Tag Archives: Oscar Hammerstein II

“Allegro” at the Southwark Playhouse

It’s hard to believe there’s a musical by Richard Rodgers and Oscar Hammerstein II that is only now receiving its UK premiere. The coup of finally staging this 1947 piece goes to the team of producer Danielle Tarento and director Thom Southerland. While you can understand why this life story of an Everyman, Joseph Taylor Jr, hasn’t joined the composer and lyricist’s formidable hit parade, the show is well worth seeing.

Taking the lead is Gary Tushaw, first handling the puppet that represents his role’s young years, taking us through first love at high school, a career as a doctor and finally the breakdown of his marriage. Tushaw is endearing and sounds great but his character is perhaps a little too saintly. We meet his family, of course – grandmother (Susan Travers) and parents (Steve Watts and Julia J Nagle) – all fine upstanding performances for the roles of fine upstanding citizens. Surprisingly, his love interest isn’t likeable, which makes her a deal more interesting and gives Emily Bull something to get her teeth into.

ALLEGRO 1 Gary Tushaw (Joseph Taylor Jr.) and company Photo Scott Rylander
Southerland injects as much energy into Hammerstein’s book as he can, with the help of some superb choreography from Lee Proud and a nimble set from Anthony Lamble that makes me confident none of the cast suffers from vertigo. And it’s difficult to criticise this “simple” story for being just that – when the “commonplace” is so clearly the aim. Taylor turns his back on big success – that’s his achievement. Time in the city, where living a “ratrace” gives the musical its title song, is far from the overall tone. The piece is obsessed with hope and home. Maybe I am a softie but I was amazed something so sentimental wasn’t cloying.

The ambition of Rodgers and Hammerstein in Allegro wasn’t timid, and nor is Southerland, but the show is small in scope and occasionally condescending. And yet a collection of songs this strong should not be missed. It’s clear that the ensemble, which includes professional debuts for Matthew McDonald, Benjamin Purkiss and Samuel Thomas, are committed to them. With numbers as good as The Gentleman is a Dope for a supporting role (a superb Katie Bernstein), you can’t fail to be impressed.

Until 10 September 2016

www.southwarkplayhouse.co.uk

Photos by Scott Rylander

“Show Boat” at the New London Theatre

Daniel Evans, director of this latest revival, describes Jerome Kern and Oscar Hammerstein II’s Show Boat as “the mother of all musicals”. It’s old – a first version dates from 1927 – so it’s safe to say that the songs have stood the test of time. Serious subject matter – a troubled love story with a backdrop of racism in the Deep South – carries a message of tolerance. And while the piece is not exactly timeless, this brilliant production makes it considerably more than a period curiosity.

Sandra Marvin (Queenie) and Emmanuel Kojo (Joe)
Sandra Marvin (Queenie) and Emmanuel Kojo (Joe)

Rave reviews from the production’s premiere in Sheffield, and the reason the show unquestionably deserves all those stars, come from high production values and the performances secured by Evans. Lez Brotherson’s design screams that it’s a big bucks show. The action is held together by Malcolm Sinclair, as the showboat captain, and there are stand out performances from Sandra Marvin as Queenie and Emmanuel Kojo, who sings that famous anthem to the Mississippi. As for the leads, the lovers Magnolia and Gaylord, Gina Beck and Chris Peluso are real stars at the top of their game.

Chris Peluso
Chris Peluso

But what to do with all the history? Despite noble intentions, it’s impossible not to see Show Boat as uncomfortably racist, not to mention sexist and snobbish. Black characters are the backdrop here, no matter how much Evans tries to refocus our attention. And all those gals who ‘Can’t Help Loving Dat Man’ need a talking to. Wisely, Evans accentuates the affirmative with a view of the family – extended by theatrical camaraderie – that gives pause for thought and makes this a feel-good evening.

Drama arrives unexpectedly on the river, the years pass glibly and resolution is minimal. Love at first sight and characters bursting into song, well, that’s what fools who dislike musicals complain of. And, let’s be honest, the characters here are wafer thin and everyone’s heart is permanently on their sleeve. But, with a somewhat luxurious pacing, Evans doesn’t bother with excuses or gimmicks that try to update the experience. This show has earned respect – let’s call it old fashioned and enjoy it.

Until 27 August 2016

www.showboatmusical.co.uk

Photographs by Johan Persson