mix of humour, farce and breath-taking, tap-dancing routines all rooted in Irving Berlin’s wonderful score. Chambers and Strallen do Fred and Ginger proud, so if you want to be transported back to a time of fun and furiously, phenomenal tap sequences, head to the Aldwych Theatre as fast as your spats can carry you.

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REVIEWED: 30/04/2012
By Caroline Cronin @CazCronin

Booking until 26th January 2013
Aldwych Theatre, London, WC2.

MIDNIGHT TANGO

On Tuesday I went to the opening of Midnight Tango, which after an extensive UK tour, and before a second leg, is hitting the West end courtesy of Vincent Simone and Flavia Cacace of Strictly Come Dancing fame.

Midnight Tango, is produced by Arlene Phillips and Adam Spiegel, and directed by Karen Bruce, so you know this is going to be an evening of choreographic delight, intense rhythms and breathtaking partnerships – you won’t be disappointed.

From the shadowy setting of a hot, smoky bar (exquisitely designed set by Morgan Large) we are introduced to an array of sizzling dancers, who form the company, including a beautifully told side story of a sweet older couple, who run the bar, providing many a comic moment throughout this dance fest.  Tango Siempre and Miguel Angel provide an authentic score to accompany the dancers and dazzle the audience.

The very loose story is one of rivalry.  Everyone in the bar is enjoying their evening and the company, the romance between Vincent and Flavia is flourishing, then in walks a sultry, dark figure vying for Flavia’s affection.  All the cast are named characters, but never actually addressed by said names.  The evening is played out with fierce Latin battles and group dances, each pairing getting their five minutes to shine.  Couples move incredibly quickly and accurately with brave footwork causing audible intake of breath from the audience on many occasions.

There are too many wonderful individual moments to point out, however if I had to choose, the finest point of the evening was the simply beautiful slow dance between Vincent and Flavia in act two.  This movement brings a tear to your eye with its pure elegance and grace; you can see the respect and care oozing from the pairing all the way through the show.  A special mention must also go to James Whiteside, for the most gorgeous and affective lighting design I have seen in the West End in a long time.

At 2 hours including Interval, this show simply zips by. Yes, at times it ventures towards being repetitive, but saying that, I would have happily watched it again straight away. If you go to Midnight Tango, and I wholly suggest you do, you will watch a mesmerising evening of dance and come away with a massive smile on your face. There is a reason this show has sold out across the country, and as it is going on another extensive UK tour straight after its west end run, I would catch it now before you regret it.

A sure fire hit.

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REVIEWED: 31/01/2012
By Christopher Owen @cobartlett

20th January - 31st March 2012
Aldwych Theatre, London, WC2B. 

COOL HAND LUKE

Cool Hand Luke originally a 1965 novel by Donn Pearce, adapted for the screen and finally broughtto the stage nearly half a century later.

Marc Warren plays Luke Jackson, a man who donnes an exterior calm to hide the torment he wrestles within. Warren shines, as always, during his cheeky, defiant moments, yet I felt his torment needed more convincing. The pivotal point arrived when Luke shoulders a bet to eat fifty eggs against the clock. This scene finally gave breath to each character and enveloped the audience. To the fore came Dragline, Luke’s promoter, supporter and friend, engrossingly played by Lee Boardman, who you I succinctly remember from Coronation Street. Boardman, more often than not, supported the cast by single-handedly keeping the audience interested and refusing to let the energy dissipate. After such a rousing display during the egg eating competition I expected the comic timing and camaraderie to continue, however, some actors seemed to lack awareness and volume, resulting in flat one liners…if they were ever heard. A particularly unconvincing and weak link was Boss Godfrey, played by Richard Brake. Brake’s mere presence and form imposes fear but his anger and mockery is contrived, though Warren still proves himself against his antagonist. Musical interludes from the beautifully paired Sandra Marvin and Tania Mathurin, delightfully rousing vocals but at times too frequent an intrusion. The piece involved an abundance of physical combat, which was only convincingly executed 10% of the time.

The design by Edward Lipscomb was slick and compact, segueing seamlessly into each setting. Matthew Eagland’s lighting was entrancing; abruptly and succinctly shifting us from each part of Luke’s psyche. I particularly favoured Julie Rogers’ flash transformations.

An interesting narrative with some enjoyable performances, but for a play about convicts, it most certainly lacked conviction.

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REVIEWED: 28/09/11
By @BenVivianJones

23 Sep 2011 - 7 Jan 2012
Aldwych Theatre, London WC2.