Tag Archives: Lee Proud

“Sunset Boulevard” from the Curve Leicester

This is a Christmas treat for theatre lovers that, thankfully, is carrying on into the new year. Director Nikolai Foster’s production of the Andrew Lloyd Webber musical is produced especially for a lockdown audience and has the clever idea of using all areas of the theatre for filming. Foster gives us a great show and makes you want to visit his venue at the same time.

Like all good revivals, Foster reminds us of the show’s strengths – in particular, what a sturdy piece of musical theatre Sunset Boulevard is.

The strong story, based on the Billy Wilder film, makes a drama of a former movie star, Norma Desmond, in later life. Sophisticated lyrics from Don Black and Christopher Hampton take us deep into the character and motives of Norma and her new beau, Joe. Lloyd Webber’s score is both adventurous and lush, and musical motifs powerfully build while stand-out songs are plentiful.

Sunset Boulevard Photography by Marc Brenner

Them there eyes

From such a firm base, Foster benefits from a fantastic cast. Both Ria Jones as Norma and Danny Mac as Joe know these roles well, and it shows. The casting (David Grindrod) is superb: Jones looks great in a turban and them there eyes are perfect for the number With One Look. Mac’s matinee idol air fits the Hollywood scenario.

Jones is angry and serious – not easy with such a camp character. Mad, sad Norma is to be pitied for her “folly” and her “scrambled brain”, but Jones provides moments of imperiousness to confirm that Norma is a figure to be reckoned with. And she provides magic. When it comes to the power of the movies and imagination, the years slip from her face, and Norma becomes an innocent ingénue.

This is Mac’s show, though. Joe is a great role, a partial narrator (think Nick Carraway) who becomes a victim: his claim to be an observer of Norma – “watching her sunset” – raises questions from the start. Mac’s mix of his character as an “uppity hack” and “stony-hearted” is balanced by moments that show an ambition for an artistic career that hasn’t, really, disappeared. And Mac’s singing is simply wonderful.

Both leads are aided by superb foils. Molly Lynch’s Betty provides a perky love interest that is intelligent and complex for Joe. Adam Pearce’s bass voice is a knockout and his role as Max Von Mayerling is developed magnificently.

Molly Lynch and Danny Mac 'backstage' Photography by Marc Brenner
Molly Lynch and Danny Mac ‘backstage’

Ready for your close up?

There’s no way to not enjoy this show or these performances. But a reservation has to be raised about the filming.

Seeing the orchestra (performing from the stalls) and camera staff at work adds an element of theatricality – nice – but the editing is sometimes manic. Points of view syncopated to the score is fair enough. But too many cuts to different cameras make it hard to appreciate the work of choreographer Lee Proud (in my experience, that’s a shame). Split screens also confuse. Graphics overlaid on to the action are just unnecessary.

Such caveats fade when considering how Foster has used his theatre. Taking the action into the auditorium works well. Setting scenes ‘back stage’ makes for great moments. Posing Joe in a bank of seats, watching events, then joining in the action is a perfect reflection of his ambiguous role. And to have Norma alone in the circle for her entrance and finale is a stroke of genius.

For a filmed show, Sunset Boulevard makes you crave to get back into a theatre in 2021. And you’ve got to love that! There’s a sense of pride in this very smart-looking venue that makes me regret never having visited it. Given other strong work, such as My Beautiful Launderette and What the Butler Saw, that Curve has shown during lockdown, a trip to Leicester might be my resolution for a sunnier 2021.

Until 9th January 2020

www.curveonline.co.uk

“Allegro” at the Southwark Playhouse

It’s hard to believe there’s a musical by Richard Rodgers and Oscar Hammerstein II that is only now receiving its UK premiere. The coup of finally staging this 1947 piece goes to the team of producer Danielle Tarento and director Thom Southerland. While you can understand why this life story of an Everyman, Joseph Taylor Jr, hasn’t joined the composer and lyricist’s formidable hit parade, the show is well worth seeing.

