Tag Archives: Maria Friedman

2026

“Kimberly Akimbo” at the Hampstead Theatre

The heroine’s full name in this Tony Award-winning show is an anagram of “cleverly akimbo”. And that pretty much sums up what’s going on. David Lindsay-Abaire’s intelligent take on the high-school musical, which brings a different perspective to the genre, with music by Jeanine Tesori, is close to fantastic.

There are some excellent songs: for the school choir quartet, a budding romance and a fantastic finale to the first act. The lyrics are smart and, like the score, always interesting. Michael Longhurst’s direction is assured; the set, by Soutra Gilmour, is superb, and every performance deserves praise. So why any reservations?

The show’s big twist is that an older performer plays the sixteen-year-old lead. This isn’t blind casting: Maria Friedman takes the titular role because the character has a genetic disease that ages her. It’s the antidote to shows where kids’ problems are just problems for kids. Kimberly’s limited life expectancy is real; we know this is going to get grim. Friedman embraces the challenge, sounds great and is a true star. She is joined by the school’s “good boy” Seth, a fantastic performance from Gilli Jones, and the exploration of their tentative romance is as smart as it is sweet.

It should be enough. But Lindsay-Abaire adds more. Kimberly’s parents are troubled, not just by their child’s condition but by a criminal subplot that the kids are drawn into, and a family divide that is dismissed too awkwardly. It makes uncomfortable roles for Alice Fearn, Peter Hannah and Niamh Perry, who try hard but never seem to know how useless and nasty they are supposed to be (my answer would be very). There’s a similar issue with the choir. These are strong performances – from Sara Hajizadeh, Ronav Jaim, Robin Simões da Silva and Aviva Tulley – but it isn’t quite clear how interested we are supposed to be in these thin characters.

The distractions still manage to be fun. Fearn deserves special praise for bringing some restraint to her role. They make sure the tragic heroine isn’t the only surprise in Kimberly Akimbo. Dark humour and bleak moments meet sincerity and sentimental touches. There are simple lessons alongside an acknowledgment of how messy life can be. If credulity is pushed too far for some tastes, Kimberly has no choice but to grow up fast. Her tragedy brings the show to a strong conclusion: not great or grand, bittersweet, of course, but very special in its own way.

Until 7 November 2026

www.hampsteadtheatre.co.uk

Photo by Marc Brenner

2015

“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

2013

“Merrily We Roll Along” at the Harold Pinter Theatre

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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