Tag Archives: Joaquin Pedro Valdes

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“The Baker’s Wife” at the Menier Chocolate Factory

Merci beaucoup to David Babani’s venue and director Gordon Greenberg for staging this musical theatre curio from the legendary Stephen Schwartz.

The Baker’s Wife is a sweet show with good songs and a great sense of humour. Schwartz and the book’s writer Joseph Stein are Francophiles both. There’s a clear affection for the source material – La Femme du boulanger by Marcel Pagnol and Jean Giono – that adds a warmth. And it is hard to imagine a better production for what is a deceptively complicated work.

The appeal is clear and the show unusual for Schwartz in being, very self-consciously, a chamber piece. There is an interesting tension between proclamations about small sensual moments said to encompass all our lives. And they really do mean everyone. The intimate Menier, with a superb set from Paul Farnsworth, reflects this ambition. The location might be a small village, upset by a new baker and his much younger wife arriving, but we see a lot of the locale and the cast numbers 19. It’s to Greenberg’s credit that not too many of the characters get lost. 

There are serious intentions. Genevieve, the wife in question, runs off with a younger man, leaving her devoted spouse, Aimable, devastated… and after such lovely songs, too. There are great numbers for both Lucie Jones and Clive Rowe, who take the roles, but their rather pat dilemma is not helped by the rogue she runs off with being a weak character (Joaquin Pedro Valdes, who sings wonderfully, is distinctly short changed). There’s a lot of sentiment, arguably an excess of slow numbers, and surely too many sincere looks with clasping hands between the cast. The lyrics are great, though perhaps a touch repetitious. 

Lighter moments are better – and these aren’t just comedic. There’s a powerful thread of nostalgia and melancholy to the piece, exemplified by a fine performance from café owner Denise, played by the always excellent Josefina Gabrielle, that is surprisingly airy. And the show is funny. The triumvirate of teacher, curate and mayor make great roles for Mark Extance, Matthew Seadon-Young and Michael Matus, who are all superb. There’s fun, too, for Norman Pace and Liam Tamne, playing old rivals who become friends. And a highlight is a song called ‘Bread’, which is rather brilliant.

It’s a lot, though, and, despite admirable efforts from Rowe in particular, The Baker’s Wife doesn’t quite come together. For a start, the story has too easy a solution. While an effort is made with the women in the show, including the mayor’s three “nieces” (one of whom he, ahem, offers to the baker to cheer him up) their group number, entitled ‘Romance’, feels forced and none of the female characters as vivid. Since the aim is to show us a whole community, that’s a big fault. For all the strong songs – very well performed – there isn’t enough to take away. Sketchy rather than slim, there are laughs and plenty of heart-felt moments, but the pleasure is from a fine production of a show seldom seen. 

Until 14 September 2024

www.menierchocolatefactory.com

Photos by Tristram Kenton

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“Pacific Overtures” at the Menier Chocolate Factory

Two white Americans telling a story from an Asian perspective might ring alarm bells for some nowadays. Investigating Western Imperialism, with the arrival of a military presence to an isolated Japan in 1853, is tricky. But, surely, the first point in favour of this revival of Stephen Sondheim and John Weidman’s musical is that you’re going to have to think. The work is as challenging as it was when it débuted in 1976, maybe more so.

It turns out that in skilful hands the project works… for the most part. The casting is sensitive. Indeed, this is a co-production with the Umeda Arts Theatre in Japan. There are clichés about the country and the history is whistle-stop, but it should be noted that the show has been updated, with additional material by Hugh Wheeler. Attempts at humour are limited (and excellent, by the way, ‘Please Hello’ is an erudite highlight). Two numbers that deal with sex – both showing violence toward women – make a powerful, disturbing pairing. Nonetheless, it all feels slim.

Director Matthew White’s brilliant staging is a triumph of minimalism, and the show looks amazing. Paul Farnsworth’s set, Ayako Maeda’s costumes and Paul Pyant’s lighting are all gorgeous. And there’s Ashley Nottingham’s choreography, with You-Ri Yamanaka credited as a cultural consultant – the way the cast moves is fascinating, and every action in the show is carefully curated. Could all this almost be a problem? Could the aesthetics be fetishistic: the idea of Japan (that Empire of Signs) can be intoxicating. Maybe you’d counter by saying the idea is potent for nations all over the world. White is certainly overt about the idea of presenting the past like a museum display.

