Tag Archives: Rina Fatania

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“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

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“Favour” at the Bush Theatre

Six months and 40 shows into 2022, Ambreen Razia’s new play is the best thing I’ve seen so far. A deceptively simple story about three generations of one family, the script is hilariously funny and deeply moving. Four unforgettable characters are brilliantly realised by a talented cast. 

First up for praise – Favour has a decent plot. Beginning with Aleena’s release from prison, we want to know why she is late? What has happened to her mother, Noor, and daughter, Leila, while she has been away? And why was she in prison? Family secrets and feelings are revealed with skill under the careful direction of Róisín McBrinn and Sophie Dillon Moniram. It isn’t all doom and gloom either – there’s a magical fantasy scene for Aleena and Leila with “sugar and TV allowed” that is winning. As for why we care so much – the answer comes with Razia’s excellent characters.

With Aleena, Avita Jay portrays a mercurial woman with mental health and addiction problems who is both dangerous and inspirational. The role of Noor is taken by Renu Brindle, who shows us a figure of fraught dignity gradually transforming. The youngest character Leila is exceptionally well written with a mix of smart remarks and naivety that is wry and emotional. Ashna Rabheru, who takes the part, is fantastic, especially in scenes that show the character suffering from anxiety.

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Rina Fatania and Renu Brindle

There’s a fourth character too – Fozia, played by Rina Fatania – a busybody whose barbed comments get the audience howling with laughter. Fatania provides brilliant comedy though Fozia is more than a clown (note her departure from the stage).

Presenting different ages could be a clumsy shortcut for conflict.  But Razia is careful to provide depth so that Favour is continuously stimulates. And Razia’s intelligence is seen as the play tackles serious ‘issues’ too. It is notable that this is a story of working-class women and that the play is firmly rooted within a London Muslim community. Furthermore, the play is co-produced by Clean Break (whose members include women with lived experience of the criminal justice system). But this is all addressed with a matter of fact, fresh, feeling; none of these factors define the characters, no matter how much they must negotiate life with them.

Instead of problems, the love that comes with motherhood is the focus of these women’s lives. No matter accusations to the contrary, you never doubt the love the family feel for one another, and this drives the play. Razia has created a dramatic space for powerful reflections and truths. That the youngest character takes the lead is a suitably upbeat conclusion to a superb show.

Until 6 August 2022

www.bushtheatre.co.uk

Photos by  Suzi Corker