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Posts Tagged ‘Tom Edden’

The arrival of the story musicals of Rogers & Hammerstein in the 1940’s-50’s seems to have pushed the lighter fare of the Gershwin’s out of the repertoire. Of their original 1920’s-30’s shows, I can only recall London having Lady Be Good at the Guildhall School of Music & Drama and the Open Air Theatre and Of Thee I Sing & Let Them Eat Cake from Opera North at Sadler’s Wells. In their place, we’ve had reworkings and mash-ups from My One and Only in 1983 to Nice Work If You Can Get It in 2012 and the screen-to-stage adaptation of An American in Paris in 2015, but the most successful of these is Crazy For You, based on Girl Crazy. This is my fourth production in nine years.

The East coast meets West coast culture clash is fully exploited for humour by writer / adapter Ken Ludwig; this is one of the funniest of musical comedies. Stagestruck Bobby is sent by his NYC banking family to Deadrock, Nevada (pop. 37) to repossess a theatre. He falls in love with feisty Polly, the theatre owner’s daughter, and sends for his theatre friends to put on a show in their beleaguered theatre. His imposing mother eventually makes it to Deadrock to approve his match and, surprisingly, make her own, so it all ends happily.

Susan Stroman choreographed her late husband Mike Ockrent’s original 1992 production. Her career has since developed as a director / choreographer and we’ve been lucky enough to see her dansical Contact, two Mel Brooks shows – The Producers & Young Frankenstein – and Kander & Ebb’s The Scottsboro Boys in London. Her work here is masterly in every respect, with terrific designs by Beowulf Boritt and William Ivey Long, and a brilliant band led by MD Alan Williams.

I’ve wanted to see Charlie Stemp in a musical again since his big break in 2016’s Half a Sixpence, also at Chichester. He tops that with a truly star performance, adding a talent for physical comedy to his exceptional dancing, singing and acting skills. Carly Anderson is a great match as Polly, her vocals simply beautiful. In a fine supporting cast that’s too big to namecheck every one, I feel compelled to single out Tom Edden as Zangler, whose drunken scene with Stemp as fake Zangler is one of the funniest pieces of physical comedy I’ve ever seen (well, since Edden’s turn as the waiter in One Man, Two Guvnors anyway).

I’ve seen something like twenty of Chichester’s musicals, either at their home or in the West End – often both! – and this is amongst the best. Musical theatre heaven just 65 miles from home. I’m now waiting with bated breath for a West End transfer.

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This is Bertolt Brecht’s allegorical satire about the Nazi regime. Every character, scene and incident has a parallel and the title character is of course Adolf Hitler. He wrote it in exile during the war, but it wasn’t staged until thirteen years after it ended, and not in the US, as he intended, but in Germany itself. This expletive-laden new adaptation by Bruce Norris feels very fresh.

Ui runs a protection racket in Chicago (Germany) with designs on Cicero (Austria). He ‘buys’ local politician and trusted businessman Dogsborough (German President Hindenburg) en route to implementing his master plan to control the cauliflower trade! He has to deal with some of his own as well as those in his way, as his gang become disunited along the way. It’s littered with Shakespearean references and this production is also in part a satire on the seemingly equally irresistible rise of Donald Trump, which I thought I would find gratuitous but it was clever, with a light touch, and worked to the play’s advantage. This seems to be a big gig for director Simon Evans and he’s risen to the challenge with an inventive production with lots of audience engagement, including some playing roles!

Designer Peter Mackintosh has turned the theatre into a 30’s speakeasy, with seating on all sides on both levels, including cabaret-style tables on the bottom level and a stairway for the cast to move between levels. His period costumes are superb. Some of the casting is gender-blind, with Lucy Ellison making a superb Giri (Goring), Lucy Eaton excellent in three roles and Gloria Obianyo brilliant in four. Tom Edden playing no less than six, steals the show more than once, most notably as the actor giving Ui lessons. Lenny Henry has great presence as Ui, commanding the stage whenever he’s on it. It’s a uniformly excellent cast.

If you don’t know the play, it would be wise to mug up in advance, to get all the parallels and to get the most out of the evening, which is playful and entertaining without losing it’s satirical bite.

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Well, all the hype and rave reviews are true, then – there hasn’t been so much laughter at the National since Jeremy Sams revival of Noises Off ten yours ago.

I can’t help making comparisons with restoration comedy The School for Scandal currently at the Barbican and French farce A Flea In Her Ear recently at the Old Vic, both of which were seriously unfunny. Perhaps director Nicholas Hytner is lucky that the original is in Italian so that he could commission an adaptation, whereas Deborah Warner and Richard Eyre respectively had to work with the original words on the page. The success owes as much to the adaptation as it does to the first class production and terrific ensemble. The very prolific Richard Bean (three crackers now in the last year alone) has been faithful to the spirit of Commedia dell’Arte whilst moving the action to 1960’s Brighton and produced something with snap, crackle and fizz whilst Sheridan’s restoration comedy has been de-laughed by the production and Feydeau’s farce was so faithfully re-produced and you felt like you were in a museum.

When you enter, there’s superbly played 60’s style pop from a four-piece band in full flow (music – Grant Olding) in front of a gaudy proscenium. The band return to keep us entertained between each scene change and before the second half and during the second half feature a series of brilliant cameo performances from cast members. The design is deliberately period production values with flats that wobble and fabric walls that shimmer. These are brilliant ideas that contribute much to the success of the evening.

Goldini’s plot revolves around a ‘minder’ who ends up with, well, two guvnors which gives us all we need for a cocktail of panto, carry on, slapstick & farce with a nostalgic feel but a contemporary freshness. Bean’s dialogue sparkles with wit and cheekiness with a lot of running jokes, the return of which seem like old friends as the evening progresses. The comic timing of the cast is simply stunning; they squeeze every ounce of laughter from these lines plus lots more that aren’t in the lines at all.

James Corden is excellent in the central role, but it’s far from just his show. There is so much other wonderful comic acting, it’s difficult to single anyone out – but I will! Oliver Chris’ creation of the toff is simply delicious, Daniel Rigby’s actorly actor is a hoot, Claire Lams turns playing dumb into an art form and Tom Edden’s 87-year old waiter is a masterclass in physical comedy. Playing (relatively) straight against these must be tough but I loved Fred Ridgeway’s deadpan Charlie, Trevor Laird’s lovable Lloyd Boateng(!) and Suzie Toase as prophetic feminist Dolly.

There are asides to the audience and even audience participation, but these don’t come over as gimmicks as much of Deborah Warner’s touches did for A School for Scandal; they seem absolutely right for the play and the adaptation. You do miss some of the lines and some of the funny business because of the amount of laughter and the amount going on, which seems like a very good reason to go and see it again! A triumph.

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