Tag Archives: Jerry Herman

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“Hello, Dolly!” at the London Palladium

Jerry Herman’s 1964 musical is one of the greatest ever written. The story of matchmaker Dolly Levi, finding a new life, and love, with “half-a-millionaire” Horace Vandergelder, is full of wonderful songs. But it takes a great production – and a true star – to make the most of it all. This revival brings out all the show’s fun, romance, and – a little surprise – its wisdom.

Director Dominic Cooke is known for his work with plays more than musicals. Maybe his lauded revival of Follies whetted his appetite for more – let’s hope so. Cooke makes the most of Michael Stewart’s superb book for Hello, Dolly! The dialogue, like the lyrics, is funny. But the characters aren’t just comedic, they are well developed. Dolly dominates a coherent and vivid world (credit also to designer Rae Smith), all brought together by a story that is more emotional than you might expect.

Dolly delves into many lives, changing them for the better of course. With an excellent cast, we care for those frustrated in love. Take Cornelius and Irene, wonderfully performed by Harry Hepple and Jenna Russell, who only take a moment to fall in love but manage to be convincing.  Or Barnaby and Minnie, parallels in so many ways, brought to life by Tyrone Huntley and Emily Lane with great charm. And of course there’s Horace, a role taken by Andy Nyman, whose presence as well as his voice impresses.

But who are we kidding? The show is about its titular star and Imelda Staunton doesn’t just fit the role perfectly – she adds to it. She is an excellent comedian – the reaction at finding herself amongst funeral directors during the parade scene is brilliant. But Staunton takes the show seriously, there are moment of melancholy that are striking. While notes can be powerful – her voice is strong – they don’t have to be belted out. Dolly may be brash, but her emotions are refined. And her view of life is worth listening too. It’s important that Staunton is a star. The audience response is rapturous, Hello, Dolly! has a great atmosphere. But note the amount of control; applause stops the moment Staunton is going to sing again. Even if we only get a moment, not an instant is to be missed – onstage and off, everyone is in love!

Until 14 September 2024

www.hollodollyldn.com

Photo by Manuel Harlan

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“Jerry’s Girls” at the Menier Chocolate Factory

A great night out for musical theatre super-fans, this revue show celebrates Broadway composer Jerry Herman. A trio perform songs from his classics – hit shows including Mame, Hello Dolly! and La Cage Aux Folles – doing themselves and the songs proud.

The performers – Cassidy Janson, Jessica Martin and Julie Yammanee – sound great together and shine during solos. All three are stars. Martin focuses on older roles and Yammanee the ingénue ones, which sometimes helps tell a story. As for Janson… well, it’s clear she can do anything.

First created by Herman himself in 1985 (with Larry Alford and Wayne Cilento), the conceit is that we see performers both on stage and off. A lot of the action happens in a dressing room that is part of Paul Farnsworth’s set. It doesn’t really add that much. There are new pretexts for some numbers… should you want them: a fall out among friends, the start or finish of a love affair. But overall, the atmosphere crafted by director Hannah Chissick is relaxed and loose – we are here, simply, to enjoy.

There are some songs by Herman you could never free from famous renditions. But, removed from the context of the shows they were written for, the performers are liberated to a surprising degree. Sometimes you still think of the original story. Twists can seem superfluous, making you yearn for the ‘full’ show, or just miss a lyric (getting knishes into a song is a marvel I think should have been included). But this is all part of the fun for aficionados.

The chance to hear old favourites with less well-known works is, also, part of the appeal. That said, given the quality of Herman’s work, most of the show sounds familiar. More praise then for the surprises on offer. How versatile many of the songs are, how well they stand up on their own, is exciting. And not a word is spoken! Sarah Travis’ work as musical director makes her the fourth star of the show. The arrangements of the songs is often a further thrill to add to this big treat.

Until 29 June 2024

www.menierchocolatefactory.com

Photo by Tristram Kenton

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“La Cage Aux Folles” at Regent’s Park Open Air Theatre

After so many fantastic musicals during his time as director at the venue, Tim Sheader’s final revival at Regent’s Park Open Air Theatre deserves acclaim. The much-loved 1983 piece is produced with, well, lots of love. Clearly close to many hearts, the staging is carefully crafted, Sheader’s work impeccable and the audience reaction euphoric.

La Cage Aux Folles is undoubtedly effective – but it is simple. The book by Harvey Fierstein is a model of clarity. Yet the story of drag queen Albin and his partner Georges’ child getting married doesn’t take much time. And although each of Jerry Herman’s songs are hits (not just I Am What I Am), there really aren’t that many tunes.

So, the strength of the production comes with the performances at the eponymous cabaret. Stephen Mear’s choreography is fantastic, the performers acrobatic, and Ryan Dawson Laight’s costumes accomplished (with some lovely nods to the 1970s setting). It wouldn’t be surprising if members of this chorus – or ‘Cagelles’ – each had a show.

