Tag Archives: Paul Farnsworth

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“Pacific Overtures” at the Menier Chocolate Factory

Two white Americans telling a story from an Asian perspective might ring alarm bells for some nowadays. Investigating Western Imperialism, with the arrival of a military presence to an isolated Japan in 1853, is tricky. But, surely, the first point in favour of this revival of Stephen Sondheim and John Weidman’s musical is that you’re going to have to think. The work is as challenging as it was when it débuted in 1976, maybe more so.

It turns out that in skilful hands the project works… for the most part. The casting is sensitive. Indeed, this is a co-production with the Umeda Arts Theatre in Japan. There are clichés about the country and the history is whistle-stop, but it should be noted that the show has been updated, with additional material by Hugh Wheeler. Attempts at humour are limited (and excellent, by the way, ‘Please Hello’ is an erudite highlight). Two numbers that deal with sex – both showing violence toward women – make a powerful, disturbing pairing. Nonetheless, it all feels slim.

Director Matthew White’s brilliant staging is a triumph of minimalism, and the show looks amazing. Paul Farnsworth’s set, Ayako Maeda’s costumes and Paul Pyant’s lighting are all gorgeous. And there’s Ashley Nottingham’s choreography, with You-Ri Yamanaka credited as a cultural consultant – the way the cast moves is fascinating, and every action in the show is carefully curated. Could all this almost be a problem? Could the aesthetics be fetishistic: the idea of Japan (that Empire of Signs) can be intoxicating. Maybe you’d counter by saying the idea is potent for nations all over the world. White is certainly overt about the idea of presenting the past like a museum display.

It isn’t fair to say Sondheim, Weidman or White paint broad strokes when they are also precise. But a lot of ground is covered very quickly (the show is short). A saving grace comes with something surprisingly old-fashioned – the characters. A trio focus drama and emotion. There’s Kayama, a samurai given the thankless task of dealing with the unwelcome Americans, and his wife, Tamate, who have a brief but beautiful romantic number and tragic story. Takuro Ohno and Kanako Nakano give exquisite performances in the roles. Afterwards, Kayama’s friendship with Manjiro, a strong role for rising star Joaquin Pedro Valdes, reflects responses to cultural change in an easy manner. And John Chew also deserves praise as the narrator who anchors the show – although his role’s transformation into Emperor Meiji is the book’s poorest move.

Unusually for a Sondheim piece, consideration of his music and lyrics is delayed – there is so much else to bear in mind. There are brilliant songs in Pacific Overtures, the lyrics are a model of efficiency as smart as you’d expect. The score was innovative in 1976 and stands out just as much now. The show is a must for fans – it doesn’t come around that often – and this is as fine a production as I can imagine. Still, for most, the evening is probably more interesting than enjoyable, its brevity being a problem that makes it an overture rather than a complete work.

Until 24 February 2024

www.menierchocolatefactory.com

Photos by Manuel Harlan

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“The Third Man” at the Menier Chocolate Factory

The creative crew for this new musical thriller, based on Graham Greene’s spy classic, cannot fail to impress. The book and lyrics are by the renowned Don Black and Christopher Hampton. The music is from none other than George Fenton. And Trevor Nunn himself directs. The experience behind the show is almost intimidating and the result of all this consummate skill makes it hard to find flaws. With one caveat.

Black and Hampton do their strong source material proud. The story of old friends Holly Martins and Harry Lime in post-war Vienna is well known but thrilling. Greene’s themes of innocence and corruption become vivid, the moral dilemmas vital. There are strong moments of absurdity and cruel humour while exposing villainy. The lyrics may not excite, but they are a model of clarity. Best of all, the characters are fantastic.

Martins describes himself as a “hack writer who drinks too much”. But he is much more and, as Sam Underwood’s fraught performance in this enormous role reveals, he intrigues. Is he a hapless figure who finds the desperation on the streets of Vienna contagious? Or is he troubled on arrival? There’s something unnerving as well as innocent about the laugh Underwood employs. And, as the night goes on, he genuinely looks ill.

Lime appears late in the story, but the criminal mastermind looms large over everything. Simon Bailey’s charisma in the role – and a jaunty entrance number – make the wait for his arrival worth it. The stage is electric whenever Bailey occupies it. Meanwhile, the bigger winner in making the story a musical is the love interest, Anna. Performed with skill by Natalie Dunne, the character has a satisfying agency. And as a cabaret singer she provides some humour. The big idea is to emphasis the romance in The Third Man.

The love songs are some of the score’s finest moments, though Fenton’s music is accomplished throughout. If there aren’t enough memorable tunes for all tastes, this is an erudite score to study. Full of references and interest, it sets time and place with intelligence. The theme tune of the film (by Anton Karan) does appear – oh, so, very well placed – but its inclusion is the least of Fenton’s achievements.