Taking the lead is Gary Tushaw, first handling the puppet that represents his role’s young years, taking us through first love at high school, a career as a doctor and finally the breakdown of his marriage. Tushaw is endearing and sounds great but his character is perhaps a little too saintly. We meet his family, of course – grandmother (Susan Travers) and parents (Steve Watts and Julia J Nagle) – all fine upstanding performances for the roles of fine upstanding citizens. Surprisingly, his love interest isn’t likeable, which makes her a deal more interesting and gives Emily Bull something to get her teeth into.

ALLEGRO 1 Gary Tushaw (Joseph Taylor Jr.) and company Photo Scott Rylander
Southerland injects as much energy into Hammerstein’s book as he can, with the help of some superb choreography from Lee Proud and a nimble set from Anthony Lamble that makes me confident none of the cast suffers from vertigo. And it’s difficult to criticise this “simple” story for being just that – when the “commonplace” is so clearly the aim. Taylor turns his back on big success – that’s his achievement. Time in the city, where living a “ratrace” gives the musical its title song, is far from the overall tone. The piece is obsessed with hope and home. Maybe I am a softie but I was amazed something so sentimental wasn’t cloying.

The ambition of Rodgers and Hammerstein in Allegro wasn’t timid, and nor is Southerland, but the show is small in scope and occasionally condescending. And yet a collection of songs this strong should not be missed. It’s clear that the ensemble, which includes professional debuts for Matthew McDonald, Benjamin Purkiss and Samuel Thomas, are committed to them. With numbers as good as The Gentleman is a Dope for a supporting role (a superb Katie Bernstein), you can’t fail to be impressed.

Until 10 September 2016

www.southwarkplayhouse.co.uk

Photos by Scott Rylander

“Grand Hotel” at the Southwark Playhouse

George Forrest and Robert Wright’s 1989 Broadway hit (with Maury Yeston’s input), has a revival by the excellent Thom Southerland that lives up to the ‘grand’ in its title. Set in 1928 Berlin, its location serves to show a slice of upstairs high life, with a glimpse of downstairs tragedy, and every emotion imaginable along the way. With guests and staff squaring off from the start, a narrator, ably performed by David Delve, sets the cynical, smart tone of a show that embraces confrontation and drama.

Luther Davis’s book, adapting the novel by Vicki Baum that was filmed in 1932, crams the stories into this packed hostelry. Southerland juggles them expertly. Central to a theme of observing life is the terminally ill Otto, played superbly by George Rae, anxious to experience glamour while he still can, right down to cartwheeling. Bravo! The desperation of other characters is less existential; it’s all about the money. What make the show so interesting are the swift story arcs that change goodies to baddies, crooks to romantics, in the space of a song.

Grand Hotel 5 Christine Grimandi Scott Garnham Photo Aviv Ron
Christine Grimandi and Scott Garnham

While you might expect more standout numbers, the score is best regarded as a whole rather than in parts, intelligently creating the “din of old Berlin”. Jacob Chapman has the most adventurous song, which he delivers powerfully. Victoria Serra, as aspiring actress Flaemmchen, gives a rendition of ‘Girl In The Mirror’ that should have stopped the show. And a thieving Baron with a “talent for living” becomes truly noble with Scott Garnham’s performance of the musical’s most gorgeous ballad. The object of the Baron’s affections is the ageing ballerina Elizaveta – the kind who memorises her reviews – and Christine Grimandi is sure to get good notices for a performance that boasts the best comic timing in an often dark show.

There’s a cruel edge to this grown-up Grand Hotel, but nothing dour about Southerland’s staging – in traverse, making the most of his huge cast – and there’s real heat and hustle here. I detected a wish to focus more on the staff, pushed as far as it can be, that makes for a fascinating, layered feel. Along with astounding choreography by Lee Proud, especially with the witty ‘Who Couldn’t Dance With You’ sequence, the finale is a kaleidoscopic affair of pure spectacle. Our narrator might melodramatically see “chambers of discontent” in his hotel, but this production is so polished, I’ve no complaints about my stay.

