BARGAIN THEATRE

SINGIN’ IN THE RAIN

With the recent hits in the West End being popular blockbuster movies transformed into musicals, it’s interesting to see the calibre being produced and where this genre is going. At the moment it is all people can talk about, from the latest movie musical Legally Blonde announcing that it is about to close it’s doors for the last time at the Savoy Theatre to amazing movies like The Bodyguard and Bridget Jones’ Diary gracing the boards of London’s stages.

Singin’ in the Rain is a diamond amongst classic movie goers and what a treat that it has transferred from Chichester to join the bright lights of our Theatreland. From the start of the overture to the final curtain call, this musical provides all the heart, fun and charm that the original film promised and more. Who could forget the famous scene where screen icon Gene Kelly made history by swinging round a lamp post and tap dancing in the middle of a downpour? Not to mention co-directing and choreographing the original movie himself. All these elements are captured wonderfully in this production with the added fun of the audience getting wet in the process. With a score by Nachio Herb Brown and Arthur Freed and based on the MGM screenplay by Adolph Green and Betty Comden, this show is one not to be missed.

Set in the turnover from the silent movies to the talkies, film star Don Lockwood (Adam Cooper) finds a kindred spirit and lover in the form of actress Kathy Selden (Scarlett Strallen).  Accompanied by his best friend and composer Cosmo Brown (Daniel Crossley) he finds his passion for the craft and art behind acting for film. Nevertheless, jealousy shows itself in the darker side of this classic love story when Lockwood’s current leading lady, Lina Lamont, tries her hand at tearing up Don’s new relationship. Despite her beautiful appearance, Lamont’s irritating voice proves too much for the movie producers and critics therefore she is dubbed with Seldon’s rich and beautiful sound. This only angers the poisoned ‘Marilyn Monroe’ wannabe even more, leading her into an all out assault to destroy the young heroine’s chances of making it as a professional actress.

Adam Cooper shines in this latest adaptation having previously played the role at the Sadler’s Wells theatre. Primarily known for his dancing skills, he shows that he’s no stranger to singing and acting; showing off both talents incredibly well. Cooper gives heart to the piece and keeps Gene Kelly’s spirit alive.  Scarlett Strallen unleashes a sensational voice that colours the stage with charm, making you believe this role was made for her as she shines with true romance and charm. Strallen possesses a voice that could make the heart melt. Daniel Crossley is the fun behind this production and provides the show with many laugh out loud moments. It must be said that Cooper and Crossley’s chemistry on the stage is electric and as dancers, these two are a pair to look out for. Katherine Kingsley portrays the hard-hearted and selfish Lina Lamont with natural comic timing, making it hard not to laugh. Despite the character’s obvious lack of talent, it is interesting to note that Kingsley’s dancing and singing still manages to steal the show on more than occasion, bringing the house down and proving to the audience that by her final bow she is truly an artist.

Acknowledgement must be made to the large ensemble that sing, dance and act their way through the show providing this classic story with the Broadway aplomb it deserves.

Filled with stylishly electric choreographic moments by Andrew Wright and direction by Jonathan Church, this is one musical not to be missed.  

Weather report: Fun, charming and colourful with a definite chance of rain.

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REVIEWED: 21/02/12
By Brendan-Matthew Murphy @Brenmatthew

Currently booking until 29th September 2012
Palace Theatre, London, W1.

HORRIBLE HISTORIES: BARMY BRITAIN

Horrible Histories: Barmy Britain is Birmingham Stage Company’s latest take on the literary franchise created by Terry Deary, and is now on at the Garrick Theatre, in London’s West End.

Predominantly aimed at the family and school audience, this show is a wild wade through the darkest and more notable parts of British history. We are greeted by two exceptional story tellers, who introduce us to Victorians, Vikings and even a Tudor or two, guiding us through the more gruesome parts of our country’s creation.

