Tag Archives: Siubhan Harrison

“The Country Wife” at the Southwark Playhouse

Two mannequins dressed Restoration style adorn the stage at the start of this production of William Wycherley’s 1675 play. The dummies are a nice nod to the original, as Morphic Graffiti’s Luke Fredericks and Stewart Charlesworth move this story of cuckoldry into the 1920s. Charlesworth’s costumes make it all look gorgeous and the stage is filled with a cast of bright things, young and old. A larger aim, to make the piece feel relevant, may fail, but this is a well-performed and spirited effort.

Anti-hero Harry Horner poses as a eunuch to abuse women (it’s explained… kind of). Eddie Eyre, who takes the role, deserves a lot of credit for making this misogynist who “hates women perfectly” tolerable. Richard Clews, Sam Graham and, conspicuously, Daniel Cane play a trio of fools about to be betrayed and there’s enough humour in their delivery to get over a lot of unpleasant behaviour… although it’s a close call. Special effort is made to balance the sexes, almost despite the text itself. As the titular character, notable for her stupidity as much as her honesty, Nancy Sullivan does a good job, while on the other side of the town/country divide Siubhan Harrison is a suitably sophisticated girl about town. There are problems with the rhythm of the lines – some actors become stuck and the resulting delivery is monotonous. But the cast does well with the wit and raillery – which are great fun – and the theatrical asides (bravo to lighting designer Sam Waddington).

The adaptation itself is credible. With his direction, Frederick shows a keen appreciation of the comedy. There are fake orgasms aplenty and more than enough innuendo, but the production seems to labour under the impression that the audience is unaware that Restoration comedy can be bawdy. Crude touches fail to shock and too many jazz cover versions of contemporary numbers slow down the action. The result is a theatrical climax that doesn’t come soon enough. The impression is of a production that’s a little desperate and lacks confidence in the play itself. It’s a shame, given the talent and effort behind it all.

Until 21 April 2018

www.southwarkplayhouse.co.uk

“Guys and Dolls” at the Phoenix Theatre

With so many shows on offer in London, it’s unusual to see the same production twice. But the latest hit from the Chichester Festival Theatre, a brilliant revival of Frank Loesser’s classic musical of gamblers, gangsters and their gals, has a new cast that makes revisiting as joyous as the first time around.

The production is also on a parallel UK tour, and Peter McKintosh’s clever neon sign design is sure to serve the show well on its travels. A fine ensemble does justice to the choreography from Carlos Acosta and Andrew Wright, while director Gordon Greenberg gives the show a Broadway feel despite its modest size.

Gavin Spokes remains with the show to reprise his brilliant Nicely Nicely Johnson and get yet more encores for Sit Down, You’re Rockin’ The Boat. Joined by Jason Pennycooke as Benny Southstreet, this is a double act that gets the show up to speed double quick. Siubhan Harrison also remains in town, ever more comfortable in her role as Salvation Army Sergeant Miss Sarah. Playing her love interest Sky Masterson is Oliver Tompsett, who gives a fine performance showcasing a surprisingly old-fashioned voice – he’s a proper crooner, sure to acquire fans. If the chemistry and charisma you might hope for isn’t quite magical, the humour is spot on.

GUYS AND DOLLS, ,Music and lyrics - FRANK LOESSER., Book - JO SWERLING and ABE BURROWS, Director Gordan Greenberg, Choreographer - Carlos Acosta, Designer - Peter MaKintosh, Phoenix Theatre, London, 2016, Credit: Johan Persson - www.perssonphotography.com /
Richard Kind and Samantha Spiro

Greenberg’s focuses on the fun in Jo Swerling and Abe Burrows’ book. As a result, it is low-rent fixer Nathon Detroit and his long-suffering fiancée Adelaide who become our heroes. Chichester’s original casting coup (David Haig and Sophie Thompson) is, if anything, bettered. American comedian Richard Kind takes over as Detroit, adding a down-at-heel quality that makes this smalltime crook all the more appealing, while Samantha Spiro is wonderful as his eternal bride to be, with comedy skills second to none and a belting voice that makes the most of Adelaide’s Lament and brings a Dietrich spin to Take Back Your Mink.

