Tag Archives: David Bryan

“The Toxic Avenger” at the Southwark Playhouse

B-movie inspired musicals are an established genre, from Rocky Horror shows and Little Shops to recent examples such as Bat Boy at this very venue. Joe DiPietro and David Bryan’s 2008 work, based on Lloyd Kaufman’s film, shares the schlocky kitsch appeal and knowing references that fans love. And there’s a super cynical side that suits contemporary musicals, with a take on government and environmental issues – Urinetown springs to mind – ensuring wide comedy appeal.

There’s a superhero angle that provides laughs, as the town nerd gains great powers (applause for nifty costume changes throughout) and sets about tackling pollution in the town of Tromaville, New Jersey. Battling corruption and prejudice with a love interest thrown in, there’s plenty to parody, and The Toxic Avenger does parody very well indeed.

The script is a good deal stronger than the score, which lacks direction and possesses conviction only when it comes to comedy. But the lyrics are frequently inspired – geranium rhymes with cranium, for example – and the jokes are good. And the pace is impressive; this show is literally a laugh a minute.

The cast is accomplished and creates an infectious sense of fun. Mark Anderson takes the lead, deserving acclaim, with a superb voice. Hannah Grover is the blind librarian Sarah, uninterested in a romance until Toxie’s transformation; her comic skills make the most of jokes about disability and sexiness (a little too obvious a ploy to make this an ‘adult’ affair). Lizzii Hills impresses even more, playing both mother and town mayor, scoring a big hit in a number that is a duet between the two. The power behind all three voices skates over some bland musical moments.

The stars of the show are Marc Pickering and Ashley Samuels, who play all the other roles – doctors, scientists, policemen, thugs and Sarah’s girlfriends (condragulations (sic) on that one). Running around like mad, Pickering and Samuels’ standard of singing never drops, the folksy title number is delivered brilliantly, their interaction with the audience great and, under Benji Sperring’s strict direction, each gag itself is never overplayed.

However, the major drive in The Toxic Avenger is in the dismantling the conventions of musicals themselves and this does become repetitious. There’s a Les Mis reference and a Phantom gag. Everyone loves a show with in-jokes (think Forbidden Broadway) and Sperring ensures the humour feel fresh, spontaneous even. But it’s a shame The Toxic Avenger doesn’t go that little bit further. There’s a suggestion it might, with a darker turn of events. Instead, we fall back on the fact it has a small cast and one joke that builds superbly. But it fails to surprise.

Until 21 May 2016

www.southwarkplayhouse.co.uk

“Memphis” at the Shaftesbury Theatre

Memphis was a success on Broadway, winning four Tony Awards, including the coveted Best Musical trophy. Now at the Shaftesbury Theatre, it’s easy to see why it was such a hit. One of those shows that wears its heart and soul on its sleeve, it is, in the cast’s joyous catchphrase, totally hockadoo!

Aspiring white disc jockey Huey, based on real-life radio pioneers in the 1950s, falls in love with black music and starts to make it mainstream. Huey’s career provides one story arc, with racial tensions abounding and exacerbated by a burgeoning love affair with the talented black singer Felicia. While simplistic, to its credit, Memphis doesn’t shy away from the realities of sexism or violence, giving the show plenty of dramatic tension.

The book by Joe DiPietro is tightly constructed and the themes inspirational enough to guarantee a thoughtful feelgood factor. The script has enough one-liners to inject humour and director Christopher Ashley’s efficiency produces a fast moving show that builds momentum nicely. Music is from former Bon Jovi star David Bryan. Sighs of relief that this is an original score (it could so easily have been another jukebox musical) but more impressively, that there are some great numbers. In keeping with the topic, the musical sources are broad; rock ’n’ roll, blues, gospel (my favourite) and a nice pop hit called ‘Someday’, which I bet you’ll be humming as you leave.

The set design by David Gallo is slick and the high-energy choreography by Sergio Trujillo thrilling. The gymnastic ensemble is vigorous and if some of the secondary roles could be fuller, in particular that of Huey’s mother who has an unconvincing comedy number, each performer embraces time in the spotlight as if they were in a stadium. This is a star vehicle; the story of Huey and Felicia so perfectly embodies the bigger themes, and in these roles Killian Donnelly and Beverley Knight shine.

cropmemphisinsert-credit-Johan-Persson
Killian Donnelly

The focus of the story is madcap MC, Huey, and Donnelly doesn’t waste a line, be it sung or spoken. He’s one of those performers who makes of virtue of showing how hard he is working, and we warm to him throughout. As for the luminous Knight, it’s hard to believe Memphis is only her second stage role. Each time she hustles on stage, starting to sing as soon as she can, the atmosphere is magnificent. Knight’s acting skill isn’t negligible – she can hold a big stage and that is hard – but she’s really there for the singing and her voice will make you want to visit Memphis more than once.

Booking until 31 October 2015

www.memphisthemusical.com

Photos by Johan Persson