Carl-Mullaney-and-Billy-Carter-in-La-Cage-aux-Folles-credit-Johan-Persson
Carl Mullaney and Billy Carter

This is not to detract from the leads, from whom Sheader has secured strong comic performances. Billy Carter plays Georges and has the night club host patter down well. Carl Mullaney’s experience as a cabaret host also shows with his confident Albin. Whenever either has a microphone in hand (nice touch) there is fun. Mention should also be made of Ben Culleton, as their son Jean-Michel, who impresses with a fine voice and great dancing (with Sophie Pourret).

Behind-the-scenes action sometimes feels a little lost in the space. Seeing the Cagelles from the other side of the curtain is a nice idea (and it gives Hemi Yeroham a chance to shine as a stage manager), but you can’t help wondering if it’s all to help with costume changes. That said, the changes of outfits are worth it, and the stage needs to be big to accommodate dance scenes that release a real sense of euphoria.

Private moments suffer from a similar problem – it sometimes feels that the show might be better in a more intimate location. Georges and Albin’s romance convinces but seems small next to the big numbers. Maybe the change of scale is a sweet observation of its own? Along with their son, there is a palpable sense of care and closeness that is touching. La Cage Aux Folles has a simple message about family (hopefully one we’ve all now learned) and it makes it powerfully enough to get the audience up on its feet.

Until 23 September 2023

www.openairtheatre.com

Photos by Johan Persson

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“The Grand Tour” at the Finborough Theatre

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Those hoping to find a formula for the success of a musical may be confused by the The Grand Tour’s poor reception on Broadway. The 1979 show by the legendary Jerry Herman is only now receiving its London premiere at the tiny Finborough Theatre, and I can’t for the life of me work out why. The book by Michael Stewart and Mark Bramble is more than serviceable, while the music and lyrics by Herman are superb. The show’s themes certainly live up to its ambitious title.

OK, so The Grand Tour is old fashioned. Maybe it’s not that original either. And the escapades of Jewish intellectual Jacobowsky and Polish Colonel Stjerbinksy as they flee from the Nazis are sometimes a little silly: there’s a circus, a wedding and even some nuns. But these flights of fancy fill a desperate journey with colour – even a scene on a crowded train is vivacious – and Herman’s score looks past dark events to embrace affirmation.

The Grand Tour 5 Natasha Karp, Nic Kyle, Vincent Pirillo, Michael Cotton, Samuel J Weir, Laurel Dooling Dougall, Alastair Brookshaw and Lizzie Wofford photo Annabel Vere
Natasha Karp, Vincent Pirillo, Michael Cotton, Samuel J Weir, Laurel Dooling Dougall and Lizzie Wofford make up a powerful ensemble

Alastair Brookshaw succeeds in making the unbelievably optimistic Jacobowsky heroic, while Nic Kyle gives Stjerbinsky more dimensionality than he’s written with. The finest moments come with a gentle love triangle around Marianne, the Colonel’s fiancée, played by the charming Zoë Doano. The excellent Thom Sutherland directs a powerful ensemble and Phil Lindley’s set is cleverly cartographic. Sutherland works flawlessly in small venues and The Grand Tour deserves big success.

Until 21 February 2015

www.finboroughtheatre.co.uk

Photos by Annabel Vere

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“Mack and Mabel” at the Southwark Playhouse

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Mack and Mabel has a reputation as a difficult musical to stage successfully. But you’d never guess that from the fine production now showing at the Southwark Playhouse. In the expert hands of director Thom Southerland the piece becomes what aficionados have long suggested – one of Jerry Herman’s finest works.

The love story, set in the early days of the movie business, is slight. But, like the films its protagonist Mack Sennett makes, it has all you need to capture an audience: “love, light, laughter”. Perhaps inspired by Mack’s love of speed, Southerland takes the piece at such a pace that you won’t have time to worry about plot. This is a glorious mix of melodrama, bathing beauties and Keystone Cops. The only disappointment is that the often-promised gorilla doesn’t turn up.

One thing everyone agrees on is how fantastic the songs are. There isn’t a bad number in Mack and Mabel and in this production they all get the delivery they deserve. Norman Bowman and Laura Pitt-Pulford are both impressive in the title roles. The latter deserves special mention for her fantastic delivery of the Barbara Cook standard ‘Time Heals Everything’. There are fine performances from Jessica Martin, as studio stalwart Lottie Ames, and Stuart Matthew Price shows he’s thoroughly on the ball, dealing with a minor wardrobe malfunction while sounding fantastic.

Lee Proud’s choreography is outstandingly ambitious and, impressively executed by the ensemble, it adds a great deal of humour. There are fine comic performances, especially from Steven Serlin as the studio’s producer – his crew may be making comedy shorts but Mack and Mabel is a grown-up affair with a famously downbeat ending. Some find this unsatisfying, but Southerland emphasises the work’s melancholy and nostalgia to create a moving, weighty experience that is not to be missed.

Until 25 August 2012

www.southwarkplayhouse.co.uk

Photo by Annabel Vere

Written 12 July 2012 for The London Magazine