Tag Archives: Amara Okereke

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“My Fair Lady” at the English National Opera

Visiting the London Coliseum this summer, New York’s Lincoln Centre’s revival of Lerner and Loewe’s masterpiece matches the musical’s classic stature. Like the piece, the production oozes quality from start to finish. The show is as consistently close to faultless as you could wish.

It’s the story of flower girl Eliza Doolittle and her Pygmalion transformation by Professor Higgins and Colonel Pickering. But, of course, you knew that. The way in which the lower-class Eliza is treated by the toffs is handled with as much sensitivity as it can be. Director Bartlett Sher’s adoption of a thoughtful pace allows nuance to come through.

The slow(ish) treatment – there is little action here – might be expected to make the almost three-hour show drag a little. But entertainment is guaranteed by the hit score and the consistently clever lyrics. The cut-out-style sets (Michael Yeargan), including Higgin’s revolving home, are appealing, while the costumes (Catherine Zuber) are full of inventive touches.

Harry-Hadden-Paton-Amara-Okereke-and-Malcolm-Sinclair-credit-Marc-Brenner
Harry Hadden-Paton, Amara-Okereke and Malcolm-Sinclair

The production’s biggest strength comes with the strong cast. There is excellent support from Shariff Afifi as Freddie, who sounds wonderful. And strong work from Maureen Beattie’s housekeeping Mrs Pearce. Just don’t get too excited for the too brief appearance of Higgins’ mother (Vanessa Redgrave). Malcolm Sinclair takes the part of Colonel Pickering in his stride – an effortless performance that is a joy to watch. Above all, the leads are a delight. Amara Okereke makes an excellent Eliza, balancing the character’s fearful and feisty qualities; her voice is one of the sweetest I’ve heard but can also be full of temper. Okereke manages to make the number Show Me her own. Travelling with the show from the States, Harry Hadden-Paton is a suitably imperious professor with impeccable comic skills.

Sher is respectful of the show’s heritage all the way to the end. It’s a great moment but, overall, the production is a traditional affair. For critics, the show suffers a little in comparison to another US import, a radical reimagining Oklahoma! at the Young Vic. But few will question these performances or the forceful vision behind the show. Making sure a musical like My Fair Lady gets its fair due is a fantastic achievement.

Until 27 August 2022

www.myfairladymusical.co.uk

Photos by Marc Brenner

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“Spring Awakening” at the Almeida Theatre

Duncan Sheik and Steven Sater’s musical about teenagers is now 15 years old. In the crowded field of coming-of-age stories it’s still startlingly original. This strong revival by director Rupert Goold embraces the novelty of adapting Frank Wedekind’s fin-de-siècle play and harnesses the energy of a superb young cast.

Let’s start with that talent. The production boasts Laurie Kynaston in the lead role of Melchior. It’s easy to see why he won the Evening Standard Emerging Talent award, and his performance shows an uncanny ability to suggest a whole range of complex emotions. Similar skills are present with another award winner, Amara Okereke, who ensures the role of Wendla holds equal focus. Stuart Thompson’s moving performance as the troubled Moritz – whose suicide needs to be highlighted in a show sure to draw a young audience – completes a trio of superb leads.

There are snatches of other stories in Spring Awakening. Goold makes sure these don’t confuse. The whole cast get a chance to shine (Nathan Armarkwei-Laryea and Zhen Xi Yong are both memorable) but are best at working together. The ensemble sounds fantastic – its work as a chorus is particularly strong. With the musical direction of Jo Cichonska, Sheik’s score sounds better, more mature, than ever.

Goold’s secret for the show’s success is the choreography from Lynne Page. Every movement shows the frustrations the teenagers are experiencing. There’s a fantastic energy, as you might expect, but it is the suggestion of containment that creates incredible tension.

In less uncertain times I’d put money on this production transferring – it is top notch. Goold is clearly keen for a transfer. Miriam Buether’s staging is effective but screams for a bigger venue (to many seats have a poor view) – let’s hope the show gets one.

Until 22 January 2022

www.almeida.co.uk

Photo by Marc Brenner

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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