THEGAYUK

Tag: Four Star Musical

  • THEATRE REVIEW | High Society, Sheffield Lyceum Theatre and National Tour

    ★★★★ | High Society

    High Society, the timeless musical once again graces the stage in this spirited revival of the classic play based on the MGM Musical.

    It is 1938 and in Long Island, the socialite wedding of the year is about to take place. Tracy Lord is in the midst of preparing to marry in a lavish society wedding when her ex-husband, Dexter Haven, arrives to try to rekindle their romance. Understandably, this throws the plans into chaos, which is further confused by the arrival of an undercover reporter, Mike Conner, who is there to cover the society wedding of the year. Tracy and Mike instantly fall for one another, but with everyone vying for the bride’s attention, and a bride torn between three men, who will she end up walking down the aisle with?

    This musical was a pleasure to watch, being very traditional in terms of its “will they, won’t they” storyline, its simple plot and its rapid succession of songs and the play overall provides a great piece of old fashioned, top notch entertainment.

    The catchy songs were written by Cole Porter and provide a real feeling of the Thirties without ever feeling too dated. The popular score includes “Let’s Misbehave”, “High Society”, “True Love”, “Who Wants to be a Millionaire” and “Well Did You Evah!” and strikes a good balance between spectacular upbeat numbers and romantic ballads. The up-tempo songs were catchy and the cast took on the musical numbers incredibly well, especially the opening scene of each act and the thoroughly enjoyable tap dancing set piece for “Well Did You Evah!”

    Sophie Bould provided the best of the performances as Tracy Lord, with both her acting and singing being spot on. Daniel Boys did a good job as Mike Connor and displayed his incredible singing voice in spectacular fashion whereas Michael Praed proved he is more of an actor than a singer, as his performance was good, but his limited singing range was notable when surrounded by those around him who were much better vocal performers. Light comic relief was agreeably provided by Teddy Kempner as Uncle Willie and the entire ensemble were in fine voice and in perfect time.

    The set design was intelligent and well thought out, whilst not being overcomplicated. It had some nice art deco overtones and the transformation of one set to another was incredibly slick and undertaken as part of the play itself. The costumes were in keeping with the thirties style and looked lovely and the lighting design was incredibly well done.

    Having seen four different productions of this play over the years, I have to say that this was the best version I have seen. The pace was snappy and the cast were polished and professional. The natural performances never felt rushed and the cast were not shy of holding a long pause or taking their time with the slower songs.

    If you are looking for a pleasant evening of entertainment, you appreciate a traditional, old fashioned musical and if you enjoy the slightly twee nature of the MGM classic musicals, then you will enjoy this very well rounded production.

    High Society is currently playing at the Lyceum Theatre, Sheffield until 15th June 2013 before continuing on its national tour.

  • THEATRE REVIEW | Salad Days

    I have to admit a fairly strong affection for the musical Salad Days, as I appeared in two different productions of it in my late teens and early twenties, both times in the role of the mute Troppo.

    I remember both productions as being particularly joyous, and therefore my love of the piece is tinged with nostalgia. I don’t remember either production I was in, though, being as wittily brilliant as Bill Bankes-Jones’s production for Tete a Tete, a company which usually “brings uplifting, surprising, daring and intimate opera productions of the highest quality to the widest possible public, developing both artists and the art-form itself,” to quote from their website. It was the withdrawal of major sponsorship funding for one of their operas, which led Bankes-Jones to embark on a pet project of his, that of doing a production of the Julian Slade/Dorothy Reynolds 1954 musical, Salad Days. It was a huge success when first produced in 2009, and this, I believe, is its third revival. Judging by the full house, I have no doubt this too will be a big success.

    The musical has had many revivals, usually updated to the time of each production, but this one is firmly rooted in the 1950s, and it is definitely the right decision. Now distant enough, the 1950s have a period feel all their own. This is not, though, the 1950s of Grease, with motor cycles, leather jackets and slick backed hair. This is a firmly middle class 1950s Britain of cut glass English accents, of cockney reporters and workmen, a 50s when the cold war loomed and flying saucers were considered a possibility, all taking place in one of those typically mythical English summers, when the sun shines every day and it never rains.

    Occasionally 1950s mores and manners are made fun of, but only ever in the most affectionate of ways. The story revolves around Timothy and Jane, both just down from Oxford, though, typically it is Timothy who must find a job, whilst Jane must find a husband. They manage to fulfil both requirements by marrying each other and taking on the guardianship of a magic piano that makes people dance. What struck me this time round is that the book seems to be a string of carefully crafted, and often hilarious sketches, loosely held together by the Jane and Timothy story. The young people must find their way in a world filled with a crazy older generation, and maybe that is not so very far from the truth for most younger people today.

    Salad Days is a real ensemble piece, all the actors, apart from the delightfully youthful Leo Miles and Katie Moore, who play Timothy and Jane, taking on a variety of different roles. All are without exception excellent, so it seems invidious to single out anyone in particular, though I really can’t pass without mentioning Tony Timberlake, hilarious as the Inspector and Ambrose, and Kathryn Martin, whose Asphnyxia was a masterpiece of comic timing. Also worth a mention is Luke Alexander who is making his professional debut in the roles of Fosdyke and Nigel, but really every single member of the cast is quite brilliant. So too is the swiftly moving production of Bill Bankes-Jones and the wittily brilliant choreography of Quinny Sacks. Played with the audience on two sides, Tim Meacock’s stage design is cleverly minimal, though there are plenty of New Look 1950s costumes to delight the eye.

    No doubt some younger readers will find the whole thing impossibly twee, and it has to be said that the nostalgia it evokes is that of a certain generation, and no doubt a certain class, an impression confirmed by a quick glance round the auditorium last night. That said, even those who are allergic to musicals, would, I’m sure, find plenty to enjoy in the wonderfully well written, and acted, sketches. It certainly took me on a trip down memory lane and I found it an absolute delight.

     

    Riverside Studios & Tête à Tête present

    Salad Days

    Riverside Studios, Crisp Road, London W6 9RL

    20th December 2012 – 2nd March 2013

    www.riversidestudios.co.uk

  • THEATRE REVIEW | Geo Wyeth AKA Novice Theory

    Perched atop an Ikea coffee table playing a battered old Casio in nothing but his underwear is the curious ball of nervous energy that is Geo Wyeth.

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