Tag Archives: Alison Jiear

“Godspell” On Line, In Concert

This recorded concert, celebrating the 50th anniversary of a legendary show, boasts a special introduction from its composer and lyricist Stephen Schwartz. Fans have the chance to hear some great new performances from a strong cast. And it’s all in aid of good causes: Manchester’s Hope Mill Theatre, Acting For Others and the National AIDS Trust.

I’m not a huge admirer of the piece, but there are plenty of good songs. While Schwartz knows variety is needed, both in style and emotional tempo, there aren’t enough stand-out numbers in a score that’s a little too easy on the ear. Thankfully, there’s no sense that any of the performers share my reservations. Among the West End stars assembled, it’s great to see and hear talents such as Alison Jiear, Jenna Russell and Sam Tutty. George Carter’s musical direction is of the highest quality.

Director Michael Strassen tries hard to tackle the fluid nature of the song cycle format. While original productions presented parables, here inserts reveal abstract concepts of what the songs are ‘about’: Prepare, Hope, Faith, even Class. The approach provides some structure but conflicts with the inclusion of photographs from the present day, mostly of care workers, that feel proscriptive. And Godspell’s religious content is strangely absent. It takes a while to remember that John-Michael Tebelak’s book is loosely based on the Gospel story. As a result, Darren Day’s emotive performance as Jesus ends up disconnected and rather odd.

Although a smaller problem, the performers are not helped by the video work in this production. The variety of backgrounds is nice, but the split scenes, phone screens (of course) and graphics are frequently, well, naff. Especially disappointing is their intrusion in Ruthie Henshall’s number, Turn Back, O Man, performed in the bath! With a rubber duck on board, we don’t need bubbles added – the performance alone is enough.

Another notable exception – some humour – comes with a fine performance from Ria Jones of Learn Your Lessons Well. Otherwise, the tone is earnest, dry even. Plenty of effort is made to inject energy (Jiear is especially good at this) but as a collection of short films, momentum never takes off. Much of this is not Strassen’s fault – it’s a reflection of the show itself. While it always sounds top notch, the piece is downright monotonous.

Until 29th August 2020

www.hopemilltheatre.co.uk

“Xanadu” at the Southwark Playhouse

If you think Arts Council funding is complex, imagine trying to create your Gesamtkunstwerk,including a roller disco, in the cultural desert that was 1980s LA. Such is Sonny’s dilemma in Jeff Lynne and John Farrar’s musical adaptation of the cult(ish) movie that famously starred Olivia Newton-John. Fortunately, the Greek muses are on hand to help, making this show so mad, so unbelievebly camp and crazy, that it casts an irrestible spell. Thank the gods that Xanadu is a place director Paul Warwick Griffin has dared to go. Get your skates on and join in.

Bringing the story to the stage is brilliantly done thanks to a superb book by Douglas Carter Beane – surely key to the show’s success in New York, where it started at the Helen Hayes Theatre in 2007. There’s a lot of fun with language, from faux archaic to Aussie accents via Valley girls. Likewise the music, based on blasts from the past, mashes together anything to get a laugh. The songs are surprisingly strong, but then it was the soundtrack rather than the film that was a hit. Cleverly adding comedy and nostaglia, emodied by Nathan M Wright’s witty choreography, this is theatrical heaven on earth.

xanadu-carly-anderson-as-kira-and-samuel-edwards-as-sonny-photo-credit-paul-coltas-lower-res

Donning their roller skates as Sonny and Kira (or rather the muse Clio)are Samuel Edwards and Carly Anderson. Chiffon has seldom been used to such effect (bravo to designer Morgan Large) and while cut-off denim shorts aren’t for all, I doubt anyone will complain about Edwards wearing them. More importantly, both Anderson and Edwards are fine leads with firm comic skills who enter into the spirit of the piece perfectly. Convincingly wide-eyed, with hearts on sequinned sleeves, they get you laughing along easily.

Joined by a superb ensemble, who look as if they’re living the roles of divinities on Earth, the clash with Mount Olympus when our heroes fall in love is titanically funny: a lament that Achilles should have had leg warmers pretty much sums it up. The show’s casting coup is Alison Jiear, as the jealous Melpomene. The muse of tragedy could be out of place in this feel-good phenomenon, but Jiear is superb and matched for laughs by Emily McGougan. As sinister sisters with great gags these partners in crime, giggle and cackling away. When they observe the show is “like children’s theatre for 40-year-old gay guys” you know that they’ve nailed it.

Until 21 November 2016

www.southwarkplayhouse.co.uk

Photos by Paul Coltas