Tag Archives: Chichester Festival Theatre

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“Crazy for You” at the Gillian Lynne Theatre

Billed as a ‘new’ Ira and George Gershwin show when it premiered in 1992, based on the musical Girl Crazy but with extra songs, Crazy for You is as solid a piece of theatre as you could wish for. Ken Ludwig’s book uses a neat plot that provides plenty of comedy as well as room for gorgeous tunes and great dance numbers. In short, it’s a safe bet, but add a star like Charlie Stemp and this production becomes special.

Stemp plays Bobby Child, desperate to break out of banking and into a dance career, pointing out how great theatre is along the way (always nice to hear). This involves Bobby putting on his own show – literally saving a theatre – while masquerading as a producer for comic effect. And there’s romance, with Bobby falling in love with (guess) the show-within-a-show’s leading lady. Simple? Remember, Stemp must be a comic and romantic lead, while singing and dancing… and he really can do it all.

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Charlie Stemp and Tom Edden

Make no mistake – this whole cast is strong. Carly Anderson is leading lady Polly, sounding sweet and graceful with every move (she wears slacks like a ball gown). Polly has independence, but you can’t escape that the role is there to provide swoon and Anderson delivers. Natalie Kassanga’s Irene has her eye on Bobby, with fun results – her voice is so strong you really want the role expanded. And there’s a great comic turn from Tom Edden as a theatre impresario Bobby impersonates. The humour throughout is old-fashioned (bolstered by strong cameos from Sam Harrison and Rina Fatania as two restaurant reviewers), but thoroughly entertaining.

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Rina Fatania and Sam Harrison

Susan Stroman, the show’s original choreographer, adds director to her credits for this revival (which began at the Chichester Festival Theatre) and paces the action with confidence. Excitingly, Stroman’s knowledge of the piece results in some risks: the dancing is a bit bonkers! Occasionally fevered, full of wit as well as plenty of acrobatics, it is value-for-money stuff. There are new orchestrations, too (from Doug Besterman and Mark Cumberland), which emphasise percussion to a bold degree.

Best of all, Stroman uses her star for all he’s worth – and that is a lot. Aside from being one of the best singers and dancers around, with that prized skill of making it all look easy, Stemp can get a laugh and make emotions genuine. Crazy for You isn’t Shakespeare (despite a touch of Twelfth Night with its wooing in disguise), but the love affair convinces. Maybe Stemp appeals because he seems to be having so much fun? That enjoyment makes him perfect casting for a role that focuses on a love of theatre and gives the whole production an infectious joy.

Until 20 January 2024

www.crazyforyoumusical.com

Photos by Johan Persson

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“South Pacific” at Sadler’s Wells

The fantastic songs in Rodgers and Hammerstein’s 1949 musical make any revival a must. The love between plantation owner Emile (Julian Ovenden) and army nurse Nellie (Gina Beck), with war as a backdrop, is hopelessly romantic. Get ready to swoon. Does the show’s message against racism make up for its misogyny and militarism? Well, no. But there are moments in this production when I thought Julian Ovenden’s singing could solve all the world’s problems.

Daniel Evans’ production, from the Chichester Festival Theatre, tries hard to focus on the indigenous characters of the islands that the action takes place on. Strong choreography by Ann Yee helps.

Bloody Mary, who sells tourist tat to the troops, becomes a forceful character in Joanna Ampil’s portrayal. Her desperation to marry her daughter off to a rich American is moving. The focus for the show’s second romance becomes Mary and her daughter Liat (Sera Maehara) rather than the suitor, Lt. Joseph Cable. That’s a shame for Rob Houchen, who does a good job in the role, but it’s a deft shift of focus.

Joanna Ampil, Sera Maehara & Rob Houchen in SOUTH PACIFIC Photo Johan Persson
Joanna Ampil, Sera Maehara & Rob Houchen

The show’s humour is a problem, though. The role of maverick sailor Luther Billis is an unhappy one – I guess the intention was to be endearing? As it stands, the part just makes the book (by Hammerstein and Joshua Logan) seem flabby. Evans downplays the show within a show (I wonder if the idea was a stab at realism), which is disappointing if understandable – there’s a lack of action overall, so the show can drag.

As for the nurses stationed with the troops… these “dames” are nothing more than a chorus (albeit a good one). It’s only Beck’s quirky delivery that raises any smiles – she’s good at this – while her fear of miscegenation is depicted in a suitably shocking manner. You couldn’t call Nellie a well-rounded character, but Beck does a good job with her.

