Tag Archives: Natalie Kassanga

2026

“The Jonathan Larson Project” at the Southwark Playhouse

This tribute show to the titular composer is a must for musical theatre aficionados. With a revival of Larson’s smash hit, Rent, coming soon, the timing is spot on for perfecting your knowledge and picking up trivia. There are numbers from shows never staged and numbers dropped from those that were. Songs written for competitions, cabarets and reviews, and some pop songs too. This packed show offers plenty.

Conceived by Jennifer Ashley Tepper, the selection is varied, the biographical detail light. Each number is energetically directed by John Simpkins, aided by Taylor Walker’s movement direction and Sam Biondolillo’s lighting design. Little unites the show apart from Larson. That’s not necessarily a problem; there is a satisfying distance between the “project” and jukebox biographies.

Unfortunately, the quality is inconsistent. There are strong songs that show the writer’s vision. But too much is included for the sake of interest. You might enjoy the anger on offer from Larson the tyro. You could even make a claim for prescient satire (there’s a song about a 2076 presidential race, and plenty to say about consumerism). But not a lot of humour lands. The rare chance to hear these songs is welcome, but the ratio of those you want to hear again isn’t great.

What ensures success is the quintet of strong performers. Marcus Collins, Max Harwood, Natalie Kassanga, Michael Mather and Imelda Warren-Green all sound great. They make the most of the songs they get to lead. Warren-Green has a great time with ‘Bring on the Booze‘ and shows skill with a very tricky Sondheim-style song. Harwood is particularly well cast for angsty numbers like ‘Rhapsody‘. And even if the material isn’t strong—just too generic or try-hard—Collins and Mather bring great stage presence, while Kassanga makes everything sound stunning.

Highlights arrive when the group focuses on performing together, improving the songs by combining their voices under the skilful musical direction of Livi Van Warmelo. Which makes sense. After all, the choral numbers are the best part of Rent. It’s confirmation like this that fans love, and nice for the rest of us too. So is the show just for theatre buffs? Yes…but only just.

Until 22 August 2026

www.southwarkplayhouse.com

Photo by Danny Kaan

2023

“Crazy for You” at the Gillian Lynne Theatre

Billed as a ‘new’ Ira and George Gershwin show when it premiered in 1992, based on the musical Girl Crazy but with extra songs, Crazy for You is as solid a piece of theatre as you could wish for. Ken Ludwig’s book uses a neat plot that provides plenty of comedy as well as room for gorgeous tunes and great dance numbers. In short, it’s a safe bet, but add a star like Charlie Stemp and this production becomes special.

Stemp plays Bobby Child, desperate to break out of banking and into a dance career, pointing out how great theatre is along the way (always nice to hear). This involves Bobby putting on his own show – literally saving a theatre – while masquerading as a producer for comic effect. And there’s romance, with Bobby falling in love with (guess) the show-within-a-show’s leading lady. Simple? Remember, Stemp must be a comic and romantic lead, while singing and dancing… and he really can do it all.

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Charlie Stemp and Tom Edden

Make no mistake – this whole cast is strong. Carly Anderson is leading lady Polly, sounding sweet and graceful with every move (she wears slacks like a ball gown). Polly has independence, but you can’t escape that the role is there to provide swoon and Anderson delivers. Natalie Kassanga’s Irene has her eye on Bobby, with fun results – her voice is so strong you really want the role expanded. And there’s a great comic turn from Tom Edden as a theatre impresario Bobby impersonates. The humour throughout is old-fashioned (bolstered by strong cameos from Sam Harrison and Rina Fatania as two restaurant reviewers), but thoroughly entertaining.

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Rina Fatania and Sam Harrison

Susan Stroman, the show’s original choreographer, adds director to her credits for this revival (which began at the Chichester Festival Theatre) and paces the action with confidence. Excitingly, Stroman’s knowledge of the piece results in some risks: the dancing is a bit bonkers! Occasionally fevered, full of wit as well as plenty of acrobatics, it is value-for-money stuff. There are new orchestrations, too (from Doug Besterman and Mark Cumberland), which emphasise percussion to a bold degree.

Best of all, Stroman uses her star for all he’s worth – and that is a lot. Aside from being one of the best singers and dancers around, with that prized skill of making it all look easy, Stemp can get a laugh and make emotions genuine. Crazy for You isn’t Shakespeare (despite a touch of Twelfth Night with its wooing in disguise), but the love affair convinces. Maybe Stemp appeals because he seems to be having so much fun? That enjoyment makes him perfect casting for a role that focuses on a love of theatre and gives the whole production an infectious joy.

Until 20 January 2024

www.crazyforyoumusical.com

Photos by Johan Persson