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“Steel Pier” at the Union Theatre

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Well known for its excellent, ambitious productions of musicals, the Union Theatre’s latest offering is Kander and Ebb’s 1997 work Steel Pier. Directed by Paul Taylor-Mills, it’s a strange offering, superbly presented. Centring on a dance marathon in the 1930s, a group of semi-professional performers reveal their bitchy rivalry and needy posturing. The competition is a seedy affair, fixed, of course, that becomes increasingly humiliating and ends in medication for most participants. Our heroine Rita can only escape from it with the help of a very special, if unsuccessful, daredevil pilot.

Steel Pier is set on the fringes of celebrity but the cast at the Union Theatre is anything but mediocre. In the lead roles Sarah Galbraith and Jay Rincon, both visiting from the States, give fine performances. Singing unmiked, a real treat that makes the show worth seeing alone, they get the most out of songs that are a long way from Kander and Ebb’s finest. The excellent Aimie Atkinson has the show’s best number, ‘Everybody’s Girl’, and the best lines, managing to inject some much-needed humour. The large, hardworking cast is impressively marshalled by Taylor-Mills, and special note goes to Samuel Parker making a high-energy professional debut and Lisa-Anne Wood, who gives a spirited performance as the dancer most desperate to become a star.

Taylor-Mills combines the singing and dancing marvellously, making the most of Richard Jones’ excellent choreography. The show has such dazzle is almost manages to convince you this is a major work but, useful setting aside, the book by David Thompson, is lacking. The stakes played for – a moment in the spotlight or a chance of sponsorship – just aren’t high enough, and a supernatural twist, exploited well by Jones and musical director Angharad Sanders, adds little. Despite the best efforts of all involved, Steel Pier is something of a curio – essential for fans of musical theatre – but not stainless enough to appeal to everyone.

Until 24 November 2012

www.uniontheatre.biz

Photo by Claire Bilyard

Written 7 November 2012 for The London Magazine

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“The Fix” at the Union Theatre

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Those who love musicals know that the art form can tackle pretty much any subject matter. But some might raise eyebrows at show tunes about an American presidential campaign. John Dempsey and Dana P. Rowe’s musical The Fix shows there’s a good fit between the two since the theatricality and artificiality of politics is highlighted by the genre.

This is the story of Cal – a young man from a dynasty that sees politics as a game – and his journey to power, from a stint in the military to a marriage of convenience, and the ensuing sleaze, affairs and mafia connections. Director Michael Strassen does a superb job with this fast-paced, exciting story, injecting it with humour and passion. A 60s setting allows Rowe to show off a panoply of musical styles that can’t fail to impress and Dempsey’s smart lyrics are full of satire.

If The Fix has a failing it serves to prove a point. Cal is blank slate for others to manipulate. The suggestion is that’s what it takes to get ahead in politics, and his character is somewhat flat – though this certainly isn’t the case with Louis Maskell’s singing, which resonates beautifully. Maskell also displays considerable acting skills and manages to put some flesh on his character in scenes with his mistress Tina, played by Daisy Tonge, whose strong voice makes this young actress one to watch.

As the plot thickens to include Cal’s desperation for a fix because of his drug addiction, the real focus becomes not the heir in waiting to the presidential throne, but his mentor and his mother. As the former, Miles Western gives a tremendous performance as a Machiavellian mastermind of spin with plenty of motivation – his continual questioning of the very sanity of his plan gives The Fix its edge. Yet the star of the show is Liz May Brice as Cal’s mother. In superb voice with the highest calibre of acting, this mad mixture of Lady Macbeth and Mama Rose is truly captivating.

Until 14 July 2012

www.uniontheatre.biz

Photo by Roy Tan

Written 28 June 2012 for The London Magazine

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“Patience” at the Union Theatre

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Sasha Regan’s all-male productions of Gilbert and Sullivan’s operettas have become much-anticipated events. And rightly so. Regan’s direction breaths life into G&S in a manner that retains respect for the classics she is dealing with. Patience follows the successful formula: presenting a silly story of love amongst poets, with a milk maid and dragoons thrown in, that does justice to Gilbert’s contemporary satire while providing a knowing eye to what a modern audience might make of it all.

