WWII is hardly the most uplifting of settings for a musical.
Yet just as one character in The Grand
Tour complains about the lack of “poetry, beauty and heroism” in the
twentieth century, that’s exactly what composer Jerry Herman brings to the
fore. That juxtaposition of grave subject and often lighthearted tone is the
key flaw at the heart of the show, given its European premiere at the Finborough Theatre.
Mostly this stems from lead character Jacobowsky, an
overwhelmingly positive and upbeat Jewish man from Poland forced to flee his
home in the wake of the Nazi invasion. Alastair Brookshaw plays the role with
believability and a clear tenor, in a cast predominantly made of syrupy caricature.
Jacobowsky finds himself in Paris where he crosses paths with fellow Pole and
anti-Semite Colonel Stjerbinksy (Nic Kyle, who balances the character’s mad
jealousy with a sweet vocal) who seeks to deliver important papers to England.
An unlikely pairing, they purchase a car, rescue the Colonel’s inevitable love
interest (Marianne – the pure and elegant Zoe Doano), and escape war-torn
France. All of this unfolds, quite literally, on a clever pop-up book style set
from Phil Lindley that highlights the show’s whimsical feel.
It’s a schmaltzy, romanticised plot where the characters get
by on clichéd circumstances and are tasked heroically to perform “one
extraordinary thing”, with Jacobowsky seemingly holding the fate of his beloved
motherland in his hands purely by chance. The threesome are ably assisted by
brave circus performers and nuns, are rescued last minute by a secret agent and
at one point wind up in a comically depicted Jewish wedding. And that’s not the
only piece of Jewish representation that seems offbeat. The key draw of the
plot is the burgeoning friendship that crosses religion and class, but the
Colonel and Marianne seem to treat Jacobowsky more as a pet plaything to be
gawped at rather than an equal.
Mostly, The Grand Tour
is lacking a sense of urgency and danger. The Nazi threat is mainly implied,
simmering in the background. From time to time, Blair Robertson crops up to
thwart proceedings as an SS Captain, but the only thing menacing about him is
his uniform. The show’s musical structure doesn’t aid this – the introduction
of songs feels forced and halts the plot rather than progressing it. The
ending, in particular, is laughable when, on the run, the characters pause for
a reprise of three songs when they really should be getting a wiggle on.
Thankfully, with some emotive performances from the lead cast, the show closes
with a sense of emotional poignancy.
Flaws aside, The Grand
Tour is very much a traditional musical, from its score that marries Jewish
and music hall styles (even with just piano accompaniment), to its optimistic
tone. It might be lacking some grit in its fantastical plot and
characterisation, but this production brims with charm due to excellent vocal
performances and polished design. It’s an easy show to like.
3/5
Watch: The Grand Tour runs
at the Finborough Theatre until 21st February.
Photos: Annabel Vere.