Tag Archives: Tori Allen-Martin

“I Wish You Well” at the Criterion Theatre 

As an exercise in showing you really can make a musical about anything, Rick Pearson and Roger Dipper’s show excels. Taking Gwyneth Paltrow’s ski trial as a topic is one of those crazy notions that turns out to have plenty of potential (another company, Awkward Productions have their show, Gwyneth Goes Skiing, on tour until the end of the year). Pearson and Dipper’s ideas are good, their cast great, and if all the efforts end up a little thin, the show is still fun.

Of course, it’s really a show about celebrity, as Gwenny P’s presence at a small Utah Court creates a circus that Dipper’s book can exaggerate as much as he likes. The action might have been made clearer for those who didn’t follow the trial, but what goes on is swift enough – the show is only an hour – and Shiv Rabheru‘s direction effective.

The cast embrace the spirit of the show with plenty of mannered gestures and a good effort to engage the audience (predictably, we are the jury). Diana Vickers takes the role of Paltrow and is joined by Marc Antolin as her opponent in court. Tori Allen-Martin is the single lawyer (and fangirl) while Idriss Kargbo is judge and… drag queen (why not). The signing is strong and the choreography by Arlene Phillips a giggle, we even get the splits and a cartwheel.

Despite the effort from the cast, there isn’t quite enough to excite. The jokes aren’t bad, but you can see most of them coming a mile off. And there’s a lot of repetition, in particular about security on the internet and Paltrow’s lifestyle website (renamed Poop). Pearson’s music is competent but unexciting; take the riff on another courtroom musical Chicago, a good idea but one that goes on too long.

While the makeshift set and costumes have appeal, the production feels a little lost in the West End. It’s easier to imagine it as part of a big night out, with a drink or two before and after. The show is easy on celebrity, and our obsession with it, so there isn’t much satire. Being even-handed toward Paltrow and her opponent (who of course also wants fame) might be admirable but it doesn’t leave the show with far to go. Although I Wish You Well is enjoyable, there just isn’t much to it.

Until 12 October 2024

www.criterion-theatre.co.uk

“H.R.Haitch” at the Union Theatre

This ridiculously silly new musical presents an alternative history for London in 2012 while at the same time taking a dig at present day problems. Crammed with jokes and a generous spirit, it is a great deal of fun.

There’s a catalogue of fears and wish-fulfilment: a Populist political party, formed only six months before the election, has promised a referendum on the monarchy – a Rexit – while a secret prince’s identity and mixed-race fiancée are about to be revealed to the public. A lot of crazy stuff… that’s not entirely crazy: writer and lyricist Maz Evans revels in all the potential parallels and absurdities.

There are too many jokes based on hindsight: recurring gags about the Olympics and Uber try too hard. But enough laughs land and it’s clear that, as the run beds down, the piece will get funnier. It’s great that there’s so much going – an imagined but recognisable royal group, including machinations for the throne, and a salt-of-the-earth family whose pub is in danger from gentrification – but director Daniel Winder needs to escalate the pace for a true farce. It’s a shame so much exposition (and time wasted) comes from fake news reports played on the pub TV. So the piece is far from polished to perfection. Luke Bateman’s music is overwhelmed by Evans’ imagination and the staging has ambitions beyond the cast. But the show is sound and has some characters that rightly rule over it.

Doubling roles as the family who run the Dog and Duck and the far more dysfunctional one that runs the country, Christopher Lyne, Andrea Miller and Prince Plockey acquit themselves well, despite some tentative moments. Emily Jane Kerr is consistently strong as the villainous Princess Victoria. But the crown jewels of the show are the Prince who has been slumming it and his modern-day Eliza Doolittle, born in Dagenham but called Chelsea. Here’s a sweet love affair for winning characters. Christian James makes his nice but dim heir to the throne truly likeable. Tori Allen-Martin’s working-class heroine sounds and looks great and is simply adorable, with a laugh so infectious it’s easy to believe this ‘pleb’ would win a plebiscite. Their love affair is aided by Bateman’s music and provides heart for the show, making this crazy fantasia deserve your vote.

Until 2 June 2018

www.uniontheatre.biz

Photo by Nick Rutter

“Muted” at The Bunker Theatre

As the penultimate instalment of an excitingly diverse inaugural season this new venue, right next to the Menier Chocolate Factory, presents a musical. It’s a new, British, piece – always welcome – with strong song writing from Tim Prottey-Jones and Tori Allen-Martin that makes it easy to recommend the show to anyone interested in musical theatre.

Allen-Martin, brimming with talent, also performs as Lauren, caught in a love triangle with two old friends, former members of a promising rock band. Jake is Lauren’s current boyfriend, a role Jos Slovick expertly creates an interesting sinister edge for, while former partner Michael is suffering from depression following a traumatic event. Michael is played by David Leopold, with the character’s selective mutism leading to an admirably intense performance. He is joined in a series of flashbacks by his younger self, a role tackled impressively by Edd Campbell Bird.

Jos Slovick
Jos Slovick

Sarah Henley’s book reveals the back story too slowly, adding a sense of mystery that isn’t needed as the story contains plenty of drama. The roles of Michael’s uncle and mother (strong performances by Mark Hawkins and Helen Hobson) could easily bear elaboration. Director Jamie Jackson is keen to impress a mark on the show. Unfortunately, the super-stylish set from Sarah Beaton, a moated island for Michael that the cast paddle around in and an overused swing, along with some modish choreography, also repetitive, prove distracting.

A lot of the production is simply trying too hard – unnecessary when the basics are all present and correct. Muted has some important contemporary concerns and fresh dialogue that Jackson secures strong performances with. The neat idea of having a central character that doesn’t speak or sing until late in the show is nicely handled and twists in the story are engaging. Most importantly, the songs are good; a forceful collection of mature numbers that come together satisfactorily in an increasingly powerful second half. Muted is a musical whose praise should be loudly shouted.

Until 7 January 2017

www.bunkertheatre.com

Photos by Savannah Photographic