Tag Archives: Lizzie Gee

2026

“Pride” at the National Theatre

Director Matthew Warchus’ project to turn his 2014 film into a musical makes sense. The true story of the Lesbians and Gays Support the Miners group, which raised funds during the 1984 miners’ strike, has protests and parades, strong characters and political changes. Even better, bringing Pride to the stage adds something special: the music and lyrics by Christopher Nightingale and Stephen Beresford highlight passion and the potential for change in a way only musicals can. After all, shows about revolutions can work remarkably well.

There’s no doubt Warchus gets it. His handling of the action is superb: clear, energetic and capable of delivering both laughter and tears. His staging balances the nostalgia that threatens to overwhelm Beresford’s book, reminding us that these were not easy times for either the LGBT community or the miners on strike. There is less success with the sentimentality that can also be laid at Beresford’s door. Some moments are simply too sickly sweet and pass by too quickly to earn their emotional weight. Overall, Pride is far from perfect, but its characters power it through to deliver impressive results.

The show is slow to get started. The exposition that introduces the period, while necessary, is sure to depress anyone of a certain age and plods along terribly. The piece also drags towards the end, becoming hagiographic in its treatment of its lead, the inspiring activist Mark Ashton. Despite the nuance Beresford tries to introduce, Jhon Lumsden struggles to convey the character’s charisma. There is also a moment when Pride focuses on personal identity to the exclusion of broader politics. It’s nice that the character of Bromley, whose coming-out story provides an effective subplot, gets a strong song, and Lewis Cornay is excellent in the role, but this shift in focus feels uncomfortable and anachronistic.

Other characters fare better. Matthew Durkan has a fine time as the group’s administrator, Mike, giving a strong and effective performance. Courtney Stapleton stands out as Steph, getting a lot of laughs out of her lines. Ensuring plenty of attention is given to the mining community is a smart move and leads to excellent performances from Matthew Woodyatt and, particularly, Sarah Pugh as Siân James. Her vocals are superb and her solo number is one of the show’s strongest moments. Samuel Barnett also has a great time as Jonathan, a role that showcases his considerable talents. Jonathan’s flamboyance has a clear political purpose – he gets the first truly memorable musical number (although the wait for it is too long), and Barnett’s performance is fantastic.

The lyrics have a humour that could be encouraged; the jokes are the best moments. There’s a pleasing variety to the score, helped by the subject matter, and while ‘Bread and Roses’ is always going to steal the show, the arrangement demonstrates real skill. It’s a shame that the biggest numbers rely so heavily on their performers, as the songs themselves are not quite memorable enough. Lizzie Gee’s choreography disappoints, while Bunny Christie’s set may be too simple. Many audiences will want more from a musical, and it’s easy to spot where a few banners could have been added. At least we get flags.

Warchus brings an energy to the show that is contagious. Pleasing the crowd is an aim, but so is doing justice to the source material. Reaching a wide audience without compromise is tough and occasionally results in clunky storytelling and a few cheap jokes. But the real-life material remains compelling and, although the score never quite makes the show as inspiring as it aspires to be, there is enough humour and passion here for all involved to have a lot to be proud of.

Until 12 September 2026

www.nationaltheatre.org.uk

Photo by Manuel Harlan

2025

“Clueless” at the Trafalgar Theatre

There’s a strong opening number to this musical adaptation of the 1995 film that, loosely, resets Jane Austen’s Emma among wealthy Los Angeles teens. The idea that the show’s heroine, Cher, has a perfect life makes for a strong motif we can have fun exploring. If the rest of the songs are not as good, the show overall is a respectable affair that deserves credit.

It’s a shame for Clueless that the screen-to-stage musical feels a little played out. That’s not the fault of director Rachel Kavanaugh, who keeps the action going nicely, nor the talent on stage. But as Mean Girls and Back to the Future are still running, and memories of Heathers and Cruel Intentions are fresh, there’s just been too much cashing in on Gen X nostalgia.

Here, KT Tunstall and Glenn Slater have written music and lyrics, and both are better than some examples of the genre. All the numbers are competent and several are strong. If they don’t add up to a satisfying musical theatre score (this is Tunstall’s first go), there is nothing objectionable. But it’s a shame there are few chances for the ensemble to sing together, as the score is a collection of solos and duets. Clever nods to the late 1990s could have been leaned into more. But even an incongruous Lindy Hop number, which feels written for something else, is a good tune. Slater’s lyrics are consistently smart, if occasionally dense, and deal well with the plot. And hats off for rhyming porpoise with habeas corpus.