It is with romance that South Pacific wins. And this production knows that. Beck enforces Nellie’s charm and she sounds wonderful. As for Ovenden – his voice has never been better and the role should surely be career defining. Every rendition of Some Enchanted Evening gave me goosebumps. This Nearly Was Mine is a long and difficult song, but I hoped for an ovation. It’s a surprisingly understated performance that comes from tremendous confidence and power. Ovenden’s expressive voice makes the whole production not be missed.

Until 28 August 2022

www.sadlerswells.com

Photos by Johan Persson

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“Flowers for Mrs Harris” from Chichester Festival Theatre

The story of a widowed char lady who saves up to buy a Christian Dior dress doesn’t sound like a winner. But I’m shocked that this show, which started at Sheffield Theatres in 2016 and is generously presented online by the Chichester Festival Theatre, wasn’t a big hit. High-quality, old-fashioned and unashamedly feelgood, Richard Taylor’s score and lyrics, with a book by Rachel Wagstaff based on Paul Gallico’s novel, is musical theatre magic.

There are risks here. The central character is naïve as well as ridiculously self-sacrificing. Her motivation, the dream behind her triumph over adversity, really shouldn’t convince. And the show is predictable – we all know where Mrs Harris will take a trip (cue dodgy accents to join already plentifully dropped consonants). But if you’re going to manipulate, emotional restraint isn’t called for, and director Daniel Evans shows he knows that. The proof is in the puddin’ – I was close to tears for most of the second act!

Much of the success is down to the mammoth title role, played by Clare Burt. At first gravelly, her voice gets stronger as the show progresses – along with a score that reflects dreams and imagination with style. The trials she faces in saving for her dress create remarkable investment with the audience. When winning the pools isn’t enough (an excellent sequence) hard work is the key, and admiration for the character, and Burt’s assured performance, are secured.

Flowers for Mrs Harris
Laura Pitt-Pulford and Louis Maskell

Mrs Harris goes around inspiring all, like a mix of Mary Poppins and Dolly Gallagher Levi. It makes for plenty of subsidiary characters, admittedly of varying success. It’s great to see some older roles, like Mrs Harris herself, but the younger parts are better and create a rush of romance that adds further escapism. Helping the French in their amours indicates a nice sense of humour underlying the show and provides great numbers for Laura Pitt-Pulford and Louis Maskell. There’s a touch here of She Loves Me – it’s a chocolate cake rather than ice cream – and that’s never a bad thing.

That there’s plenty of love for Mrs Harris is only fair. Mark Meadows’ roles – as her dead husband and then a Marquis who sees her as a fellow spirit – anchor the show. Like the gown she so covets, everything in Flowers for Mrs Harris is “made to make you feel”. Taylor doesn’t let up, and even a couple of twists at the end of the show ram home humour and heart. Nor does the finale disappoint, with each bouquet for Mrs Harris bringing a smile and a sob.

Available until 8 May 2020

To support visit www.cft.org.u

Photos by Johan Persson

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“Caroline, Or Change” at the Hampstead Theatre

Well done to Edward Hall for bringing this Chichester Festival production to London. Director Michael Longhurst’s modest treatment of this major musical, about racism in the American south, has an intimacy that increases its intensity. The talents of Tony Kushner and Jeanine Tesori are awe inspiring, and this work ground breaking. The piece is sung throughout, so there’s a case for calling it an opera, but the genre doesn’t matter – this is simply something everyone should see.

Caroline, Or Change is at heart a “small domestic tragedy” about a middle-aged black maid, her children, and the family she works for. It’s a given that Sharon D Clarke would be good in the title role, but it’s a thrill to see just how great: her voice gives goose bumps and she portrays Caroline’s tough life, and harsher attitude, unflinchingly. Making Caroline heroic is interesting in itself, and seeing her through the eyes of Noah, the young boy she works for, is a brilliant device. She is not a wholly sympathetic character and Clark’s triumph is to balance the dramatic tension that results from this.

Following Caroline’s day, the washing machine, dryer, radio and bus she travels on all get songs. That might sound like Disney, but the music is for grown-ups and powerfully performed by Me’sha Bryan and Ako Mitchell, while T’Shan Williams, Sharon Rose and Carole Stennett make up a 60s-style singing trio. When allowed to keep coins Noah leaves in his laundry, Caroline’s struggles to take the child’s money. And all is played against the backdrop of the Civil Rights movement. So there’s change, big and small, with a heroine so poorly equipped to deal with either it becomes heart-breaking.

