Tag Archives: Andrew Lippa

“John & Jen” at the Southwark Playhouse

Deceptively simple and slow burning, the cumulative power of Andrew Lippa and Tom Greenwald’s musical benefits from Guy Retallack’s direction in this strong revival. The production is clear about the show’s complexity and the performances, from Rachel Tucker and Lewis Cornay, are full of fire.

John & Jen is a family drama with a novel structure – the second act is a nice twist if you are new to the piece. Suffice to say that we follow characters through different ages and stages of their relationships. It’s a gift for Tucker and Cornay, who portray their roles from toddlers to teens and adults to remarkable effect, and not least with their singing. To express such different ages while always sounding great is a very special skill.

Lewis Cornay in John & Jen Photo Danny Kaan
Lewis Cornay

Greenwald and Lippa’s book tackles plenty. There’s the usual coming-of-age angle as well as politics that point to cultural divides, domestic abuse and toxic masculinity. It should be too much. But Retallack’s strategy is a light touch that makes interpretation surprisingly open. Picking a major concern is deliberately tricky – down to each member of the audience. The clever juggling act seems grown up to me – again, aided by Tucker and Cornay’s acting talent. 

Smart stuff, then, but sometimes cold? Though you warm to the characters, and the short scenes showing changes in their relationship ring true, the show is tricky to love. The level of accomplished professionalism – clear in Lippa’s score and Greenwald’s lyrics – lacks inspiration. There’s a hint of careful manipulation, albeit effectively employed, with refrains that come back to haunt or lines repeated with a sting. And there’s a saccharine streak that two or three funny numbers do not balance out. Tucker and Cornay are strong comedians, too – I really can’t praise them enough – but, despite a few laughs, the overall effect is soppy. 

Rachel Tucker in Jonh & Jen Photo Danny Kaan
Rachel Tucker

While there is plenty of detailed Americana, a sense of specific place is lacking. Presumably, Lippa and Greenwald wanted to make the show resonate with a large audience. But for British viewers I’m betting the attraction for this production will come with the performances.  Seeing West End stars Tucker and Cornay in the small space at Southwark is a huge treat. Both add an impressive weight to the score with powerful voices that intoxicate (the singing is sometimes more impressive than the songs). Along with superb musical direction from Chris Ma, the show sounds simply fantastic. Five-star performances in a four-star musical but, without doubt, a show to see.

Until 21 August 2021

www.southwarkplayhouse.co.uk

Photos by Danny Kaan

“Big Fish” at The Other Palace

For this musical version of Daniel Wallace’s novel, John August has adapted his own screenplay from Tim Burton’s film and produced a satisfyingly theatrical show. Big Fish fits into a genre of Americana started by Thornton Wilder’s This Town that celebrates everyday life with a magical touch. At times it is captivating.

Edward Bloom is the not-so-average Joe who is our hero and, as he approaches death, he recounts some wild and wonderful tales about his life. These stories have – somewhat inexplicably – alienated his fact-driven reporter son, Will. Their reconciliation makes the show a family drama of low stakes – and the journey the latter has to take to embrace his father’s optimism is too gentle to be compelling.

Kelsey Grammer takes the lead, ably abetted by Jamie Muscato who appears as Joe’s younger self, and delivers the star factor: he sells the character of a travelling salesman superbly and is a strong enough comedian to make a bad joke go a long way. Matthew Seadon-Young plays son Will, giving a dedicated performance with a strong voice, but his character doesn’t convince. It’s a problem shared by the roles of wives to both men – capably performed by Frances McNamee and Clare Burt – who are sketched with depressing brevity.

The music and lyrics by Andrew Lippa fail to excite – a collection of try-hard numbers that feel forced and end up forgettable. Yet as a chamber piece Big Fish has charm. It’s when we see an ambition to be big that the cracks show; there isn’t the power to deliver a big West End feel here. Tom Rogers’ design is a case in point – clever, even charming, but inventive rather than impressive.

With too much sentimentality – fathers and sons skimming stones on a river is always a bad sign – the death bed reconciliation ends up uncomfortably long. I had plenty of time to check, in case I was just cold and heartless, and there was barely a wet eye in the house. “Part epic tale, part fire sale” is a description of Bloom’s life that could have been a warning – mixing the show’s simplicity with attempts at grandeur fails too many times, and director Nigel Harman struggles to accommodate the piece’s inconsistencies.

Until 31 December 2018

www.theotherpalace.co.uk

Photo by Tristram Kenton