Clueless-Emma-Flynn-and-Keelan-Mcauley-credit-Pamela-Raith
Emma Flynn and Keelan Mcauley

The show, and production, relies too heavily on the lead role of Cher. Emma Flynn, who takes the lead, is great: her voice is superb, her acting convincing, and it’s clear she has a very bright future. But she has too much to do. And it’s a problem because there are a lot of strong characters here who are poorly served. Cher’s friends, Dionne and Tai, fade into the background. Both Chyna-Rose Frederick and Romona Lewis-Malley seem to know it and don’t look very happy about it. Isaac J Lewis, who plays Christian, arrives much later in the action but establishes his character more forcefully. With two good songs, Keelan McAuley, who plays Cher’s love interest, is the luckiest and he shines as a result.

Mikiko Suzuki MacAdams provides a stylish set to perform in with neat solutions for all the cars that feature. It’s a shame that Lizzie Gee’s choreography feels tacked on; there are few extended numbers so most of the dancing looks like fillers for scene changes. This is easy to forgive, but the show’s biggest problem is a lack of humour. Given a rare funny scene of Cher struggling in her high heels, this isn’t Flynn’s fault – she has a feel for comedy. But the rest of the cast struggle to work out how funny they are supposed to be. And Amy Heckerling’s book (based on her own film) hasn’t been updated or changed for the stage enough. There’s a lot that hits the mark here, but even big fans will miss the laughs.

Booking until 28 March 2025

www.cluelessonstage.com

Photos by Pamela Raith

Uncategorised

“A Face in the Crowd” at the Young Vic

This new musical boasts lots of talent – that delivers – but, regrettably, fails to excite. The excellent Kwame Kwei-Armah directs an incredible cast with a book by Sarah Ruhl and music and lyrics by superstar Elvis Costello. Naturally, expectations are high, and everyone does a great job, but the show is effortful rather than inspired.

Having a film in the background might not help, although Ruhl has adapted Budd Schulberg’s book as well as the screenplay that Elia Kazan used. But that was back in 1957, and the story has dated badly. The larger-than-life character of ‘Lonesome Rhodes’, one time down-and-out, then a TV star who tries to get into politics, sounds as if it has potential, but falls flat. Truth has proved stranger than fiction and a plot that should be fantastical feels old hat.

The action is admirably swift. Although Lonesome’s rise and fall is quick, Rhul and Kwei-Armah examine his psychology thoroughly. There’s a sense of outrage as we move from folksy philosophy to sinister popularism. And the character is intriguing, if predictably hypocritical: viewed by his fans as a mix of Jesus Christ and Santa Claus, he’s big on the state of Arkansas and the state of matrimony. But if the jokes don’t make you laugh out loud, I’d suggest the same problem – none of it is as crazy as real life.

Anoushka Lucas and Olly Dobson in 'A Face In The Crowd'
Anoushka Lucas and Olly Dobson

Lonesome is at least a great role for Ramin Karimloo, who sounds fantastic. There’s superb support for him, too. Firstly, from Anoushka Lucas, a radio producer called Marcia who discovers Lonesome and might, almost, steal the show. Marcia gets the best numbers, which Lucas performs beautifully. Her attraction to her protégé might be given more time but a second love interest for her character (played by Olly Dobson) does well – neither character is simply a foil.

The cast could be bigger and the choreography (Lizzi Gee) more ambitious. But Elvis Costello’s music – pure Americana – will please many. Some of the songs are superb, especially the title number, and the mix of country and jazz is intelligent. It’s a shame the ensemble doesn’t sing together more. And that the advertising jingles are such predictable interludes. If the score doesn’t work quite like a musical, it sounds different and I’m sure a soundtrack would sell.

Still, the show is hard to recommend. Even if Lonesome as a kind of early influencer interests you, the piece doesn’t situate itself well in history. It’s never quite clear what year we are in (and the costume design doesn’t help). But the biggest problem is that the satire is just too tame. And although Karimloo has charisma, his character’s popularity doesn’t convince. It is too easy to explain the confluence of politics and entertainment with ignorance. There is a danger the show becomes as contemptuous of the public as Lonesome is… and that suggestion loses my vote.

Until 9 November 2024

www.youngvic.org

Photos by Ellie Kurttz