Kushner is a big ideas man, and there’s plenty of challenging thinking here. But these lyrics must count as some of the most extraordinary written. Along with propelling the plot, extending the family dramas and explicating historical events, the complexity of emotions expressed is remarkable. There’s wit, which makes many lines laugh out loud funny, and breath-taking imagery. Much of the text is pure poetry.

Matching Kushner’s skill with words comes the music of Jeanine Tesori. It’s a huge achievement that these lyrics never feel compromised: always clear, not a word out of place. The musical references have to be various, there’s a clash of cultures to evoke alongside a period feel. With gospel and blues comes Jewish folk music, the American anthem and Christmas carols. Weaved into all of these, with massive intelligence, are motifs for characters that provoke huge emotional impact.

Kushner and Tersori are smart and know great works require originality. Caroline, Or Change isn’t quite like anything else. It’s not just a matter of quirks – although it has delightful surprises – or contrariness. The audience goes home on a high (as it should). But Caroline’s fate is realistic, and any feelgood comes from the legacy of her children: led by her daughter Emmie, who wants to embrace the new and is given a suitably inspirational depiction by Abiona Omonua. Caroline herself can’t change. Given her life, could you? But putting such a fallible figure against dramas big and small is an important triumph of its own.

Until 21 April 2018

www.hampsteadtheatre.com

Photo by Marc Brenner

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“Half A Sixpence” at the Noël Coward Theatre

The Chichester Festival Theatre’s new version of David Heneker’s musical arrives in the West End trailing rave reviews. And rightly so. Surely some critics were aggrieved that producer Cameron Mackintosh, credited as co-creator, had already bagged the perfect description to promote his work – this really is a “flash, bang, wallop” of a show.

The simple love story of an apprentice haberdasher who comes into money and has to choose between his childhood sweetheart and a once unattainable upper-class lady gives us a pleasingly Pygmalion spin and a hero, one Arthur Kipps, every bit as endearing as Eliza Doolittle.

Arthur may be called Art by his friends, but it is his artlessness that makes him so appealing, genuine and infectiously joyous. Taking the lead has catapulted Charlie Stemp into the big time with a star-is-born moment that theatre goers will find electrifying. Stemp can sing as superbly as he can dance – and he can act, too. In short, he’s the real deal.

Ironically the big achievement of the show, with new music and lyrics by George Stiles and Anthony Drewe, and a book by Julian Fellowes, is to downplay Kipps’ part. Originally an uneven vehicle for Tommy Steele, the show has been recalibrated to allow the rest of the cast to rise to Stemp’s achievements. Both of Arthur’s love interests are superb. Devon-Elise Johnson plays the love-token-swapping parlour maid with credible vigour. The posh idol, Helen Walsingham, is Emma Williams, and, in a piece where toffs do badly, she’s still appealing, making Arthur’s decision a real dilemma.

Half A Sixpence praises working-class culture in a manner that is out of fashion and makes for a fresh change. Arthur’s colleagues in the shop are wonderfully delineated (praise for Sam O’Rourke, Alex Hope and Callum Train). As for Bethany Huckle’s Flo, Arthur may not fall for her, but I did, with an end-of-the-pier number about sexual frustration that makes the role stand out. This new song, ‘A Little Touch of Happiness’, perfectly embodies a postcard humour that makes many numbers here laugh-out-loud funny, with a sentimentality that magically weaves naiveté and nostalgia. All are combined to perfection by director Rachel Kavanaugh. And this is before the storming second-act number, ‘Pick Out a Simple Tune’, with one cast member literally swinging from a chandelier. What more could you ask for?

It isn’t just the deserving praise already received that gives the show its unbounded confidence. In Kavanaugh’s capable hands, taking a lead from the cleverly constructed new material, Half A Sixpence is akin to a theatrical comfort blanket. We know when to applaud – freeze frame on the action and get ready to clap – and when to give a standing ovation. With the keen-as-mustard cast delighting in its triumph everyone goes home happy.

