Tag Archives: Arlene Phillips

“Guys and Dolls” at the Bridge Theatre

Nicholas Hytner brings immersive theatre to a musical in this superb revival of Frank Loesser’s classic Broadway ‘fable’. The Bridge has seen its audience in the thick of the action before (for productions of Julius Caesar and A Midsummer Night’s Dream), but a song and dance show is different and Hytner’s approach makes this lives-and-loves story about 1930s gamblers extra special.

If you choose a ticket in the pit, you are standing – and moved around a lot as stages rise and fall and props are brought in from all directions. Characters searching for a craps game push past you and a soul-saving Salvation Army mission parts the crowd. A group of ushers dressed as New York cops handles the audience and deserves a special mention. The atmosphere is fantastic. Get in early and don’t leave during the interval.

Apart from tiny fringe venues, you couldn’t be closer to it all… which is not to say it is for everyone. Although choreographers Arlene Phillips and James Cousins do a brilliant job, considering the space available, and the cast makes every effort, you might miss a big dance number in the show.

Standing is enormous fun, but also distracting, as you have to move during the songs. And this is singing you really don’t want to miss. Because the big thrill with the production isn’t this immersive approach so much as how fantastic it all sounds and how funny it all is.

Andrew Richardson and Celinde Schoenmaker make a swoon-worthy couple as Sky Masterson and Sarah Brown. The production doesn’t hold back with romance, embracing a period feel that would be pointless to ignore (it really is terribly old fashioned!).

Daniel-Mays-and-Andrew-Richardson-photo-by-Manuel-Harlan
Daniel Mays and Andrew Richardson

Daniel Mays seems born to play Nathan Detroit, making the most out of every gag. The jokes in Jo Swerling and Abe Burrows’ book hold up very well indeed. But, just as impressive, I’ll admit I had a tear in my eye when Mays sang Sue Me.

Celinde-Schoenmaker-and-Marisha-Wallace-photo-by-Manuel-Harlan
Celinde Schoenmaker and Marisha Wallace

As for Detroit’s long-suffering fiancée, Marisha Wallace’s performance cannot be praised enough. Her Adelaide’s Lament is hilarious, and she convinces as the star of the Hot Box Club with a stunning rendition of Take Back Your Mink.

The show’s lovers are sweet. But there are strong supporting performances that open up the performance and reveal how fresh Hytner’s approach is. Cedric Neal’s Nicely-Nicely Johnson’s crowd pleasing Sit Down, You’re Rockin’ the Boat is as excellent as ever. But note how many of his scenes are accompanied by the excellent Mark Oxtoby as Benny Southstreet – the characters have a strong relationship. And the friendship between Adelaide and Sarah is also a highlight. Both performers are good stage drunks and Marry The Man Today is turned into a highlight.

Bringing out the strengths of the book is a smart idea. Hytner takes every opportunity to flesh out the characters and, with such a stunning cast, the result is spectacular. Getting up close and personal is great, but seeing this show – full stop – is the important thing.

Until 24 February 2024

www.bridgetheatre.co.uk

Photos by Manuel Harlan

“The Wizard of Oz” at the London Palladium

With The Wizard of Oz we yet again have proof of Andrew Lloyd Webber’s unerring focus and entrepreneurialism – not only has the maestro produced a terrific live family show, he has even guaranteed it an audience with the aid of a hit TV series, Over the Rainbow.
The new star born is Danielle Hope, whose trials to gain the lead role of Dorothy have so enamoured her to BBC viewers that they now feel duty bound to catch the coach to London and see the show. It makes for a warm atmosphere, as the crowd wills her on to succeed. And Hope manages well – she is an engaging presence with a sweet voice and a remarkable confidence on stage.

It seems damning to say that Hope’s greatest achievement is putting up with Toto. One of the warnings about working with animals should be that a dog on stage can steal the show. And that really isn’t fair. As this poor creature is dragged around, looking by turn bemused and bored, you can’t help fixating on his clever handling and the treats he is cajoled with.

Which is a shame because the treats here aren’t just for Toto but for all the children in the audience. The Wizard of Oz is aimed successfully at youngsters who will, without exception, adore it. A whole team of designers, headed by Robert Jones, have done a superb job, Jon Driscoll’s projections recreating the tornado are impressive, and the costumes are fantastic. Harold Arlen’s great songs are added to by additional music from Lloyd Webber.

Dorothy’s companions on her travels give impressive performances that embrace the show’s camp appeal. Edward Baker-Duly is a matinee-idol tin man, Paul Keating a remarkably acrobatic scarecrow and David Ganly excels as the cowardly lion who is proud to be a friend of Dorothy.

Using a bit more of L Frank Baum’s original story than we are familiar with from the film is a clever move. It treats us to some choreography from Arlene Phillips and gives the talented Hannah Waddingham a chance to shine (via a great lyric from Tim Rice) as the Wicked Witch of the West. The only disappointment is that the additional songs to boost Michael Crawford’s role as Professor Marvel and The Wizard still leave him criminally underused.

Leaving Crawford’s many fans disappointed seems strange, as everyone else in The Wizard of Oz works as hard as Kansas farmhands. Director Jeremy Sams follows the yellow brick road with the precision required for such a spectacle and the determination needed to captivate a young audience. It’s safe to treat any children you know to the thrill of this show. The only thing you might worry about is the effect of all those doggy treats on Toto’s waistline.

Booking Until 17 September 2011

Photo by Keith Pattison

Written 3 March 2011 for The London Magazine