Tag Archives: Michael Matus

“La Cage aux Folles [The Play]” at the Park Theatre

Jean Poiret’s French comedy of manners with a drag twist has never been translated into English before. That’s a surprise given its enormous stage success, along with the two films and hit musical it has spawned. Thankfully, director Jez Bond thought the lack a shame – I agree – and has recruited Simon Callow to produce a script that works a treat.

There are bold decisions behind the production, namely, to make the show gloriously old-fashioned. Time and place – the French Riviera in the early 1970s – are enforced; there’s even a reference to the UK joining the EU. As a result, there are plenty of attitudes that seem archaic. The play makes for an interesting history lesson, if you want one, just in case anyone forgets Drag can be political. And you might find the role of Jacob the servant (which Syrus Lowe tackles well) intriguing. If a lot of the gender politics is worlds away from being “woke”, maybe it’s best to just shrug and feel smug that things are better now.

There’s nothing serious about La Cage aux Folles. It only makes sense to judge it as silly and this is good nonsense. The plot is clear while crazy touches build well. The jokes are good, although in truth it’s the performers rather than the lines that get the laughs. No matter, it’s a fun evening and all the more credit to Bond and his cast.

La Cage aux Folles at the Park Theatre  By Jean Poiret. Photo by Mark Douet
Michael Matus and Paul Hunter

Paul Hunter and Michael Matus play the flamboyant couple, performer and owner of the titular nightclub, with assurance. Their insults and rows are enjoyable and both performers make the most of every moment. Arthur Hughes is good as their son, Laurent, whose future marriage drives the plot: it’s a tricky role that needs to introduce an amount of restraint to proceedings. There’s also strong support from Mark Cameron and Simon Hepworth.

The fun doesn’t increase quite as much as you might hope. As our heroes meet their conservative future family, hosting them for a disastrous dinner party, the second act feels skimpy. Female characters get a raw deal. But Hunter and Matus keep up the energy with some quick transformations adding fun. Remarkably, the play manages to escape the shadow of its famous progeny to show itself as a fine farce in its own right.

Until 21 March 2020

www.parktheatre.co.uk

Photos by Mark Douet

“The Sound of Music” at Regent’s Park Open Air Theatre

This year’s musical at Regent’s Park Open Air Theatre is Rodgers and Hammerstein’s firm favourite The Sound of Music. Whisper it, but not everyone is a fan of the family Von Trapp, or the novice-turned-governess Maria’s journey of self-discovery: tarnished by TV, the problem to solve here is one of over familiarity. Courageously, this production demands an open mind, presenting the piece with remarkable freshness.

The Sound of Music is one of those musicals where everything is expressed in a song, and a good tune can literally be your salvation. While it’s hard to imagine a heart hard enough not to melt at the children cast as the Von Trapp infants, the real achievement is that that sweetness doesn’t become saccharine. Rachel Kavanaugh directs the show with ruthless efficiency and creates a version devoid of silly camp theatricality – no small feat when everyone is dressed as nuns and soldiers with a smattering of lederhosen.

There is an impressive simplicity that serves the show well, even managing to inject menace and tension. Kavanaugh seems to have taken Maria’s back to basic approach to music making to heart. The songs we love are delivered without fanfare and are all the better for it. And this approach is echoed by Peter McKintosh’s superb meadow-fringed set, effectively changing from convent to mansion, concert hall to mountain range with a magical minimalism.

Taking on the lead role must be an uphill struggle for any performer, but Charlotte Wakefield gambols along, sounding great, with a gawky, infectious charm. Like policemen, it seems Captain von Trapps are getting younger – surely someone with seven children has to have a tinge of grey in the hair? – but Michael Xavier has a great voice and is a virile presence on stage (remember, seven children). And who can remember the supporting characters in the much re-played 1965 film? Here, Michael Matus and Caroline Keiff make room for their roles as the Captain’s cowardly friend and sophisticated Viennese fiancée with humour and grace and a couple of decent songs. But my favourite thing? Helen Hobson as the Mother Abbess and her superfluity of nuns performing their chorus numbers with a real feeling of religiosity. A brave move that injects weight into the show and, as night falls over Austria both literally and figuratively, provides a stunning finale that has both a bang and a wimple.

Until 14 September 2013

www.openairtheatre.com

Photo by Johan Persson

Written 7 August 2013 for The London Magazine

“Lend Me A Tenor: The Musical” at the Gielgud Theatre

A musical farce is a tricky thing to pull off, but Lend Me A Tenor shows us how it’s done. The book is the important thing. Based on the play by Ken Ludwig, Peter Sham’s adaptation of a star tenor’s guest performance is as simple as a farce is able to be. Confused love affairs, disguises, behind-the-scenes dramas and onstage shenanigans at a Midwestern opera house are combined with ease and plenty of laughs.

Sham’s lyrics are a model of clarity and hilarity. And if it takes guts to rhyme the name Tito with “indeed-o” then it pays off. Brad Carroll’s intelligently nostalgic score is easy on the ear. So what if you can see the mechanics? It works.

Despite the manic action (with the doors on Paul Farnsworth’s impressive set naturally getting a satisfactory amount of slamming), Ian Talbot’s direction seems effortless. With this cast, he can afford to be confident – Lend Me A Tenor has plenty of experience on stage and it really shows.

Matthew Kelly takes the role of Henry Saunders, harassed opera impresario, in his stride. Michael Matus is the star singer with a believably great voice and the kind of Italian accent you only get on stage. This team knows there is only one thing funnier than an outrageous accent… another character faking an outrageous accent. Stepping into the tenor’s shoes is Damian Humbley as mild-mannered Max, who gets the show’s big tune, ‘Be Yourself’, just as he is going onstage to masquerade as the divo.

With its female leads, Lend Me A Tenor, also excels. Maggie (Cassidy Janson) is our ingénue, and the opera’s resident diva Diana DiVane (Sophie-Louise Dann) is the “not so ingen-new”. Both are infatuated with Tito the tenor for romantic and professional reasons: Maggie wants to borrow him for a fling before she settles down, leading to the show’s romantic title tune, DiVane sees him as a kind of bridging loan to the Met and has a show-stopping ‘audition’ number. The superb Joanna Riding plays Tito’s long-suffering wife with delightful comic timing.

This cast is so strong that the performers might seem somewhat wasted; it’s an enviable position for any production to be in. But a musical needs more – that special something that critics are loath to describe as ‘heart’, and Lend Me A Tenor is such an enchanting piece that it’s clearly in credit.

Until 6 August 2011

Photo by Tristram Kenton

Written 1 July 2011 for The London Magazine