Until 2 September 2017

www.halfasixpence.co.uk

Photo by Manuel Harlan

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“Guys and Dolls” at the Phoenix Theatre

With so many shows on offer in London, it’s unusual to see the same production twice. But the latest hit from the Chichester Festival Theatre, a brilliant revival of Frank Loesser’s classic musical of gamblers, gangsters and their gals, has a new cast that makes revisiting as joyous as the first time around.

The production is also on a parallel UK tour, and Peter McKintosh’s clever neon sign design is sure to serve the show well on its travels. A fine ensemble does justice to the choreography from Carlos Acosta and Andrew Wright, while director Gordon Greenberg gives the show a Broadway feel despite its modest size.

Gavin Spokes remains with the show to reprise his brilliant Nicely Nicely Johnson and get yet more encores for Sit Down, You’re Rockin’ The Boat. Joined by Jason Pennycooke as Benny Southstreet, this is a double act that gets the show up to speed double quick. Siubhan Harrison also remains in town, ever more comfortable in her role as Salvation Army Sergeant Miss Sarah. Playing her love interest Sky Masterson is Oliver Tompsett, who gives a fine performance showcasing a surprisingly old-fashioned voice – he’s a proper crooner, sure to acquire fans. If the chemistry and charisma you might hope for isn’t quite magical, the humour is spot on.

GUYS AND DOLLS, ,Music and lyrics - FRANK LOESSER., Book - JO SWERLING and ABE BURROWS, Director Gordan Greenberg, Choreographer - Carlos Acosta, Designer - Peter MaKintosh, Phoenix Theatre, London, 2016, Credit: Johan Persson - www.perssonphotography.com /
Richard Kind and Samantha Spiro

Greenberg’s focuses on the fun in Jo Swerling and Abe Burrows’ book. As a result, it is low-rent fixer Nathon Detroit and his long-suffering fiancée Adelaide who become our heroes. Chichester’s original casting coup (David Haig and Sophie Thompson) is, if anything, bettered. American comedian Richard Kind takes over as Detroit, adding a down-at-heel quality that makes this smalltime crook all the more appealing, while Samantha Spiro is wonderful as his eternal bride to be, with comedy skills second to none and a belting voice that makes the most of Adelaide’s Lament and brings a Dietrich spin to Take Back Your Mink.

Until 29 October 2016

www.guysanddollsthemusical.co.uk

Photos by Johan Persson

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“Guys and Dolls” at the Savoy Theatre

Another hit transfer from the Chichester Festival Theatre which, after its production of Gypsy, must be feeling at home in the Savoy. This exquisitely polished show matches the venue’s sophisticated glamour perfectly. New Yorker Gordon Greenberg directs, bringing an appropriate feel for Broadway to Frank Loesser’s “musical fable” of men about town and their much put-upon women.

Great material, superbly executed, the show’s hit songs sound better than ever. At the risk of being ungallant, the guys have the edge slightly, creating a big sound and working together to get the laughs. Greenberg pays attention to the humour in Jo Swerling and Abe Burrows’ book, following two gamblers, the high-rolling Sky Masterson and fixer Nathan Detroit, placing their bets on matrimony to, respectively, a Salvation Army sergeant and a nightclub hostess. Space is created for a series of strong comic performances, especially from Gavin Spokes and Ian Hughes, as Nicely Nicely and Benny – a double act to die for. This gang of gamblers forms a coherent group that’s more than just a background note to the love affairs on offer.

A further highlight is the production’s strong choreography – they’ve got both Carlos Acosta and Andrew Wright on board – with a trip to Havana generating a genuine fantasia as well as a spirited fight scene. Peter McKintosh’s design is a simple affair that will serve the production well on tour, but aids the dancers immeasurably. The key is the lighting (bravo designer Tim Mitchell) impressively adding structure to scenes. And special mention goes to the gloriously colourful costumes.

The central performances are superb. These characters are grown-ups and the balance between romance and realism is deftly handled. While Siubhan Harrison stalls slightly as Salvation Army Sarah, failing to exploit the book’s satire, Jamie Parker is a hit from the start as Sky. Charismatic and sounding superb, Parker adds tension to Luck Be A Lady – a revelatory performance of a well-known number. Close to stealing the show are David Haig and Sophie Thompson as Nathan Detroit and Miss Adelaide (we all recognise the cracking chemistry from Four Weddings And a Funeral). Haig is at his most charming and Thompson makes both renditions of her Adelaide’s Lament something to celebrate.