Until 29 October 2016

www.guysanddollsthemusical.co.uk

Photos by Johan Persson

“Guys and Dolls” at the Savoy Theatre

Another hit transfer from the Chichester Festival Theatre which, after its production of Gypsy, must be feeling at home in the Savoy. This exquisitely polished show matches the venue’s sophisticated glamour perfectly. New Yorker Gordon Greenberg directs, bringing an appropriate feel for Broadway to Frank Loesser’s “musical fable” of men about town and their much put-upon women.

Great material, superbly executed, the show’s hit songs sound better than ever. At the risk of being ungallant, the guys have the edge slightly, creating a big sound and working together to get the laughs. Greenberg pays attention to the humour in Jo Swerling and Abe Burrows’ book, following two gamblers, the high-rolling Sky Masterson and fixer Nathan Detroit, placing their bets on matrimony to, respectively, a Salvation Army sergeant and a nightclub hostess. Space is created for a series of strong comic performances, especially from Gavin Spokes and Ian Hughes, as Nicely Nicely and Benny – a double act to die for. This gang of gamblers forms a coherent group that’s more than just a background note to the love affairs on offer.

A further highlight is the production’s strong choreography – they’ve got both Carlos Acosta and Andrew Wright on board – with a trip to Havana generating a genuine fantasia as well as a spirited fight scene. Peter McKintosh’s design is a simple affair that will serve the production well on tour, but aids the dancers immeasurably. The key is the lighting (bravo designer Tim Mitchell) impressively adding structure to scenes. And special mention goes to the gloriously colourful costumes.

The central performances are superb. These characters are grown-ups and the balance between romance and realism is deftly handled. While Siubhan Harrison stalls slightly as Salvation Army Sarah, failing to exploit the book’s satire, Jamie Parker is a hit from the start as Sky. Charismatic and sounding superb, Parker adds tension to Luck Be A Lady – a revelatory performance of a well-known number. Close to stealing the show are David Haig and Sophie Thompson as Nathan Detroit and Miss Adelaide (we all recognise the cracking chemistry from Four Weddings And a Funeral). Haig is at his most charming and Thompson makes both renditions of her Adelaide’s Lament something to celebrate.

Until 12 March 2016

www.guysanddollsthemusical.co.uk

Photos by Johan Persson

“From Here To Eternity” at the Shaftesbury Theatre

From Here To Eternity – The Musical opened this week at the Shaftesbury Theatre. The story of military lives and loves, based on James Jones’ novel, is set on the eve of Pearl Harbour. Famous because of the multiple Oscar winning film from 1953, this version is grittier than anything Hollywood could have produced that year. It’s a grown up affair, reminding us that musicals can deal with adult themes and complicated passions and crediting its audience with intelligence – and all the better for that.

The book by Bill Oakes and lyrics by the old maestro Tim Rice catch the attention. There’s no shying away from sex here, as First Sergeant Milt Warden starts a sea-soaked affair with his Captain’s wife Karen, while Private Robert E Lee Prewitt falls in love with a prostitute while battling with pressure from his comrades to return to the boxing ring, where he once blinded a man. There’s a lot going on. The language and violence of the soldiers, bored while waiting for war, has an authentic brutality.

A bold approach to the story is backed up by music from Stuart Brayson, who makes a startling West End debut. Drawing on a variety of styles, that nearly all hit home, this is an accomplished score and highly entertaining. Combined with Rice’s lyrics, there are several fine examples of characterisation. Choreographer Javier De Frutos works marvels with some adventurous dancing that shows off the strength of the male ensemble.

Tamara Harvey directs, dealing effectively with the exciting plot and providing time for the cast’s acting skills. The female characters, a frustrated wife and tart with a heart, are less well served than their love interests. But Rebecca Thornhill and Siubhan Harrison match the leading, male, roles in skill. Robert Lonsdale takes charge, giving a stirring performance as the independent Private Prewitt, while Darius Campbell sounds fantastic as Warden.

There is no shortage of achievements here, not least a satisfying cynicism and a look at big themes that have you itching to go back to the source material. An impressively dark tale, trying hard to be unsentimental and ending with a twist I thought brave – it can’t just be the downbeat subject matter that makes you leave slightly uninspired. A shame since few opportunities to impress are lost – the show just lacks that final spark. It’s a brave critic that offers predictions: stranger musicals than this one have gone on to success and some with fewer merits. I doubt From Here to Eternity will run forever, but it has enough going for it to hold its head high.

Booking until 26 April 2014

Written 24 October 2013 for The London Magazine