Tag Archives: Natalie McQueen

“Bonnie & Clyde The Musical” at the Arts Theatre

Frank Wildhorn and Don Black’s score for this 2011 musical sounds exemplary. With consistently strong songs and smart lyrics, this is a show that can hold its head high. While not all the numbers feel as if they belong in a story about criminals – and the sense of time and place for these depression era degenerates isn’t convincing – there is barely a weak number to be heard.

The entire cast enjoys this solid material. The production has fine leads, with Frances Mayli McCann and Jordan Luke Gage taking the title roles. Given the stronger written part, Gage’s acting impresses. Director Nick Winston’s production is a quality affair. Although small, the venue feels appropriate for the show and the design from Philip Witcomb is neat, if far from lavish.

Natalie McQueen and George Maguire

Problems arise with Ivan Menchell’s book and the characterisations here. Time spent on Bonnie and Clyde, looking at their motivations and insecurities, is rewarding. But secondary roles – Clyde’s brother and his wife, as well as a law man who holds a torch for Bonnie – are poor. The performers – George Maguire, Natalie McQueen and Cleve September – sound good, but the roles are written either too comic or too sincere. These issues are worse when it comes to the crime couple’s parents.

Such poor parts are an especial shame, since focusing on how others feel and are affected by Bonnie and Clyde is the show’s smart move. Taking criminals as your protagonists in any drama must be handled sensitively. This show generally avoids the danger, as aspirations for fame seem silly and both fall into violence in a convincingly chaotic fashion. If there’s a little too much sympathy for the gangsters, the show never leaves us in any doubt about how destructive they are. And it really does sound great along the way.

Until 10 July 2022


Photos by Richard Davenport

“Pippin” at the Charing Cross Theatre

Among the many devotees of Stephen Schwartz’s musical, originally written in 1967, director Steven Dexter is an expert. Having staged the show at a pop-up venue last year (a boon between lockdowns), Dexter is back with his hippie-inspired version of the piece. Bigger and just as accomplished, this intelligent take on the Summer of Love does Pippin proud.

I’m still not a fan of the show. Yes, it has great songs. Although the score is contrived. And Roger O. Hirson’s book has wit, even if the humour is dated. But this story of Charlemagne’s son, presented by ‘Players’ who form a show within a show, is a tricky affair: a cautionary tale too close to reactionary in its suspicion of dreams and ambition.

Any reservations aren’t shared by Dexter or his eight energetic cast members. Akin to Pippin’s search for meaning, this production has a “goal and a plan”. And it is well executed. More serious than you might expect, considering the Players’ promises of what we are about to see, the production has more magic than merriment. Take the performance of Ian Carlyle, who makes for a sinister and in-command Lead Player, there’s an appropriately dark edge to proceedings.

Genevieve Nicole in Pippin
Genevieve Nicole

With strong performances from the (not-so-well-written) women in Pippin’s life, we are never allowed to forget they are Players, too. The effect is cold. Genevieve Nicole gets the most out of her big number – she’s super as Pippin’s let-it-all-hang-out grandma. While Gabrielle Lewis-Dodson as the stepmother manipulates events at court in style. It’s only Natalie McQueen, as Catherine, who really cares for our hero and makes the show’s sweet love song, with lots of laughs, enjoyable.

Ryan Anderson in Pippin
Ryan Anderson

The big danger is that Pippin himself becomes something of a puppet. Arguably he is exactly that and Dexter makes the case forcefully. And, who really likes Pippin anyway? Schwartz wanted him to check his privilege half a century ago! More credit to the show’s lead, Ryan Anderson, who get as much sympathy as he can for the character. Genuine emotion comes late (the penny drops – that’s why I’m not a fan) and, when it arrives, Anderson does well.

It is with dancing that Anderson, and the whole cast, excel. Choreographer Nick Winston comes into his own with smart moves, superbly executed. Engaging with each song, adding depth and interest, there’s extraordinary insight into the characters. Winston’s work sculpts the roles. With a nice big space, staged in the round, the dancing is the most joyous part of the show and, too frequently, the most emotional. It’s with the movement in the production that this Pippin moves.

Until 14 August 2021


Photos by Edward Johnson

“9 to 5” at the Savoy Theatre

The legendary Dolly Parton’s first musical, based on the 1980 film that she starred in, does everything it can to entertain. The songs are good, of course, not just the back catalogue used but numbers written for the show. And the additional lyrics to that famous title number are frequently smart. Unfortunately, despite a large crew of orchestrators and arrangers, the production does not service Parton’s music well; it all sound tinny and simplistic. The show is feelgood for most of the time, but the fun is forced. Atmosphere is fought for with gritted teeth and forced smiles, which ends up self-defeating.

Many of the flaws come from the book by Patricia Resnick, who adapts her original screenplay – about secretaries taking over from their tyrannical boss – far too faithfully. Not enough attention is paid to the fact that this is a period piece (Tom Rogers’ design could help a bit more) with the uncomfortable result that the sexism the show condemns makes up most of its humour. In what’s supposed to be a comedy, the jokes become an increasing problem. Unfortunately, our trio of career women struggle too much to land the pretty poor material. Again, the shadow of the film – with three talented comedians – overshadows the stage show. 

Louise Redknapp plays Violet (until 29 June, in case you’re interested), the competent businesswoman passed over for men she has trained. Redknapp has stage presence and is a personality you want to like. But seeing how hard she is trying becomes uncomfortable. She can sing and does well with a big glam number that really isn’t much cop, but she is not an actor and her accent is painful. Amber Davies plays the recently divorced Judy (inexplicably recast as a young woman) and doesn’t seem to try with the accent at all. When she’s not sobbing loudly, she sounds shrill. Natalie McQueen takes a different tack with Doralee, the Dolly Parton role, and ends up leading the show (which isn’t quite the idea). Presented as a caricature of the great woman herself, she’s nice and cheeky and at least looks as if she’s having fun. Director Jeff Calhoun seems to have left each performer to their own devices and the result is a mess.

For the rest of the laughs, Brian Conley plays the infamous boss Franklin Hart Jr and manages to get some pretty moronic jokes literally off the ground. But note, he isn’t in a character at all and murders the songs, not because he can’t sing, but because he’s playing everything so cheaply. Thank heavens for Bonnie Langford who plays office termagant Roz to camp perfection; her lust for Hart is hilarious and Langford hams it up to the heavens while looking as if she’s barely breaking a sweat. Langford gauges the tenor of the show, leaving everyone else behind. She even takes a bow better than the rest of this workaday crew.

Until 31 August 2019


Photo by Simon Turtle