Until 5 September

www.southwarkplayhouse.co.uk

Photos by Aviv Ron

“Carousel” at the Arcola Theatre

A favourite musical for many, a new production of Carousel opened at the Arcola Theatre last night. Making the most of this intimate venue, with astounding up-close choreography, this is a high energy affair that does wonders to work the big scale of Rodgers and Hammerstein’s masterpiece within a small space.

Director Luke Fredericks has a clear grasp of the fantasy within Carousel. The overture is used to establish the fairytale atmosphere with an interesting air of danger surrounding a trip to the fairground. Let’s be honest, the love story of “bad un” Billy Bigelow and the innocent Julie isn’t that believable, so adding a surreal touch is clever, especially for later scenes set in the ‘backyard of heaven’.

Tim Rogers as Billy Bigelow and Gemma Sutton as Julie Jordan in CAROUSEL. Photo Credit QNQ Creative
Tim Rogers and Gemma Sutton

As Billy and Julie, Tim Rogers and Gemma Sutton seemed nervous at first but their acting was strong throughout. No easy task when you consider how many of the morals within Carousel make their characters unhappy ones for a modern audience. Rogers’ manages to make the vicious Billy sympathetic and Sutton insures Julie’s martyrdom is moving.

Joining them in romance, Vicki Lee Taylor and Joel Montague have a jollier time as Carrie Pipperidge and Mr Snow. Their sweetness doesn’t cloy and the humour is well developed. When The Children Are Asleep is a highlight, with the odiferous sailor Snow washing those fishes right out of his hair on stage. The whole ensemble is incredibly hard working. Special mention for Amanda Minihan’s spirited Nettie and a lusty rendition of June Is Bustin’ Out All Over.

Nettie’s raunchy appeal is matched at several points by earthy touches in Fredericks’ production. I normally quite fancy the clambake in Carousel – not so much this time as it seems to make everyone sick – but I can see the point of bringing the show down to earth a little. Similarly Richard Kent’s villainous Jigger makes an impression with a knowing delivery of his character.

Best of all is Lee Proud’s choreography, with a stirring combative streak and a use of circus skills that is inspired. So close is the action you might feel a little nervous if you are on the front row. Rest easy with the wonderful score, which soars under Andrew Corcoran’s musical direction. Here the coup is the presence of a harpist, squeezed onto a platform above the action, sure to please Carousel connoisseurs.

Until 19July 2014

www.arcolatheatre.com

Photo by QNQ Creative

Written 24 June 2014 for The London Magazine

“Victor/Victoria” at the Southwark Playhouse

Blake Edwards’ joyous, gender-bending musical comedy – with music and lyrics by Henry Mancini and Leslie Bricusse – is sure to please. The story of a soprano who disguises herself as a man performing in drag, Thom Southerland’s new production at the Southwark Playhouse, is a bold rendering full of expert touches and an abundance of talent.

Staged in traverse, and superbly designed by Martin Thomas, Southerland and his choreographer Lee Proud make the most of the show’s cabaret numbers. No tunnel under London Bridge ever looked this good; it’s a most welcoming cabaret, with a fantastic atmosphere from start to finish.

Taking the title role, Anna Francolini makes the most of this star vehicle and her performance has an emotional edge that is genuinely affecting. It helps that she sounds fantastic, too, and can deliver a tricky dance routine. The show stopping numbers, Le Jazz Hot! and Louis Says, are a  delight and the ensemble are superb.

Matthew Curtis plays her love interest who, Orsino-like, is puzzled by his desire for the ‘man’ he sees on stage. Curtis delivers his challenging solo number marvellously. But it’s Victor/Victoria’s impresario and best friend, performed by Richard Dempsey, who steals the show. Camp as Christmas and loving every gloriously silly moment, the incorrigible, Shakespeare-quoting, “Toddy” charms all and gets the loudest guffaw I’ve heard in the theatre this year. But, I won’t spoil the joke – buy a ticket to make sure you don’t miss it.

Until 15 December 2012

www.southwarkplayhouse.org

Written 2 November 2012 for The London Magazine

“Mack and Mabel” at the Southwark Playhouse

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