Tag Archives: Christina Modestou

“Carousel” at the Regent’s Park Open Air Theatre

The joy of theatre is that it changes all the time – it’s alive. And most can agree that Rodgers and Hammerstein’s classic musical, wonderful as it is, needs some changes. The show’s lead, wife-beating fairground attendant Billy Bigelow, is a tough sell for our times. And the too casual acceptance of his violence, including that from Mrs B, means that the romance leaves a nasty taste, despite the sublime score. Boldly attempting a new kind of Carousel, director Timothy Sheader can be applauded – the aim is admirable – even if the production doesn’t quite succeed.

Tom Scutt’s bare design is an indication that this Carousel isn’t going to be pretty or charming. Any nostalgia about the New England setting is replaced with British regional accents that manage to bring an air of working-class realism surprisingly well. And Drew McOnie’s excellent choreography shows us a world of work and violence. The only sheer delight is a wonderful Carrie Pipperidge, where Christina Modestou’s lilting Welsh voice made me wonder how she would deal with all manner of show tune standards.

Carly Bawden and Christina Modestou in Carousel at Regents Park
Carly Bawden and Christina Modestou

Women come to the fore in Sheader’s vision for the show. To be fair to Rodgers and Hammerstein, that isn’t hard. Carly Bawden’s Julie – the lead with bad taste in men – intrigues; she has an otherworldly quality to go with her out-of-this-world voice. Joanna Riding’s matriarchal Nettie is convincing, while the carousel owner Mrs Mullin is made a forceful presence by Jo Eaton-Kent. The ensemble provides memorable moments, confronting the audience and Billy about his crimes.

Carly Bawden and Declan Bennett
Carly Bawden and Declan Bennett

As for our kind of hero, Declan Bennett’s Billy has none of the usual charisma… fair enough. Billie is a weak, feckless character (too easily swayed by Sam Mackay’s somewhat pantomime villain, Jigger) and Bennett does this well. But Billy being boring makes the love story at the heart of the show unbelievable. We know Julie is a fool to fall for him, but if the audience doesn’t fall as well – just a little – the show becomes robbed of emotion.

A chilly Carousel then, but that isn’t the biggest problem here. While Sheader’s vision can be respected – it’s clever and clear – changes to the score are less successful, and updating the music is a riskier affair. Again, the approach is bold: a classic American score has hints of Americana (with surprisingly modern touches), but seemingly at random. The additions will keep you guessing – they entertain – but hampered by excessive amplification the sound is sometimes cheap and tinny. Overpowering the singers more than once, the music is almost unpleasant. And that can’t be the kind of new ride Sheader intended.

Until 25 September 2021

www.openairtheatre.com

Photos by Johan Persson

“Little Shop of Horrors” at Regent’s Park Open Air Theatre

If this production is anything to go by, director Maria Aberg has green fingers – she nurtures this hit musical about a carnivorous plant from outer space marvellously.

Adapted from Roger Corman’s B-movie back in the early 1980s, Little Shop of Horrorsis a youthful work from the legendary Alan Menken, packed with musical ideas and barely a bum note. It includes the catchy-as-anything title tune, the brilliant romantic theme ‘Suddenly Seymour’ and the hilarious number ‘Be A Dentist’ – all of which you’ll be humming long after the show ends.

The book and onomatopoeic lyrics by Howard Ashman are great fun and there’s an underlying wit that continually impresses. The story of a freakish flower that changes the fortunes of its florist shop owners is told at a cracking pace, while the fact that growth comes at a price makes the piece a simple but effective morality tale. It’s quirky, dark, campy and cultish – all qualities appreciated by Aberg.

The mock low-budget design from Tom Scutt recalls the show’s Off-Broadway origins and original film source, full of anarchic energy and surprises – an achievement in such a polished production – and adds great charm. Scutt’s wonderfully detailed costume designs are fantastic, too, and his skyscrapers in shopping trolleys a nice nod to the skid-row setting.

Jemima Rooper and Marc Antolin
Jemima Rooper and Marc Antolin

Our hero Seymour isn’t really as sweet as he seems, or maybe he’s just dumb. Either way, Marc Antolin does a great job in the role, sounding great and with terrific stage presence. Jemima Rooper has a nice edge as his love interest and a trio of narrators (Renée Lamb, Christina Modestou and Seyi Omooba) are superb – each has real star quality. A couple of performances are too broad, mistaking the show’s fine edged comedy: Matt Willis’ dentist lacks thrills and Forbes Masson’s Mr Mushnik is reduced to a cheap gag.

Vicky Vox as Audrey II

It’s Seymour’s nemesis, the plotting plant he names Audrey II, that is the star. The clever move is to use not just puppetry here but to cast a drag queen in the role and Vicky Vox steals every scene – this Audrey II really reigns. You’re kept wanting more of Vox, leading to a truly spectacular encore number, including a new wardrobe for everyone, where the show’s crazy creativity is unleashed, making sure the audience leaves blooming.

Until 22 September 2018

www.openairtheatre.com

Photo by Johan Persson