Tag Archives: Liz Robertson

“Committee…” at the Donmar Warehouse

Verbatim theatre, with the script transcribed from everyday speech, is relatively rare. As for a verbatim musical – I can only thing of Alecky Blythe’s hit London Road. So doubling the genre, with music by Tom Derring, this new show counts as a curiosity, while suggesting the novel treatment has potential.

The subject matter might make you question the sanity of the project. The piece’s full title is The Public Administration and Constitutional Affairs Committee takes oral evidence on Whitehall’s relationship with Kids Company. Yes, it’s a crazy idea. But it works well.

For further originality, the book and adaptation into lyrics, by Hadley Fraser and Josie Rourke, use not the casual conversations admired in most verbatim works, but public testimony in the House of Commons – speech that contributors knew would be on record.

Topical, political, important – all fine qualities for good theatre. It’s clear that, despite the humour, including initial giggles at people bursting into song, this is serious stuff. The cast excels at depicting the MPs we came to know during the news story – Alexander Hanson and Liz Robertson are especially strong as Bernard Jenkin and Cheryl Gillan – but coming so close to impersonations can be distracting. Thankfully, the show isn’t flattering about anybody’s sense of importance – or their desire to capture the “8.10 slot” on the Today programme.

Being grilled are none other than Alan Yentob and Camilla Batmanghelidjh, the Kids Company charity’s trustee and CEO. The roles are taken by opera singer Oscar Ebrahim and, with a voice to match him, Sandra Marvin. Again, while their impersonations are eye catching, the real achievement is a vocal ability that aids in revealing the complexity of characters and the situation. They add weight to Deering’s compositions and, while the show is static, some clever touches from director Adam Penfold are well used.

While you might find yourself surprised at how entertaining the whole thing is, Committee’s biggest success is drier – it works as a peculiar pedagogy. The MPs sing that their aim is not a show trial but “to learn” what happened to the bankrupt charity. And from this condensed 80 minutes you discover the issues and questions far more efficiently that following the story in the media. The edit deserves credit, of course, but the ability of the music to focus the mind has a strange power I’d happily hear utilised more often.

Until 12 August 2017

www.donmarwarehouse.com

Photo by Manuel Harlan

“Phantom part two, redux” at the Adelphi Theatre

Opening in March 2010, Love Never Dies, hasn’t had an easy year. Not all reviews were bad (mine was very positive) but many were lukewarm, some slightly spiteful, and the reaction ofphans’ (devotees of Phantom of the Opera) occasionally bizarre.

Just over a year later several alterations have been made and there are some new members of the cast. But ticket sales could still be better. Why is difficult to fathom – Love Never Dies is great stuff; thoroughly entertaining and never, ever boring.

The changes made in Jack O’Brien’s direction make the story of what happens to the Phantom, after he moves from the Opera in Paris to the USA’s Coney Island, a good deal sharper. The clarity in all the performances, especially Hayley Flaherty as Meg and Liz Robertson as her mother Madame Giry, who devotedly follow the phantom and cause his final tragedy, are commendable. David Thaxton brings his considerable acting talent to the role of Raoul – still recognisable as the romantic hero, Raoul is now a broken man.

The Prologue is the biggest alteration. An atmospheric scene setting that teased audiences is replaced with a rousing introduction to the Phantom. Ramin Karimloo, in the title role, gives such a fantastic performance a sense of mystery isn’t missed too much. Throughout Karimloo is such tremendous value he shows he truly owns the role.

Thankfully, few changes have been made to Lloyd Webber’s score. There is some beautiful music in Love Never Dies and it seems a shame so little has been made of this. Glenn Slater’s lyrics often leave much to be desired and what little humour is present tends to fall flat, but what annoys people most – the reinvention of the Phantom as a sympathetic character and the musical’s bleak ending – are more questions of taste than errors of judgement.

Love Never Dies is a complex musical for the West End. The book, written by Lloyd Webber and Ben Elton, demands engagement from an audience and has an eye to its predecessor that is almost oppressive. The resources available mean that the production values are thrilling – they convey the fun of the circus and the frightening freak-shows by turn, but more impressive are the risks taken to produce a darker, relatively more elaborate work that is well worth watching.

www.loveneverdies.com

Written 10 March 2011 for The London Magazine

“Love Never Dies” at the Adelphi Theatre

When a theatre’s bar staff wear waistcoats embroidered with the show’s name, it seems pretty clear that the producers are hoping for a limitless run. No question, then, that Love Never Dies, Andrew Lloyd Webber’s sequel to the phenomenally successful Phantom of the Opera, represents a major investment. A lot rests on it and the critics know this. More vitally, so does the audience. Before curtain up, there is a palpable sense of expectation in the auditorium, and, perhaps unusually, a wish that all should go well. This is a crowd eager to enjoy itself and, I am pleased to report, it gets what it wants.

Love Never Dies takes place a decade after Phantom and has been 20 years in the making. Maybe the world is more complicated now, certainly this show is more nuanced than its predecessor. The book, by Lloyd Webber and Ben Elton, does not simply replicate the story we already know, although many of the dramatic devices common to musicals are present: a theatrical setting (moved from the Paris Opera to a show on Coney Island), a battle for the love of a beautiful woman and even a prologue that sets the scene for tragedy. Lloyd Webber knows his trade, and these are all highly effective crowd pleasers.

The fairytale romance of Christine and Raoul has turned sour; indeed it was never as perfect as we were led to believe. No longer an isolated genius, the Phantom is now a successful impresario. He blindly relies on the devotion of his followers from Paris, Madame and Meg Giry. These roles demand a great deal from the cast – there are no pantomime villains here or Disney heroics.

The devotion of the Girys may seem inexplicable, but Liz Robertson and Summer Strallen convince. Raoul is now a drunken gambler but Joseph Millson manages to convey the charm his character once had.  Sierra Boggess’s Christine is torn between the commitment she has to her family and the passion for her art and former tutor. Here we have the biggest change. Ramin Karimloo’s portrayal of the lead may be thought too likeable – less phantom, more friendly ghost, but while some tension is sacrificed, it is more than compensated for with an emotional pay off. The Phantom is human and has dreams of being loved.

This is to leave the best until last – Lloyd Webber’s typically strong score. His characteristic eclecticism moves from vaudeville numbers to a haunting child role reminiscent of Britten. The predominant note is a Romantic one, with wonderful strings and bold orchestration. Music and production alike are confident and assured – this is a surprisingly intimate West End musical with a series of close-up scenes.

Cleverly, the anticipation surrounding Love Never Dies is put to good use. As Meg worries about her performance, her colleagues predict that her audience will applaud before her song is through – a prophecy happily fulfilled before Karimloo’s fantastic opening number is completed. The plot hinges on whether Christine, contracted to sing by the Phantom, will perform for him. The result is a grand theatrical moment reminiscent of Sunset Boulevard’s Norma returning to a film set or Evita stepping out onto her balcony. As Boggess performs the title in impressive operatic style, the audience becomes part of the drama – participants in the play itself as her rapturous reception on Coney Island is replicated in London’s Adelphi.

Combine this score with such an accomplished cast and you have a winning formula. Add superb production values and you hit the jackpot.  Jon Driscoll’s video projections are breathtaking. Wonderful art nouveau sets and costumes by Bob Crowley are used with surprising restraint as director Jack O’Brien focuses attention on a story and emotions that are potent enough. This is a production all involved in should be proud of and attendance for Londoners should be compulsory. Let’s hope those waistcoats have plenty of wear in them…

www.loveneverdies.com

Photo by Catherine Ashmore

Written 11 March 2010 for The London Magazine