Sullivan’s take on satire was to mock everyone indiscriminately – being uniformly sarcastic somehow makes it seem fairer. The primary target in Patience was the Aesthetic movement, and there are plenty of reference to lilies and the like, but Regan effortlessly broadens the focus to pretentiousness and fashion in general. In so doing, she preserves and expands the show’s humour, ensuring that this is a night full of laughter.

The main character, Bunthorne, a sham aesthete who confesses “my medievalism’s affectation, born of a morbid love of admiration”, is played marvellously by Dominic Brewer, who takes lyrics such as these into his appropriately elongated stride. Followed around by a troupe of smitten maidens, played by an ensemble of uniformly admirable young performers, Bunthorne’s heart belongs to Patience, a young girl confused by the fuss everyone makes about love.

Following topsy-turvy logic, Patience decides the best way to make her love a sacrifice, a key element to its being Aesthetic, is to marry someone she dislikes, so she ignores her true love for the narcissistic Adonis Grosvenor. Edward Charles Bernstone gives an immaculate, intelligent performance in the title role, while the startling Stiofàn O’Doherty is perfectly cast as Grosvenor.

As well as followers of fashion, Sullivan has an eye on the establishment with a troop of dragoons, the residuum of all that is noble in British manhood. There are sterling performances here from both Edward Simpson and Matthew James Willis, who bring out the wit in Drew McOnie’s choreography and whose strong voices highlight another reason why Patience is so good.

This is a musical, after all, and the splendidly subtle musical direction from Richard Bates, with additional input from Michael England, is just as much a star of the show. Accompanying the performance on only a piano and allowing plenty of a capella makes the most of the remarkable voices on offer, ensuring the show is something to be heard as well as seen.

Until 10 March 2012

www.uniontheatre.biz

Written 22 February 2012 for The London Magazine

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“Double Falsehood” at the Union Theatre

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The Union Theatre in Southwark gives us the opportunity to see a ‘lost’ play by Shakespeare. Double Falsehood has been declared by the Arden Shakespeare to be a late collaboration with John Fletcher, and director Phil Willmott’s fascinating production provides us with the opportunity to decide if they are right.

The debate over authorship rages: the play has plenty of Shakespearean cross-dressing and a villain that seems familiar. However, the poetry is weak and there is a distinct lack of humour. But what does make the evening exciting is the chance to watch a ‘Shakespeare’ without knowing the plot! For that reason I’ll avoid any spoilers so you can see for yourself how gripping the story really is.

As Willmott has stated, academic speculation surrounding the text is less interesting than whether or not Double Falsehood works as theatre. He presents the play clearly and embraces some melodramatic vignettes that are compelling. Deciding to set the play near a monastery has some hairy moments – it can feel a little Carry on Cloisters at times, but the denouement feels all the more miraculous for its religious connotations.

There is a super cast to watch. Richard Franklin is suitably dignified as the Duke Angelo. His diabolical son Henrique is played by Adam Redmore with appropriate mania. Henrique’s victims are many (there’s more than a double falsehood going on here) and include the convincingly heroic Julio (Gabriel Vick) and courageous Leonora (Emily Plumtree).

The main victim is Violante (the clue is in her name). Jessie Lilley makes a professional debut to be proud of but the role itself poses problems for a modern audience. We are more or less comfortable with the outmoded beliefs of Shakespeare’s time, but Violante’s decisions take us too far. She certainly isn’t the kind of woman Shakespeare usually harps on about.

But join the debate – at the Union Theatre and online (the play’s website has a guestbook for your opinions). With the RSC preparing its version of the text (to be staged as Cardenio in April) the talk isn’t going to stop anytime soon.

Until 12 February 2011

Photo by Scott Rylander

Written 24 January 2011 for The London Magazine

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“Iolanthe” at the Union Theatre

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Gilbert and Sullivan are a guilty pleasure. Those confessing admiration can face polite confusion or, at worst, a disdain that might suggest S&M is more acceptable than G&S. There have been many attempts to change opinions about Gilbert and Sullivan but none more liberating than Sasha Regan’s work at the Union Theatre. Her new production of Iolanthe continues this campaign – it is joyous, fun and simply unmissable.