Final praise is for Nunn’s direction – big and ambitious, despite the small venue. Nunn is too enthralled by the famous film – it was by Carol Reed, after all! Which cannot apply to Rebecca Howell’s choreography, at its best in more manic moments. Paul Farnsworth’s set and costumes are appropriate studies in shades of grey. Add Emma Chapman’s lighting design and it all looks very stylish. If the action is followed too faithfully, the amount packed on to the stage is fantastic.

With all this undoubted ability, where is my reservation? This crew knows what it’s doing and has created a grown-up musical that is credible. Nor can you question the amount of work behind the show or on stage from a committed ensemble. Not only does everyone run around (a lot), it is clear that every decision is considered. But – it is a strange flaw to find – that becomes the problem. There’s no spark, no adventure. Everything runs so very well that there is nothing unexpected. So, while The Third Man is a musical to admire, it is not, theatrically, a thriller.

Until 9 September 2023

www.menierchocolatefactory.com

Photo by Manuel Harlan

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"The Boy Friend" at the Menier Chocolate Factory

Sandy Wilson’s light-as-a-feather-boa musical was a legendary hit in the 1950s. Superb work from Matthew White, assisted with direction by his choreographer Bill Deamer, show us why.

It’s hard to imagine a show more fantastically escapist. Inspired by work from the 1920s, please remember The Boy Friend was nostalgic nonsense from its inception. The romantic adventures of rich kids and their elders on the French Riviera are deliberately low stakes. White appreciates the piece needs to appear effortless and banishes worries from the stage.

Tiffany Graves in 'The Boyfriend' at the Menier Chocolate Factory
Tiffany Graves as Hortense

The characters are flat-as-cardboard cut-outs and a marvellous cast understand the humour this can generate. There’s a wonderful sweetness to our leading lovers, Polly and Tony, given a fresh feel by Amara Okereke and Dylan Mason, who both sound fantastic. A star-turn from Janie Dee, as a head teacher with a past, is just as delightful. Dee allows you to laugh at the character while believing she’s sophisticated (and that’s hard). Meanwhile her maid, Hortense, is a brilliant vehicle for Tiffany Graves, who embodies the comedic tone. Within a minute of coming on stage she’s given us an accent Vicki Michelle would be proud of and crossed her legs like Cupid Stunt. It’s clear, very quickly, you need to relax and enjoy yourself.

Jack Butterworth and Gabrielle Lewis-Dodson in 'The Boyfriend' at the Menier Chocolate Factory
Jack Butterworth and Gabrielle Lewis-Dodson

Talking of legs, there’s plenty of them in The Boy Friend. Deamer’s work as choreographer foregrounds the piece’s potential as a dance show and the limbs of the cast deliver. There’s the Charleston, tap, tango and the show’s very own ‘Riviera’. Winning the high-kicking competition is Gabrielle Lewis-Dodson as “mad-cap Maisie” whose dances with her beau Bobby (Jack Butterworth) are a dream. On a relatively small stage, there are moments when the show feels cramped – transfer anyone? – but the dancing consistently impresses with its wit and sense of ease, just the qualities needed here.

Wilson’s cynicism is of the gentlest kind – which White is strict in preserving – and the result is frothy from first to last. But don’t be fooled; this easy fun has work behind it. The score is a perfect combination of comedy numbers, catchy tunes and sentimental ballads. The lyrics are consistently smart and very funny. This is a show constructed to make you clap – nearly every number has a reprise – it is literally built to please.

Rejoicing in pink lighting from designer Paul Anderson for that vie en rose touch and gorgeous costumes from Paul Farnsworth that got a round of applause the night I attended (I can’t remember the last time that happened in the theatre), White and his team create a bubble of happiness. It’s all smiles, romance and charm, with every performer seeming to enjoy themselves. Why not, when there’s so much love in the air? The Boy Friend is a show to simply adore.

Until 7 March 2020

www.menierchocolatefactory.com

Photos by Manuel Harlan

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“Barnum” at the Menier Chocolate Factory

With the success of the film The Greatest Showman, also about nineteenth century theatrical impresario P.T.Barnum, the time should be ripe for this revival of Cy Coleman’s 1980 hit show. This is a whistle stop biography of the biggest barker in show business, rattling past his eventful life courtesy of Mark Bramble’s concisely structured book. With a big top themed design, by Paul Farnsworth, the stage is set for an extravaganza worthy of the man himself. There’s a lot of skill on stage and off so it’s a surprise and a shame that this production never reaches its full potential.

A multi-talented ensemble, many with breath taking circus skills, are impossible to fault. There’s a tremendous turn from Harry Francis as Tom Thumb, and an excellent performance from Celinde Shoenmaker as the famous singer Jenny Lind. The direction from Gordon Greenberg is accomplished, alongside Rebecca Howell’s choreography, it’s notable how well the theatre-in-the-round staging is handled. As for Coleman, there are some great show tunes here, truly rousing numbers you go away humming. To top it all is Laura Pitt-Pulford, as Barnum’s aptly named spouse Charity. Featuring large in his story – well done Bramble – Pitt-Pulford crafts a developed performance that gives a real sense of the character throughout her life. And she sounds great. Unfortunately, it’s a performance uncomfortably superior to Marcus Brigstocke who takes the title role.