The stage is awash with hats and props, and before the performance even starts you sense you are in for a non-stop, action packed show; especially as its running time is one hour. By using a mix of big characters, modern day TV parodies, bags of audience participation, and some excellently designed costumes, the storytellers bring to life the twisted tales and genuinely horrible goings on of the past.

The show is obviously presented from an educating point of view, and when I went to see it, the audience was made up mostly of school parties (who behaved excellently, may I just add). However, it is surprising the amount of adults, myself included, who were genuinely interested by the facts they were learning too – for instance, I had never heard of ‘The Baby Farmer’, and it is a genuinely awful story.

I suppose that is what surprised me most about Barmy Britain; how truly horrid some of the past was. Yes, Great Britain is barmy and most of the historical figures on display are laughable now, but you almost forget that it was all real; how dark our past was, and that all the bad gory things actually happened. The company do a fantastic job of never letting the facts get out of mind, especially for the younger audience members, always reminding you that however unbelievable they might be, it’s all genuine history.

The show is rounded off with a clever song, connecting the past’s events to those of the modern day – bankers, the media, and video games, which would not be out of place on some of Radio 4’s comedy output. The show has an ‘age rating’ of 6 to 106 - spot on. Everyone can enjoy this cleverly crafted show. With daytime performances and morning shows on the weekend, top price tickets only £14.50 this show is just what the West end needs. Thoroughly enjoyable.

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REVIEWED: 23/02/12
By Christopher Owen @cobartlett

Currently booking until Saturday 1st September 2012
Garrick Theatre, London, WC2.

OUTWARD BOUND

Revived in London for the first time in fifty years as part of the Finborough’s rediscovery series, Outward Bound was first produced at the Everyman Theatre, Hampstead in 1923 and enjoyed subsequent West End success.  Perhaps Sutton Vane’s most prominent play concerning the tale of seven passengers who meet in the smokers’ bar of a ship as it sails from an English port to an undisclosed destination. Alex Marker’s set is mighty impressive and surely a contender for award nomination.  The intimate theatre space has been neatly transformed into an art deco saloon, complete with four brass portholes and twenties-style, walnut veneered, hexagonal bar tables.  Some of the on-stage seating is used by the audience, adding to the ‘friends at sea’ atmosphere.  David Brett plays the role of Scrubby the steward perfectly with a “Yes sir, no sir, three bags full sir”, tenderly patronising approach; nothing is too much trouble yet all the while you are aware that he knows something that the others don’t.  

Carmen Rodriguez gives a wonderfully nasal and snobbish air to Mrs Cliveden-Banks, a cut above the rest with an equally acerbic wit who takes an instant dislike to fellow passenger Reverend William Duke (Paul Westwood), declaring him ‘unlucky at sea’.  Little does she know that to navigate this voyage requires far more than good fortune. In total contrast, chair lady Mrs Midget, ably played by Ursula Mohan is far more introvert, down to earth and carries a secret.  Cliveden-Banks would have her in steerage, but this mysterious vessel only has one class so they are stuck with each other.  Rotund MP and boring old duffer Mr Lingley (Derek Howard), astute drunk Tom Prior (Nicholas Karmi) together with couple Henry (Tom Davey) and Ann (Natalie Walker) make up the other ship mates on this ill-fated trip.
 
Booze-loving Prior is the first to realise their fate and that excepting their barman, there is no captain or crew. Nicholas Karmi plays him convincingly, his announcement to the others being a highlight of the play.  After an unnecessary second interval, the group, chaired by Lingley, call an extraordinary meeting, one by one they all reach the same unhappy conclusion. Mrs Cliveden-Banks is appropriately dressed in black mourning as the ship sails into very strange waters.  Enter Martin Wimbush, very distinguished as the Reverend Frank Thomson, to determine their fate.  If you haven’t guessed the plot already, I’ll not spoil if for you.  
 