Until 12 March 2016

www.guysanddollsthemusical.co.uk

Photos by Johan Persson

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“Gypsy” at the Savoy Theatre

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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

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“The Pajama Game” at the Shaftesbury Theatre

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Recent closures and current bargains on tickets for some damn fine shows remind us how precious a hit in the West End is. But the transfer from Chichester of Richard Eyre’s superb production of Adler and Ross’ The Pajama Game is a safe bet if ever there was one. This unashamedly old-fashioned musical great is so conscientiously staged that there’s everything to like.

The Pajama Game is the prototype for a small genre of musicals that deal, believe it or not, with industrial disputes. Billy Elliot and the forthcoming Made in Dagenham both aim for a similar blue-collar theme. Here the employees of the Sleep Tite Pajama Factory are about to strike for a pay rise, albeit in a jolly manner. Meetings include entertainment, the hit song Steam Heat, and a rally is really a parade, based on the requested remuneration, with the number Seven-and-a-Half Cents. Life should imitate art sometimes but I fear even Equity isn’t this much fun.

As if commerce and labour weren’t enough, there are love stories, too. One is between a secretary and a jealous time-and-motion manager who used to be in a knife-throwing act – the circus connotation is apt as they are some pretty mad moments here. The other features the love-struck leads: Sid, who runs the factory, and Babe, who deals with grievances for the Union. There’s trouble ahead, obviously, but, for all her feistiness, Babe doesn’t really get that mad, even when Sid sacks her, so there’s no need to worry. It all ends happily with a gloriously silly pajama party at Hernando’s Hideaway.

Just in case it’s not obvious yet, this is one for those who enjoy a song and a dance. If you have ever liked a musical, you’ll love The Pajama Game. The performances are great, the ensemble is strong and there are fine comic turns from Peter Polycarpou (performing until 2 June after which Gary Wilmot takes the role) and Claire Machin. In the leads Joanna Riding and Michael Xavier make a handsome couple and their old-fashioned flirting is a delight. Riding’s Babe is a “firecracker” without labouring the point and is impressively convincing. Xavier’s voice is as strong as any you will hear on stage.

The talented choreographer Stephen Mear steps into the shoes of none other than Bob Fosse. But this version is really a singers’ show, so Mear deserves praise for injecting so much visual joy into the piece. In fact, he ‘gets’ Eyre’s production perfectly, with his honest, uncynical and exuberant approach. I smiled from start to finish.

Until 13 September 2014

Photo by Tristram Kenton

Written 15 May 2014 for The London Magazine

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“Another Country” at the Trafalgar Studios

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The Theatre Royal Bath and Chichester Festival Theatre’s revival of Julian Mitchell’s Another Country is now showing at the Trafalgar Studios. The 1981 play, which imagines the school days of a future spy, to all intents the real-life traitor Guy Burgess, is an accomplished text and this fluid production, directed by Jeremy Herrin, serves it well.

Set in a prestigious public school, the play begins with a pupil’s offstage suicide. This tragic death compels the lead character, Bennett, to confront his homosexuality and take comfort from his only friend, a schoolboy communist, Judd. It’s possible Herrin could have injected more tension by conveying just how much the political machination of the prefects matter to these youngsters. But Peter McKintosh’s set and, above all, the writing itself recreate the world of the school with conviction. Despite levels of repression that could strike you as clichéd, melodrama is avoided.

Rather than teenage angst we have an intelligent examination of class and community. Cold War politics seem a distant issue now, but there are plenty of arguments raised by these juvenile protagonists that make you stop and think. The youngsters here are far removed from those we know today, being by turn strangely naïve and remarkably articulate, but the deep passions that arise in youth and their impact later on in life remain compelling themes.

To consider another kind of legacy: the play has always been a springboard for acting talent. The cast is well drilled and highly professional. Rowan Polonski makes a superb Fowler, a youth brimming with religious fervour, and Mark Quartley convinces as the stressed head of house Barclay. As Bennett, Rob Callender is sure to be compared to Rupert Everett, who performed the role in the 1984 film. But what Callender lacks in terms of instant charisma he makes up for in terms of credibility as a gawky schoolboy – Everett never appeared this gauche – and his is a better interpretation of the role. As Bennett’s communist comrade Judd, acting scion Will Attenborough gives a tremendous performance, managing to inject passion into the polemic and demanding we sit up and listen to every word he says.

Until 21 June 2014

www.atgtickets.com

Photo by Johan Persson

Written 27 April 2014 for The London Magazine