Tag Archives: Gemma Sutton

Uncategorized

“The Rink” at the Southwark Playhouse

While any show from John Kander and Fred Ebb should earn a crowd, the draw for Adam Lenson’s revival of their 1984 musical is the casting of Caroline O’Connor. ‘Direct from Broadway’, as they say, Anglo-Aussie O’Connor is the real deal: a powerful voice, great acting skills and incredible stage presence. Trust me, don’t miss her.

Both music and lyrics for the show hold their own against more famous works such as Chicago or Cabaret. The plot is simpler – a mother and daughter, Anna and Angel, fighting over the family business of a boardwalk roller-skating hall – wonderfully condensed in Terrence McNally’s book. As the action goes back and forth in time, the estranged women catch up on each other’s lives and revisit their shared history, seeing events from each other’s perspective. The skill in song-writing is astounding: take Angel’s All The Children In A Row, which narrates the search for her father, a death, a birth and hippiedom in one number. Big themes and psychological insight are present and satisfying throughout, covering love, loss and even economics.

Lenson shows admirable confidence in the show’s strengths, never overstating its melancholy overtones and allowing the drama to unfold with a careful eye on nostalgia. The production deserves a bigger home, but the staging and Fabian Aloise’s choreography impress… especially when the roller-skates arrive!

O’Connor is more than capable of carrying the show – she could probably hoist a great deal more. But it should be stressed that she doesn’t have to as a capable team backs her up at every moment. There’s strong work from Stewart Clarke as her husband and Ben Redfern as the childhood sweetheart who waits around to marry her. Co-star Gemma Sutton makes the most of some wonderful numbers and never shies away from her role’s less loveable characteristics. She convinces as a young child, rebellious teenage and angry adult, retaining an equal vulnerability throughout. The Rink is a show full of thrills, emotional and intellectual, and the chance to see a double act this good means you should really get your skates on to see it.

Until 23 June 2018

www.southwarkplayhouse.co.uk

Photo by Darren Bell

Uncategorized

“Gypsy” at the Savoy Theatre

Leave a comment

Believe the hype. Jonathan Kent’s triumphant revival of Gypsy, coming from the Chichester Festival Theatre, deserves every one of the many stars critics have lavished upon it. And, as for stars, Imelda Staunton’s much lauded performance in the lead really is a triumph, attracting every superlative imaginable.

Of course, it helps that the musical itself is wonderful. Jule Styne’s score has hits and a satisfying coherence that builds power in a symphonic fashion. Arthur Laurents’ book is perfection: powerful family relationships and fundamental emotions elaborated through the story of a pushy showbiz mother, touring America’s dying Vaudeville circuit, and the bitter success of her daughter becoming the burlesque queen Gypsy Rose Lee. Stephen Sondheim’s lyrics are justly legendary, from ‘Have an Egg Roll Mr Goldstone’ to the phenomenal ‘Everything’s Coming Up Roses’.

This production of Gypsy has the highest standards. It feels like a bit of Broadway in the West End. Kent’s handling is loving – he knows he’s crafting a gem and creates a tremendous energy. The show sounds gloriously brassy, which is just right, while the detailed, mobile sets from Anthony Ward embody a ‘Hi, ho the glamorous life’ of travelling performers. There are strong performances from Gemma Sutton and Lara Pulver as Momma Rose’s long-suffering daughters, especially Pulver and she blossoms into the striptease sensation that is Gypsy.

Against this flawless backdrop, Staunton excels as Momma Rose. Surely there can be few roles more daunting – remember, the critic Frank Rich described the part as musical theatre’s unlikely answer to King Lear. And think of what big shoes there are to fill. Staunton’s comedy skills are the best around and, in Gypsy, her acting shines. When Staunton wants a laugh – she got it. But Momma Rose is grown with subtlety, her fragility well established before her final breakdown. This makes the famous scene of ‘Rose’s Turn’ startlingly brave and painfully real.

Curtain up until 28 November 2015

www.thesavoytheatre.com

Photo by Johan Persson

Uncategorized

“Carousel” at the Arcola Theatre

Leave a comment

A favourite musical for many, a new production of Carousel opened at the Arcola Theatre last night. Making the most of this intimate venue, with astounding up-close choreography, this is a high energy affair that does wonders to work the big scale of Rodgers and Hammerstein’s masterpiece within a small space.

Director Luke Fredericks has a clear grasp of the fantasy within Carousel. The overture is used to establish the fairytale atmosphere with an interesting air of danger surrounding a trip to the fairground. Let’s be honest, the love story of “bad un” Billy Bigelow and the innocent Julie isn’t that believable, so adding a surreal touch is clever, especially for later scenes set in the ‘backyard of heaven’.

Tim Rogers as Billy Bigelow and Gemma Sutton as Julie Jordan in CAROUSEL. Photo Credit QNQ Creative
Tim Rogers and Gemma Sutton

As Billy and Julie, Tim Rogers and Gemma Sutton seemed nervous at first but their acting was strong throughout. No easy task when you consider how many of the morals within Carousel make their characters unhappy ones for a modern audience. Rogers’ manages to make the vicious Billy sympathetic and Sutton insures Julie’s martyrdom is moving.

Joining them in romance, Vicki Lee Taylor and Joel Montague have a jollier time as Carrie Pipperidge and Mr Snow. Their sweetness doesn’t cloy and the humour is well developed. When The Children Are Asleep is a highlight, with the odiferous sailor Snow washing those fishes right out of his hair on stage. The whole ensemble is incredibly hard working. Special mention for Amanda Minihan’s spirited Nettie and a lusty rendition of June Is Bustin’ Out All Over.

Nettie’s raunchy appeal is matched at several points by earthy touches in Fredericks’ production. I normally quite fancy the clambake in Carousel – not so much this time as it seems to make everyone sick – but I can see the point of bringing the show down to earth a little. Similarly Richard Kent’s villainous Jigger makes an impression with a knowing delivery of his character.

Best of all is Lee Proud’s choreography, with a stirring combative streak and a use of circus skills that is inspired. So close is the action you might feel a little nervous if you are on the front row. Rest easy with the wonderful score, which soars under Andrew Corcoran’s musical direction. Here the coup is the presence of a harpist, squeezed onto a platform above the action, sure to please Carousel connoisseurs.

Until 19July 2014

www.arcolatheatre.com

Photo by QNQ Creative

Written 24 June 2014 for The London Magazine