Yes, this is a play which is showing its age a little and is a relatively slow mover compared with most of today’s output but a talented cast has managed to keep this revival pleasing. There are some very comedic moments, most of which still work very well.  The enigmatic couple of ‘halfways’ add very little to the story until the end, but when secrets are opened and all is revealed, their presence makes perfect sense. 

A steady, entertaining and retro work that’s certainly deserving of an outing; overall however, it’s unlikely that this old sea dog will cause too much of a storm.

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REVIEWED: 01/02/2012
By Gareth Richardson @BargainTheatre

Runs until 25th February 2012
Finborough Theatre, London, SW10. 

AFTER THE TURN

Well now, this is pretty good! The same venue that hosted the outstanding The Trip to Bountiful now brings you a “new British rock musical”, which is well worth going out of your way for. The concept of youths doing a rock-based musical theatre show might not sound very appealing, but take it from a cynic - there’s potential and vivacity in this production.

As far as plots go, it’s fairly straightforward. Girl meets Boy is extended to Girl with New Boy meets Ex, Ex who furthermore doesn’t speak, set to a backdrop of hazy days gone by and also featuring a present-day late twenty-er moaning about the state of life in Britain. This is all set to a slush-rock score and styling from rock night at the X-factor.

The musical content is strong. From a good start it keeps growing in appeal and by the end would justify an encore the cast seemed too shy to deliver. Furthermore, Tim Prottey-Jones’ score keeps the attention whilst being deft enough to tell a story seriously.

Few casts give their teamwork the energy that this production involves. Passionate about doing their all, I have rarely seen a group so finely balanced in performance. There are no weak singers, though each in their own way will grow into their parts as this show beds in, each with a little work to do. But their preparation and rehearsal has been thorough, evidenced by their tellingly good awareness throughout.

Take ‘Wolf’ (Greg Oliver), for instance. First impressions were not totally convincing, but there developed flashes of intensity and security of accent that led to compelling moments of drama, at times mingling with outstanding vocal delivery. By the time bromance was swapped for the unconvincing romance, I was engaged at every moment. I can’t not mention the outstanding crescendo on the proceedings that hearing Michael (Liam Doyle) sing for the first time brought on.

With regret I can’t say every aspect blew me away. There’s a lazy untidiness in set design that seems ill-conceived and cheapens the show. Furthermore every now and then the acting turns dodgy for a moment, my lowlight being the scene where the grown-up Michael is blasted in vigorous silence by his mother as his younger self croons away behind them. Then there are the backing singers, who sing well but are lost away, distracting the eye like a tennis match crowd when the show carries on in front of them.  However, this is minor stuff, blips that will work for others and may work out over time, though the airport flexi-barriers truly have to go…

It is great to hear British accents powerfully delivering accessible contemporary British writing, which exceeds the genre’s rock epithet. There’s a confidence in this production which sparkles with growth and I am sure that in the weeks to come things will only mature further.

My advice? Do it, and ignore the insane hideousness of Old Street on the way there.

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REVIEWED: 02/02/2012
By Piero McCarthy

31st January - 25th February 2012
Courtyard Theatre, London, N1.

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. 

MASTER CLASS

THE BOY JAMES

The Goldsmith is a gastro pub nakedly cornered on a Borough backstreet. It is cold at this time of the year and standing outside afterwards I couldn’t find a way to keep out of the chill. At that point I didn’t know whether The Boy James was over. Half the audience walked off past me within a minute giving the impression that it was. So, it’s not giving too much away to say this is the first proper play I have been to where there is no curtain call and no obvious reason why it ended.

Perhaps that says it all - did I ‘get’ it anyway? Stephen Fry could not stop crying when he saw this “dark, beautiful tale of one boy’s awakening to the harsh realities of childhood” and I know I am not as clever as him. For my money, this could perhaps possibly be one of those 5 star shows that nobody wants to quite admit they didn’t really like too much, but as I say, Stephen doesn’t think so.