Iolanthe is quite as silly as any other G&S. It’s the one about fairies and the House of Lords. With Regan’s trademark all-male cast, you can imagine where this is heading. But Regan is too clever a director to make things crass, no matter how camp they become. With a nod to Narnia, the action takes place at a school and the magic begins when the costume wardrobe is opened.

This isn’t Gilbert and Sullivan forced into the 21st century. Regan’s masterstroke is not to patronise these eminent Victorians. Gilbert’s satire is still razor sharp and Sullivan’s uncanny ability to write a popular tune ageless. Regan brings out the humour and Chris Mundy’s solo piano accompaniment is a superb interpretation of the score.

The real pay off comes not from innuendo but from sincerity. Victorians could be soppy and G&S were no exception. But Regan allows this so that, behind the laughs, this Iolanthe is sweat. With fairies dressed in furs and pearls and lords wearing conker chains of office, you smile all the way through, while the sentiment washes over you. It is a combination that can only be described as sophisticated.

There is a palpable sense of excitement from a talented cast. Christopher Finn takes the title role in his stride and Shaun McCourt deals impeccably with the Lord Chancellor’s tongue-tying lyrics. It is great to see Alan Richardson at the Union once more. His terrific voice is matched by an endearing stage presence. Kris Manuel is unforgettable in the role of the Fairy Queen, while Matthew James Willis’s Harry Potter-inspired Earl, and Raymond Tait as Private Willis, show off their voices particularly well.

This really is an ensemble piece, as the cast all perform in the equally fantastic realms of the supernatural and the political. As both tripping fairies and noble lords they faultlessly do justice to Mark Smith’s witty choreography. Like the whole production, Smith’s work isn’t just delightful – it is bold and interesting. His use of sign language in dance creates a new level of meaning that complements the humour and excitement of the piece. Regan should join her team on stage as they hold their heads up high when the lords all marry and become fairies themselves! Gilbert and Sullivan fans can come out of the closet at last.

www.uniontheatre.biz

Until 11 December 2010

Photo by Ben de Wynter

Written 23 November 2010 for The London Magazine

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“Absent Friends” at the Union Theatre

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Producing Alan Ayckbourn’s modern middle-class drawing-room drama beneath a railway arch is a fairly brave act. But the Union Theatre in Southwark is a fringe venue not known for its timidity – with some excellent results. Thanks to impeccably sourced props from designer Holly Best we are back in the 70s in a well-appointed home and, with director Ben De Wynter in charge, ready for a deliciously poignant comedy of manners.

Absent Friends is the story of three couples preparing to meet with an old mate who has recently suffered bereavement. Giles Fagan plays the mourning Colin in a suitably perky manner, for Colin has learned lessons from his tragedy his luckier chums have missed out on, and consequently embraces life with a gratitude that makes the others look absent.

Chas. Early and Gillian McCafferty play Paul and Di, a couple on the edge, who fall apart on stage. McCafferty gives a brave, simply riveting performance while Early is slickly lecherous. His latest conquest joins them for tea and a lack of sympathy – Olivia Busby is the monosyllabic Evelyn and gets more laughs than you would have thought possible from a simple yes and no. To add to the embarrassment, Evelyn’s husband is present as well. Shaun Stone shows a talent not just to amuse but also to annoy with his nervous coin-jiggling curling toes. And finally there is Marge, on her own as hubbie Gordon is sick off stage. Fiona Gordon manages to let us all know it’s her character who is going to make the biggest gaffs – the comedy is no less sparkling when the promise comes to fruition.

De Wynter’s intelligent direction perfectly suits Ayckbourn’s subtlety. There are moments when this tea party becomes riotous, but Absent Friends isn’t a farce. Having couples argue over a eulogy just to score points against each other is painful, yet the humour also feels light. This production captures Ayckbourn’s gentle melancholy so perfectly it is strongly recommended. Make friends with the Union Theatre as soon as you can.

Until 13 November 2010

www.uniontheatre.biz

Written 1 November 2010 for The London Magazine