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Posts Tagged ‘William Ivey Long’

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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I can’t imagine a more exhilarating return to the West End than this, a revival of the 2007 UK premiere by the same creative team (director Jack O’Brien, designers David Rockwell & William Ivey Long and choreographer Jerry Mitchell) with Michael Ball returning to his Olivier Award winning role. Oddly enough, it was amongst the last musicals I saw before lockdown, just as good though in a rather different venue (https://garethjames.wordpress.com/2020/03/10/hairspray-HM-prison-bronzefield).

I first fell in love with the show when I took a punt on a Broadway preview almost exactly 19 years ago. This was followed by three visits to the West End run between 2007 and 2009 and a couple of regional outings before last year’s rather unorthodox revival and Sunday’s barnstorming return. I simply adore the 60’s aesthetic, the catchy tunes and witty lyrics of Marc Shaiman & Scott Wittman, the anti-segregation, body positive and anti-racist messages (book by Mark O’Donnell & Thomas Meehan) and the sheer loud, brash, colourful, tongue-in-cheekiness of it all.

Nothing much is changed from the UK premiere (there was nothing to fix) but the joy of a bunch of people returning to what they do is infectious. It’s as if they are doing it for the very first time. Lizzie Bea is a match for all those other Tracy’s, and a great tribute to NYT and NYMT. Such is his range that the last time I saw Michael Ball he terrified me as Sweeney Todd (so unrecognisable, people were asking for their money back because they thought he wasn’t in it!), now he’s padded and in drag as Tracy’s mom Edna. Les Dennis clearly delights in playing the loving father / husband Wilbur, a role he too has played before, with his show-stopping duet with Ball, (You’re) Timeless To Me, packed with delicious moments. Rita Simons (East Enders’ Roxy) was a bit of a revelation as baddie Velma and Marisha Wallace wowed as Motormouth Maybelle, as she did in Dreamgirls and Waitress, with I Know Where I’ve Been bringing the house down.

Though attentive and receptive during scenes and numbers, the audience continually erupted between them and the atmosphere in the vast London Coliseum (too vast for this show really) was extraordinary, as if the pent up euphoria after 16 months of musical theatre famine exploded all at once. An absolute joy.

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