So we have a room above the pub, competently decorated like a Victorian lodging; the kind of room that would house an old rocking horse, except there wasn’t one, instead a decanter of whisky.  A boyish teen in pyjamas beckoned us in to take a seat around the room (I picked uncomfortably, bag a sofa). And so the play began, with games led by said boy, then the games stopped and an unpleasant witch-like character arrived to harass the lad. His childishness was well developed and the atmosphere was credible though sadly not a great deal of fun. Not a lot truly happened thereafter. There were flashes of booze and sex to crack the kaleidoscope of childhood that had been created, but nothing really punched too much of a hole. He cried, they tustled, it dragged.

There is no doubt that Jethro Compton (who must have been born to act) was brilliantly fine at maintaining his persona as the boy. He led well with the crowd and has a wonderful range of expression, his presence engaging. Unfortunately neither the girl or James (‘the man’?) were of much interest, both having bit-parts to achieve the result of spoiling the honeycombed atmosphere. Neither had very satisfying lines to be fair.

As an hour passed I had learned or cared little. But then as well as not getting it, perhaps, maybe it wasn’t for me. I have no children nor any plans, I don’t like Peter Pan and rousing sympathy with worlds of fairies and forgotten lands is annoying, not enchanting. I did like that by using Scottish accents the boy looked a little like a smack addict when he reared up on top of the table, cheekbones fixed and eyes flashing with excitement about the mysteries of undiscovered utopias; but I doubt they meant that. Murmurings I heard leaving were mixed.  For a certain type of person like Stephen Fry, I am sure this unconventional number would work well. You shouldn’t think it’s that bad, either. It’s just not particularly interesting.

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REVIEWED: 26th January 2012
By Piero McCarthy

Runs until 11th February 2012
The Goldsmith, London, SE1.

AND NO MORE SHALL WE PART

Mention euthansia and I’ll start to yawn.  I put the subject into the ‘Not interested until I need to be’ category and there it stays.  And No More Shall We Part gives the matter powerful consideration, in a tense, emotional and developed fashion.  This double-hander delicately journeys down a road that everybody hopes they will never have to travel and I don’t even care to contemplate.
 
Set on a revolve, we watch as the effect of the tablets takes its stride together with the pain and anguish of the period leading up to the precious final moments.  Except the end doesn’t come in an instant as the couple expected, but rather over the course of a few hours.  Imagine the endurance, anguish and self-struggle required to assist a partner in ending their life, only to find that having taken the pills, nothing much seems to happen.  The excruciating wait that must be sustained, tormented by the question: What will happen next?
 
Pam is in her fifties suffering with a terminal illness, months to live and resigned to her fate.  Dearbhla Molloy plays a sensitively refined Pam, with a matter of fact air that is spot-on.  Pam has thought the matter through and is determined that her last days will be as peaceful as they can be.  She doesn’t want to depend on anyone to help fulfil her basic functions.  This resolve has forced her to be strongest of the couple.  Having made the decision, she needs to convince husband Don to assist in a crime for which he has no appetite.  Bill Paterson copes admirably with the demanding role.  The torment shows on his face as he strives to bear the strain both in the lead-up and subsequently.  The opening scene is particularly poignant, Paterson clearly demonstrating a husband in turmoil, expecting his wife to die within the next few minutes, battling to comprehend exactly what she is saying to him as his brain swirls with the grief and emotion that the situation dictates.
 
The play begins a short while after taking the pills and travels both backward and forward in time in a gritty and emotional portrayal of love, death and determination.  Tom Holloway’s writing fuses joy with pain and despair with humour as the pair recall some of the happiness they have shared, refreshingly serving as relief from the intensity of other scenes.  They recollect camping trips with the children in the tender time as she waits to die.  The contrast between Pam’s quiescent calmness and Dan’s stress is striking.  Their arguments are powerful; she resolute, he at the end of his tether, but love for her forces him to listen. There are moments of amusement, they both confess to having had affairs twenty years ago but neither care, their love is far stronger and they are happy together. 

BEOWULF