BARGAIN THEATRE

HAY FEVER

After seeing that Delfont Mackintosh had taken the decision to replace Million Dollar Quartet with a revival of Noel Coward’s Hay Fever, I was dubious to say the least.  As the country comes out of recession I struggled to imagine the theatregoing masses flocking to the Noel Coward Theatre to see a comedy of manners written over 80 years ago.  However, whilst taking my seat at the back of an almost full capacity stalls the realisation set in that I had perhaps underestimated the pull this still has on an audience. The play centres around retired actress Judith Bliss and her eccentric family as they embark on the “Darkest Friday to Monday ever”. Four different house guests descend on the Bliss house with the intention of staying in the “Japanese room”, what follows is a glimpse into the weekend from hell, filled with ridiculous pastimes and to put no finer point on it, posh people behaving badly. 

The curtain rises upon Sorrel and Simon Bliss (Phoebe Waller-Bridge and Freddie Fox) trying to pass a dull Friday afternoon with fierce sibling banter.  The opening scene rattles along at an extremely pleasing pace as we are thrown into the midst of the Bliss family’s ridiculous world.  Waller-Bridge and Fox shine as the horribly spoilt son and daughter, delivering their parts in annoyingly perfect RP, making their revolting characteristics even more amusing, particularly in the second act when Sorrel loses one of her favourite parlour games. 

This production truly comes to life with the arrival of Lindsay Duncan as Judith Bliss. Despite the play generally being an ensemble piece, this work belongs to Duncan: she uses every word of Coward’s marvellous script to maximum effect, forcing the audience to hang on her every word so much so that I constantly looked forward to her next entrance. 

Following Howard Davies’ success with the 2001 revival of Coward’s Private Lives, it was definitely a safe decision to set him once again at the directorial helm. Davies directs with excellent attention to detail and every inch of Bunny Christie’s extravagant set is put to good use.  One of the best features of this Coward script is the use of silences to really accentuate the awkwardness of the situation and Davies doesn’t waste a second of it, nor does he make the simple mistake of allowing a pause too long to breathe.

Overall the production moves along at an exciting pace, however there was a brief period at the height of act one in which I felt the momentum drop dramatically; the arrival of the first house guest Sandy Tyrell (Sam Callis). Impetus is soon restored as Callis woos Judith with an amusing series of flirtatious comments but it is after this scene that Callis’ character unfortunately slips off the radar almost completely – along with Richard Gretham (Jeremy Northam). That said, the fault here seems to be more with the script than direction. 

Playing Clara, the Bliss family’s overworked maid, is Theatreland veteran Jenny Galloway.  As with any part she plays, Galloway brings that special mix of delivery and presence that only she can to the stage and, for me, made one of the smallest characters one of the most memorable. It is an absolute delight to see Galloway back in the West End. 

Good contributions also from Amy Morgan as the well-meaning but empty-headed Jackie Coryton and Kevin R. McNally as David Bliss but once again, this production is a star vehicle, and in this instance that star is Lindsay Duncan.

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REVIEWED: 25/02/2012

By David Coverdale @davidcoverdale9

Booking until 2nd June 2012
Noel Coward Theatre, London, WC2.

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.

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.