It isn’t fair to say Sondheim, Weidman or White paint broad strokes when they are also precise. But a lot of ground is covered very quickly (the show is short). A saving grace comes with something surprisingly old-fashioned – the characters. A trio focus drama and emotion. There’s Kayama, a samurai given the thankless task of dealing with the unwelcome Americans, and his wife, Tamate, who have a brief but beautiful romantic number and tragic story. Takuro Ohno and Kanako Nakano give exquisite performances in the roles. Afterwards, Kayama’s friendship with Manjiro, a strong role for rising star Joaquin Pedro Valdes, reflects responses to cultural change in an easy manner. And John Chew also deserves praise as the narrator who anchors the show – although his role’s transformation into Emperor Meiji is the book’s poorest move.

Unusually for a Sondheim piece, consideration of his music and lyrics is delayed – there is so much else to bear in mind. There are brilliant songs in Pacific Overtures, the lyrics are a model of efficiency as smart as you’d expect. The score was innovative in 1976 and stands out just as much now. The show is a must for fans – it doesn’t come around that often – and this is as fine a production as I can imagine. Still, for most, the evening is probably more interesting than enjoyable, its brevity being a problem that makes it an overture rather than a complete work.

Until 24 February 2024

www.menierchocolatefactory.com

Photos by Manuel Harlan

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“Death Note: The Musical” in Concert

There a strong fan base for this project based on Tsugumi Ohba and Takeshi Obata’s manga series. Three shows at the London Palladium sold out quickly – a transfer has been announced – leading to a sense of excitement for the European première of something that promises to be different.

Coming in cold… it’s a mixed bag. The story is good – it’s sold 30 million copies – and the book for the show, from Ivan Menchell, is accomplished. There are strong characters who are admittedly vehicles to raise issues but nonetheless intriguing. A schoolboy called Light, accompanied by a Shinto Kami, can kill people by writing their names in a book. It’s a neat way to raise moral dilemmas. And there’s a detective, the enigmatic ‘L’, tracking down Light for his vigilantism. But the show isn’t as bold as it might be: strong performances and a good atmosphere are its best points.

Concert is a stingy description. The set doesn’t move and there isn’t much choreography, but the lighting design (Ben Cracknell) is advanced, the costumes (Kimie Nakano) good and the characters well developed. Director Nick Winston has focused on his performers and, as a result, the roles are impressively realised by a strong cast.

Joaquin Pedro Valdes sounds great in the lead and shows Light’s arrogance – this hero starts with good intentions, but power goes to his head. Dean John Wilson plays the detective whose motivation seems more intellectual stimulation than justice and is, as usual, excellent. In the middle, often literally, is Ryuk, a supernatural figure who fascinates. This is a great role (performed brilliantly at the Palladium by Adam Pascal) – a real crowd pleaser with an element of danger and humour whose big problem is his sense of boredom!

Frances-Mayli-McCann-and-Aimie-Atkinson-in-Death-Note-credit-Mark-Senior
Frances Mayli McCann and Aimie Atkinson

There is less success with two female roles: a pop star called Misa (who falls in love with Light) and another Kami parallel the main story but they do not complement it. Both Frances Mayli McCann and Aimie Atkinson have strong voices, but their songs aren’t as good and their characters are less well written. The scene of Misa’s interrogation is ridiculous – let’s hope that was the intention.

Jack Murphy’s lyrics deserve praise if only for their efficiency – it’s all very clear. And, as for the songs, Frank Wildhorn can write a tune. If sometimes unimaginative, they are often catchy. There is an effortful mix of styles in Death Note so the show overall shouldn’t tire.

A lot of the music is earnest, which works well with the story. But the score sounds American through and through. Maybe that’s better than some kind of appropriation. But it lessens the show’s USP compared to your average musical… and that seems a shame.

Transferring to the Lyric Theatre for six performances, 7-11 September 2023

Photos by Mark Senior

www.deathnotethemusical.co.uk