Tag Archives: Maria Friedman

“High Society” at the Old Vic

Here’s a bold claim: Maria Friedman’s production of High Society has more laughs than the much loved film it’s based on. More than an amusing trip down memory lane, the show is laugh out loud funny, making the most of Cole Porter’s hit-crammed score and the humour of Arthur Kopit’s book. Updating the original 1930s setting to match the movie’s 1956 date injects a rock and roll feel, making the piece energised and a whole lot sexier.

Admittedly there’s a somewhat slow start. The sound could be bolder and some characters take time to establish themselves. The initial preamble to the wedding of wealthy socialite Tracy Lord and her arriviste fiancé George Kittredge lacks tension, despite her ex-husband CK Dexter-Haven being around. It feels like we’re being served a good prosecco rather than the champagne that plays such a big part in the show.

But by the time I Love Paris is sung, by Tracy and her feisty young sister Dinah, to bemuse two gate-crashing journalists, we’re onto the real thing and laughing a lot. And after the interval the use of the Old Vic’s current in-the-round format is embraced. When the cast sing What A Swell Party, we really feel part of it – it’s a tremendous scene that makes you glad you’ve been invited. The finale also uses the space cleverly as Tracy announces that the wedding is off to the audience, who at this point double as the congregation.

Of course, we’re all happy Tracy ends up with the right man. Rupert Young makes a suitably charismatic CK, while it’s best not to think too much about the fate of the unfortunate George. Dinah and the rogue reporters, played superbly by Ellie Bamber, Jamie Parker and Annabel Scholey, are on our side to allay complicity in the snobbery.
Amongst such a talented cast it’s all the more remarkable that Kate Fleetwood’s Tracy stands out so much. Her sexy voice and stunning comic skills mean you daren’t take your eyes off her. And she looks fantastic in Tom Pye’s glamorous costume designs. I’m not classy enough myself to know the best brand of champagne, but whatever it is, it should serve as a metaphor for Fleetwood’s performance. And she deserves a jeroboam of the stuff.

Until 22 August 2015

www.oldvictheatre.com

Photo by Johan Persson

“Merrily We Roll Along” at the Harold Pinter Theatre

Another transfer, another success for the Menier Chocolate Factory – Stephen Sondheim’s Merrily We Roll Along has just opened at the Harold Pinter Theatre. It is the show’s first presentation in the West End, which seems remarkable since it is one of the master-composer’s greatest musicals – a complex work with the potential to appeal to a wide audience. The Menier’s production deserves its new location, showcasing the piece to perfection.

Making her directorial debut, renowned singer and Sondheim soulmate Maria Friedman excels. Under her supervision, Merrily We Roll Along serves as a tremendous vehicle for its leading trio: Damian Humbley, Jenna Russell and Mark Umbers, who star as Charley, Mary and Frank. Just as excellent are Clare Foster and Josefina Gabrielle as the women in Frank’s life. The latter benefits from an additional number, requested from Sondheim by Friedman, that makes a rollicking opener to the second act. With the chorus the production’s modest origins reveal themselves – positively – this is a mature team that sounds fantastic.

The musical is played backwards: we meet our heroes at the height of their careers, but bitter and weary. And in the finale we see the college chums ready to take on the world. It’s a device used to great effect and adds layers of meaning to music that emblazons itself on the memory. The score becomes simpler as the evening progresses, but feels richer with each number – a magical trick to pull off.

Nothing is lost in this production. The performances make the most of the narrative device of hindsight, but keep it sincere and never gimmicky. Merrily We Roll Along is clever stuff but it’s intelligent not pompous. All in all, it’s a brilliant piece that mustn’t be missed.

Until 25 July 2013

Photo by Tristram Kenton

Written 2 May 2013 for The London Magazine