Tag Archives: Jon Robyns

“The Great Gatsby” at the London Coliseum

F. Scott Fitzgerald’s classic novel, which celebrates its centenary this year, has been turned into a big Broadway musical by Jason Howland and Nathan Tysen, with the help of onstage cars and plenty of fireworks. Still running in New York, the Coliseum is a suitably splendid London home for a production that proves value for money, even if it lacks surprises.

This show is a tough one not to damn with faint praise: it’s competent, easy, and enjoyable. Kait Kerrigan’s book is a case in point; as an adaptation it is efficient, clear and comprehensive… but also simplistic. Kerrigan doesn’t assume we all know what is going on with the nouveau riche Jay Gatsby and his former, now married, sweetheart Daisy. The affair, alongside Daisy’s husband’s adultery and a romance for her cousin Nick and friend Jordan, makes for a plot that’s interesting enough, but a little like a soap opera.

The show isn’t sure how funny it wants to be; can we laugh at these old-fashioned views, or do we just condemn them? And Gatsby becomes a bit of a joke himself – rather than a mystery – which is a shame for the audience and Jamie Muscato who takes the lead role. The idea of showing Gatsby’s pretensions with a vaguely British twang jars (Muscato can do a better American accent than this). Frances Mayli McCann, who stars as Daisy, also suffers, with a big effort to make her character sympathetic. Their love isn’t questioned in the way Fitzgerald wanted. Both leads have the poorest songs; their fine voices – and they both sound great – cannot disguise this. 

Howland’s score is powerful, if predictable, with period references that are suggestive (including Gilda Grey is a lovely touch). The romantic numbers soar, just as you might expect. And the party theme is suitably catchy. Tysen’s lyrics are less accomplished, but they are clear, and I didn’t cringe. Both benefit from Marc Bruni’s direction and several numbers are elevated by Dominique Kelley’s choreography. An Act Two highlight, Made to Last, with all the main characters, is the only number complex enough to really impress.

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John Owen-Jones

It’s with supplementary characters that The Great Gatsby does best. Corbin Bleu manages to make sure narrator Nick leads the show despite Kerrigan’s lack of interest in the character. There’s a plumped-up role for Jordan (now Nick’s lover) that Amber Davies makes the most of. And we get more of Meyer Wolfsheim, with the shady businessman’s connection to Gatsby made explicit, leading to a rousing number for John Owen-Jones.

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Corbin Bleu, Rachel Tucker and Jon Robyns

Tom and his lover Myrtle are the big surprise, two strong roles for Jon Robyns (who makes a great villain) and Rachel Tucker, who is excellent as always. It’s a pity Myrtle’s long-suffering husband George isn’t elaborated more (not least for Joel Montague who does well in the role) but all together the show feels hefty enough, and the characters contribute to a general air of satisfaction.

Daisy gets a clumsy finale, almost the last word, lamenting the fate of women and coming close to claiming victim status. It’s not that she’s wrong, just that neither the character nor Fitzgerald would say it. While it isn’t a bad thing to break away from source material, that this is the boldest move only highlights that the show needs more inspired touches. There’s nothing embarrassing here and a lot is done well, it just fails to excite.

Until 7 September 2025

www.london.gatsby.com

Photos by Johan Persson

“Les Misérables” at the Sondheim Theatre

‘If it ain’t broke don’t fix it’ is not the maxim of Cameron Mackintosh. Despite enormous success, the RSC’s production of Alain Boublil and Claude-Michel Schönberg’s musical has been restaged. Previously a touring version, the ‘new’ show comes from former cast members and now directors Laurence Connor and James Powell. It’s obvious how well they know the piece. And don’t worry – Les Mis is as wonderful as ever.

If a little upstaged by the fantastic concert version of the show, which filled in after lockdown, Connor and Powell have clear ideas. I won’t be drawn into saying if the result is better or worse, but there’s no reasons Trevor Nunn’s previous version should be considered definitive. If the new version seems more static, maybe more traditional, it’s still a crowd pleaser.

The moral struggle between convict turned religious convert Jean Valjean and police inspector Javert, a very literal embodiment of law and order, is focused to the point of perfection. There are social issues, romance and, of course, revolution. The marvel of Nunn and John Caird’s adaptation is not just that all of this is easily followed by an audience, but that it enthrals.

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Jon Robyns as Jean-Valjean

There is a rawness to some of the vocals that might raise eyebrows. Squeezing out all possible drama – and the show is melodramatic anyway – is prioritised by Connor and Powell. Bradley Jaden’s Javert is a charismatic figure, fraught with angst. If the role is overshadowed by Valjean, that’s down to Jon Robyns’ star presence. Both male leads give terrific performances.

The comedy is particularly strong, mostly due to the always excellent Josefina Gabrielle and Gerard Carey as the dastardly Thénardier couple. And there’s a superb Enjolras (leader of the 1832 revolt the show documents): Jordan Shaw brings a beauty to the singing of this role that I hadn’t appreciated before.

Connor and Powell have clearly inspired their cast. And credit where it is due, plenty has been learned from Nunn: the staging isn’t fussy, several scenes are powerful because of their simplicity. There is justified confidence in On My Own(and a great performance from Sha Dessi). It’s a shame Empty Chairs at Empty Tables has less impact; I just can’t imagine how that could have been improved.

Talking about the revolution

The redesign comes from Matt Kinley, also long associated with the show. The big news is that the famous revolving stage is gone! The world hasn’t stopped turning as a result, but I did miss it: there’s a little too much marching on a spot. The action, you might say energy, is literally more frontal – with characters facing the audience almost obsessively.

It’s clear where money has been spent. Javert’s final scene does look better. And the projections of Parisian sewers are more technically advanced. Yet backdrops (inspired by Victor Hugo’s paintings) impress mostly because of their size. It’s all part of the production being a little, well, flatter. That isn’t always a bad thing: the show also seems speedier.

Nunn was no stranger to a tableau, but the new production feels frozen at times – almost too eager to focus on key moments that are literally in the spotlight. Lighting designer Paule Constable has done lovely work that’s dramatic and directs attention. But occasionally there is a halting feeling to the show. It’s as if everyone is posing for a photo.

These are observations rather than criticism. You are sure to enjoy Les Misérables as much as ever – the music and the performances are marvellous. Debating if the production is tighter and more direct or maybe a little less exciting is now part of the fun. If I’m not sure anything really needed fixing, this new Les Mis is far from broken

www.lesmis.com

Photos by Michael Le Poer Trench and Johan Persson