Tag Archives: Lucie Pankhurst

“Yeast Nation (The Triumph of Life)” at the Southwark Playhouse

If quirky is what you want Mark Hollmann and Greg Kotis’ show can’t be beaten. A “bio-historical musical” set in primordial soup, its characters really are yeast and the conflict revolves around how they evolve. So, top marks for crazy. The score tries hard and the production is enthusiastic. But the musical is, ultimately, just an oddity.

Credit where it’s due – the ideas are fine. With hints of Greek tragedy and Shakespeare, the oldest yeast (a king, of course) battles against change. As the organisms encounter greed, ambition and love – for the first time in history – the chance to examine abstract concepts is embraced.

Regrettably, adding meta-theatrical touches proves distracting and predictable. It leads to a weak role for a narrator character, who comes too close to a very odd schoolteacher despite valiant efforts from Sarah Slimani. Being both self-consciously silly and serious is an interesting mix, but not a successful one. The joke of taking such absurdity as profound ends up repetitive.

A focus on romance (which buoys the second act) allows the performers who become the first multi-cellular organism (Stephen Lewis Johnston and Hannah Nuttall) a chance to shine. But despite plenty of spirit the show drags. The originality is only single-cell deep – we always know what’s coming next and it doesn’t come quickly enough.

Hollman and Kotis are too keen to tell a “dark tale”. Maybe the fear is that serious questions are needed to justify the bizarre premise? Maybe it’s part of the joke? Either way, the best of the humour comes from the production. There’s strong work from Shane Convery and Mari McGinlay as ‘the Wise’ and ‘the Sly’ as well an unwitting accomplice to courtly intrigue, played by Marisa Harris. All three performances are committed.

It’s director Benji Sperring’s work that shows Yeast Nation in the best light – inventive touches that add charm and fun too often missing from the script and lyrics. Lucie Pankhurst’s work on movement is strong, suggesting amoebas in a fashion that proves oddly hypnotic. In addition, while it probably shouldn’t – and while I can’t explain why – setting the whole thing in Yorkshire adds immeasurably. After all, why not? The accents become the anarchic touch the piece itself craves for but misses.

Until 27 August 2022

www.southwarkplayhouse.co.uk

Photo by Claire Bilyard

“How To Succeed In Business Without Really Trying” at Wilton’s Music Hall

Frank Loesser’s 1961 hit musical doesn’t get a London airing very often, so this revival, from director Benji Sperring, is an exciting chance to see the show. As you would expect from the creator of Guys and Dolls, Loesser’s smart score has a satisfying complexity, served well by Ben Ferguson’s musical direction and Wilton’s acoustics. The story is a neat idea, too – following the corporate career rise of a former window cleaner, J Pierrepont Finch, aided only by guile and a self-help book. While many of the jokes are laboured, a committed cast gives its very best.

Sperring’s actors adopt an exaggerated style that’s apt, fun, and makes light of the outmoded working environment and sexual politics on offer. The cast gets a lot from camping it up, especially the lead, Marc Pickering – a charismatic comedian with a strong voice. Also benefitting are Matthew Whitby and Daniel Graham as Finch’s dastardly colleagues, accompanied by Richard Emerson, who multi-tasks a shocking number different roles… at least that’s one thing that reflects current workplaces.

The mannered treatment might have been pushed further; not so much with the performances but rather Mike Lees’ set and costume design. Maybe even more drastic measures are needed – especially given the cringing sexism of the piece. Despite valiant efforts from all the actresses, no matter how tongue-in-cheek the delivery, there are too many uncomfortable moments. Hannah Grover sounds sweet as Finch’s love interest, but this character makes Miss Adelaide look like Germaine Greer. Her sidekick is more interesting. Played by Geri Allen with a voice perfect for this music, she almost manages to make you forget that she is singing about marriage being a woman’s ultimate goal.

Of course, Sperring doesn’t take any of the show seriously. His production’s silliness builds pace and humour (despite a lot of moving office furniture) while Lucie Pankhurst’s choreography gets funnier throughout. The actors are unfailing in their efforts but it’s a shame a more ruthless approach wasn’t taken. The germ of how to deal with the piece’s problems is clear to all – but more of an aggressive takeover is needed to make this business succeed.

Until 22 April 2017

www.wiltons.org.uk

Photo by Darren Bell

“Dogfight” at the Southwark Playhouse

Southwark Playhouse staged the European premiere of Dogfight this week. The musical was a hit off Broadway just a couple of years ago, garnering awards and acclaim. Smoothly directed by Matt Ryan, this exciting work is a must for fans of shows, yet also has huge mainstream potential. Do go and see it.

The scene is San Francisco, the night before a group of marines embark for Vietnam. It’s the Corps tradition to host a revolting bet – to see who can bring the ugliest girl to a party. Thankfully, Peter Duchan’s book, tightly constructed throughout, uses this unedifying competition to provide a strong female lead and a fresh-feeling love affair.

It’s easy to see why composers and lyricists Benj Pasek and Justin Paul are hot property. The music and words are assured, the influences are sound (several numbers are sure to please Sondheim devotees) yet the score is complex enough to avoid pastiche. Dogfight isn’t perfect. The songs for the marines are much weaker than those for our heroine, Rose. And scenes of war feel too briefly dealt with, despite an impassioned performance here from the male lead Jamie Muscato.

Dogfight 1 Jamie Muscato (Eddie Birdlace) Photo Darren Bell
Jamie Muscato

There are problems with the production as well. Not all the singing is as clear as you could wish for, Lucie Pankhurst’s choreography seems a little ambitious for the cast and, despite Ryan’s experience, the production seems too small for the show. I suspect this goes back to the material; regular fringe goers know the biggest shows can be happy in small venues, but here the military machismo needs a larger cast and bigger sound to convince.

So with all these reservations, why the strong recommendation? Quite simply Laura Jane Matthewson, who grabs the role of Rose, a great part with strong songs, with both hands. Newcomer Matthewson is a wonderful actress, who makes you believe her character’s innocence, convinces in her defiance and is adorably sweet in the central romantic scene. Most importantly, she sounds great, with a confidently understated style that produces a powerful authenticity. Both the piece and the production may have some faults, but Matthewson’s  performance will make you forget them.

Until 13 September 2014

www.southwarkplayhouse.co.uk

Photos by Darren Bell

Written 14 August 2014 for The London Magazine