Tag Archives: Ruthie Henshall

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“42nd Street” at Sadler’s Wells

Here is a revival that is happy with its source material. First seen in 1980, based on the 1933 film, and using the hits of Harry Warren (with lyrics from Al Dubin and Johnny Mercer), 42nd Street has always been an exercise in nostalgia. That doesn’t make it better or worse than current productions such as Guys & Dolls or Oklahoma! ,which feature memorable innovations. The show is a comfortable one and hugely entertaining. You know what to expect and director Jonathan Church delivers.

The simple plot and corny jokes in Michael Stewart and Mark Bramble’s book are embraced. If it feels like you already know the story of ingénue Peggy Sawyer, catapulted to fame from her place in the chorus line, it’s still a giggle to watch. The performance here, from the hugely talented Nicole-Lily Baisden is superb. From audition, rehearsals and then taking the lead in the show within a show – Peggy’s is a triumph the whole audience gets behind.

Nicole-Lily-Baisden-in-42nd-Street-Photo-Johan-Persson
Nicole Lily Baisden

The backstage shenanigans, the imperious star Dorothy Brock (Ruthie Henshall) and tyrannical director Julian Marsh (Adam Garcia), are all three guilty pleasures. And there’s a lovely romance for Peggy – why wouldn’t there be? – with tenor Billy Lawlor (Sam Lips). The performances have a justified confidence. And, a personal favourite, there’s Josephina Gabrielle (as writer/producer Maggie Jones), who always manages to make a comic song that little bit funnier.

The songs are fantastic. It’s amazing how so many, written so long ago, are still recognised. The singing is, appropriately, old fashioned (the men often come close to crooning). Any opportunity to belt out a zinger is taken – as it should be. And the orchestra does it all proud. The show sounds great – fulsome and full of wit. There’s a lighthearted humour in the sound of the songs themselves that matches the silly goings-on.

Innovation does come, with the choreography from Bill Deamer and Rob Jones, which makes the show, originally from The Curve in Leicester, at home in Sadler’s Wells. The tap dancing is top notch. And alongside plenty of easy assurance, there are rigid movements that evoke exercise or even military precision. It’s a neat way to bring out the show’s preoccupation with effort behind the scenes. And a nice nudge that relaxed smiles belie huge effort – a good old-fashioned showbiz touch – to remind you that you really should applaud loudly.

Until 2July 2023

www.sadlerswells.com

Photo by Johan Persson

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“Godspell” On Line, In Concert

This recorded concert, celebrating the 50th anniversary of a legendary show, boasts a special introduction from its composer and lyricist Stephen Schwartz. Fans have the chance to hear some great new performances from a strong cast. And it’s all in aid of good causes: Manchester’s Hope Mill Theatre, Acting For Others and the National AIDS Trust.

I’m not a huge admirer of the piece, but there are plenty of good songs. While Schwartz knows variety is needed, both in style and emotional tempo, there aren’t enough stand-out numbers in a score that’s a little too easy on the ear. Thankfully, there’s no sense that any of the performers share my reservations. Among the West End stars assembled, it’s great to see and hear talents such as Alison Jiear, Jenna Russell and Sam Tutty. George Carter’s musical direction is of the highest quality.

Director Michael Strassen tries hard to tackle the fluid nature of the song cycle format. While original productions presented parables, here inserts reveal abstract concepts of what the songs are ‘about’: Prepare, Hope, Faith, even Class. The approach provides some structure but conflicts with the inclusion of photographs from the present day, mostly of care workers, that feel proscriptive. And Godspell’s religious content is strangely absent. It takes a while to remember that John-Michael Tebelak’s book is loosely based on the Gospel story. As a result, Darren Day’s emotive performance as Jesus ends up disconnected and rather odd.

Although a smaller problem, the performers are not helped by the video work in this production. The variety of backgrounds is nice, but the split scenes, phone screens (of course) and graphics are frequently, well, naff. Especially disappointing is their intrusion in Ruthie Henshall’s number, Turn Back, O Man, performed in the bath! With a rubber duck on board, we don’t need bubbles added – the performance alone is enough.

Another notable exception – some humour – comes with a fine performance from Ria Jones of Learn Your Lessons Well. Otherwise, the tone is earnest, dry even. Plenty of effort is made to inject energy (Jiear is especially good at this) but as a collection of short films, momentum never takes off. Much of this is not Strassen’s fault – it’s a reflection of the show itself. While it always sounds top notch, the piece is downright monotonous.

Until 29th August 2020

www.hopemilltheatre.co.uk

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“Blithe Spirit” at the Apollo Theatre

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With her strong reputation for revivals, Thea Sharrock is a safe pair of hands to direct Noël Coward’s wartime comedy Blithe Spirit. The production, fresh from Bath, fits into the West End perfectly with a slick all-star cast and general air of quality.

With the Terrance Rattigan revival currently in full swing, reminding us about craftsmanship in playwriting, Blithe Spirit serves to show Coward’s talent in constructing a play. This maybe frivolous stuff but it’s impeccably plotted, and Sharrock’s zippy pace is perfect for bringing out Coward’s bravura dialogue.

The scenario, a wife coming back to haunt her husband and his new relationship after a botched séance, is a comic device that’s brilliant in its simplicity. As an actor himself, Coward provides roles to die for (in this case, literally) and the cast of this production grabs the opportunity with both hands.

Robert Bathurst plays Charles Condomine. A typically vain Coward hero, he is appealing despite his ego and immature behind his sophistication. Bathurst plays the role superbly but issue has to be taken over the fit of his smoking jacket – no matter how tormented by the paranormal a Coward hero may be, he should never be dishabille.

Charles’ wives are superbly cast. Hermione Norris plays the glacial Ruth as the “staccato Sergeant Major” and her acidic delivery is perfect. Ruthie Henshall adds a mischievous grace appropriate to the role of Elvira and is a joy to watch.

Best of all, a much anticipated performance by Alison Steadman finally lays to rest the ghost of Margaret Rutherford in the role of Madam Arcati. Steadman’s Arcati deals with astral bigamy in hilarious down-to-earth fashion. Concerned about the effect of cucumber sandwiches on her trance, she has an eye to innuendo that a constant quest for “subdued moaning” probably induces. Not that she would find any at the Apollo Theatre during Blithe Sprit – just good old-fashioned laughter.

Booking until the 18 June 2011

www.nimaxtheatres.com

Photo by Nobby Clark

Written 11 March 2011