Quite early into the show, Barnum notes that his “humbug” is old fashioned and that “educated” people won’t fall for his sales technique anymore. But what could create sympathy distances us from a potential hero. Even if Barnum’s politics were progressive, his affair with Lind strikes a sour note right before the interval – it’s enough to put you off your ice cream. There simply isn’t enough charm here and the fault falls with Brigstocke. We never get past the well-known comedian’s personality – a nice way of saying he can’t act. And while some adlibs around audience participation, including a painful attempt at tightrope walking, are fun Brigstocke doesn’t land the jokes in the show. Yes, he’s a funny man, but his Barnum isn’t funny. Worse still Brigstocke cannot sing. More specifically, his voice is weak and renders Michael Stewart’s patter lyrics, which should excite, inaudible. In short, he can tightrope walk better than he can act, and act better than he can sing, and he can’t walk the tightrope.

Until 3 March 2018

www.menierchocolatefactory.com

Photo by Nobby Clark

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“She Loves Me” at the Menier Chocolate Factory

Here’s a real treat for loyal fans of David Babani’s London Bridge venue. The ‘musical lovers’ musical’, by Sheldon Harnick and Jerry Bock, is perfect fare for the Menier, ticking every box with gorgeous songs and great lyrics. And this fine production does the musical masterpiece full justice.

Joe Masteroff’s book is one of many adaptations of Miklós László’s play about two lonely-heart letter writers, Georg and Amalia, who are in love while unaware that they work together in a posh perfumery. It’s a delicious, fun-filled scenario, given weight by the performances of Mark Umbers and Scarlett Strallen. The couple’s delivery of each song is spot on. And each song is wonderful.

Katherine Kingsley and Dominic Tighe
Katherine Kingsley and Dominic Tighe

There’s a second love story, too: the romantic adventures of Ilona, betrayed by her colleague, the womanising Kodaly. What could be a sub plot stands proudly alongside the leads because of Katherine Kingsley and Dominic Tighe’s performances. And a third affair: the melancholy discovery of the shop’s owner, played by Les Dennis, that his wife is betraying him.

For every sentimental element in this musical, the trials of the characters make you feel this is a grown-up affair. The careful age distribution adds to the effect – Umbers does well to show us George as a middle-aged man. As with Amalia’s letters, everyone becomes a ‘dear friend’, their lives, loves and ambitions so perfectly encapsulated in the songs.

Director Matthew White does an impeccable job. Superb cameos from shop clerk Sipos (Alastair Brookshaw) and Cory English’s maître d’ show his level of attention and care. His decision to have strong British accents seems an unnecessary complication. There’s no reason for Georg and Amalia to sound like something from Brief Encounter. The only role that benefits is Ilona – turned into a northern blonde bombshell that makes Kingsley irresistible. A minor quibble for a production that deserves applause even for the set – brilliant work from Paul Farnsworth. And if some scenes seem cramped, it’s only more proof that the production deserves a bigger venue. She Loves Me is increasingly recognised as a major work. What a present a transfer of this great show would be.

Until 4 March 2017

www.menierchocolatefactory.com

Photos by Alastair Muir

Norman Pace will take over from Cory English between 10 January – 6 February.

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“Charley’s Aunt” at the Menier Chocolate Factory

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Brandon Thomas’ legendary farce has enjoyed an illustrious history since its 1892 premiere, and a host of stars have donned drag as Lord Fancourt Babberley, who masquerades as a chaperone for his university friends Charley and Jack. Ian Talbot’s new production at the Menier Chocolate Factory uses the piece’s period and nostalgic appeal to delight the audience. It’s a “clinking good idea” that results in an evening both gentle and civilised.

In the title role, Mathew Horne gives an accomplished performance marked by surprising restraint. He never flags, but in trying to show the lovesick emotions underneath the antimacassar he’s using as a shawl, the comedy fails to fly. It doesn’t help that the show has two intervals. We get some fantastic sets from designer Paul Farnsworth, but taking time out for big breathers during a farce isn’t a good idea. There’s plenty of fun when Charley’s ‘aunt’ is chased around the college quad or a piano, but the real strength of the night is that the whole ensemble has its share in the spotlight, making Talbot’s production pleasingly balanced.

Dominic Tighe and Benjamin Askew both excel as Babberley’s fellow students Jack and Charley, and all the love interests (Leah Whitaker, Ellie Beaven and Charlie Clemmow) do well with frankly clunky roles, getting the laughs out of all those stiff upper lips. Steven Pacey works marvels as Jack’s father with some great comic touches and Jane Asher, who plays Charley’s real aunt, will leave everyone with the words “she’s wasted in the part” on their lips. Their performances all show a consummate skill that’s fitting for Talbot’s respectful revival.

Until 10 November 2012

www.menierchocolatefactory.com

Photo by Catherine Ashmore

Written 2 October 2012 for The London Magazine

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

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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