Tuesday 23 August 2016

Jesus Christ Superstar @ Regent's Park Open Air Theatre

Jesus Christ Superstar @ Regent's Park Open Air Theatre

Prior to its 1971 Broadway debut, rock-opera  Jesus Christ Superstar began life as a concept album. Forty-five years later, this new production directed by Timothy Sheader at the magical Regent’s Park Open Air Theatre fully embraces the history of the show – for better and for worse.

Visually, the show is a stunner, designer Tom Scutt’s set dominated by a huge cross on the floor and rusting scaffolding housing the visible band. Yet it’s the use of rock and music symbolism that really sets it apart. The actors mostly sing with handheld mics, wires trailing across the floor. Mic stands are used as staffs and spears. Judas eventually, literally, hangs up his mic in suicide. Jesus is often seen carrying an acoustic guitar. And with the crucifixion, he is tied up in mic cables before being raised up on a speaker stand. It’s a suitably visceral climax of throbbing lights, soaring guitars, powerfully expressive choreography (from Drew McOnie) and clever use of glitter.

The production also goes against the colourful hippy vibe of the film version. Here the monochromatic colour scheme depicts a gritty, realistic and cult-like group of disciples, which emphasises the narrative’s attempts to portray the human side of Jesus – there’s no resurrection, leaving us to ponder the true meaning of his death. It’s a dazzling, modern take on the show, even if the score is showing its age.

Yet there are issues with the show itself that this production doesn’t quite overcome. Predominantly, that’s a lack of a clear narrative owing to the lack of dialogue, which explores the bible story in abstract fashion. For some it’s an intriguing concept show, for others it’s a load of 70s hippy nonsense. And whilst we all know Lloyd Webber can write a tune, the through-sung nature of this show leads to short, staccato, recitative-like melodies and overuse of repetition that lacks flow. Alongside the clash of 70s genres, from glam-rock to gospel and folk, it doesn’t quite mesh together cohesively.

Sheader’s production doesn’t help itself. The design and costume scheme might be striking, but it’s too often unclear who specific characters are, making the loose narrative even more difficult to follow. And the singers aim for more of a pop-rock sound than musical theatre, which would sound ideal on a cast recording but their voices don’t translate to the stage. For instance, as Mary, Anoushka Lucas has a beautifully gentle, lilting voice but the role itself is bland and Lucas’ performance lacks distinction on the big stage. By contrast, David Thaxton’s Pilate feels like an overblown pantomime villain.

More so, the production is let down by Declan Bennett’s inadequate diction and power as Jesus. His mumbled rendition of “Gethsemane”, a key moment of the show, is sung whilst he plays guitar in a nod to his previous role in Once – a decision that not only constricts his movement but his emotions too. When he does eventually burst free, he throws down the guitar and kicks the mic stand like a petulant teenager, later thrashing around on the cross as if possessed. His depiction of Jesus has neither the poised calm of Christ, nor the superstar charisma to be a believable leader of this cult.  

Thank Jesus, then, for Judas. Both the show and this production work best when Jesus is forgotten and instead we focus on his betrayer. Really, this is the story of his downfall and conflicting emotions as he wrestles with his (somewhat homoerotic) feelings for Jesus. It’s the deepest, most fascinating role with the best songs and is sung exceptionally by Tyrone Huntley, his vocals successfully blending rich soul and piercing rock with the conviction Lloyd Webber clearly intended. Jesus may have been the saving grace of humanity, but here it’s Judas who’s the real superstar of this spectacular, if inconsistent, production.

3/5

Watch: Jesus Christ Superstar runs at the Regent's Park Open Air Theatre until 27th August.


Tuesday 16 August 2016

Allegro @ The Southwark Playhouse

Allegro @ The Southwark Playhouse

Back in 2014, Richard Linklater released his film Boyhood depicting the life of an average Joe from birth onwards. The thing is, Rodgers and Hammerstein actually got there some seventy years earlier. Allegro, the duo's third musical which opened on Broadway in 1947, was originally conceived to depict the whole life of their fictional Joseph Taylor Jr. This proved overambitious, so the narrative scope was scaled back. As a result, the show was considered by some to be a disappointment that didn't quite match its creators' original vision.

Now, the musical is receiving its European premiere and, with the passage of time, there's space to see the show for what it really is: an exploration of selfishness versus selflessness wrapped up in all the typical Rodgers and Hammerstein tropes.

The grand score of wonderful tunes and rich harmonies (in new orchestration from Mark Cumberland) underpins a quaint and intimate story of small town America, as Joseph (a heartwarming performance from Gary Tushaw) studies to become a doctor but is ultimately torn between the high salary and glamorous lifestyle of urban living and a quiet yet grounded life assisting his father in his hometown hospital. The show is at its best as a period piece commenting on the pitfalls of modern America, where turn of the century family values were corrupted by fame and fortune and the desperate fascination with money that the Depression brought.

There are innovations here, too. Whilst the narrative focus may be on Joseph and his immediate family, this is predominantly an ensemble piece, with a Greek chorus used to intimate his inner thoughts. It's a cleverly psychological device that adds depth to what is at times a slightly stagnant plot that lacks drama and tension.

And in this production, director Thom Southerland's use of traverse staging pulls us into the drama. The set design, from Anthony Lamble, consists mainly of ladders and scaffolds that suggests both an industrial, modern age and, literally, social climbing as the actors tower over each other and the audience. Lee Proud's machine-like choreography only adds to this effect.

Strong performances across the ensemble results in a highly polished show. Whilst Tushaw leads the cast with an exemplary performance, Katie Bernstein gives warmth and humour as nurse Emily West and Leah West delivers subtly controlled vocals as Beulah. As a whole, the cast are bold, colourful and full of energy.

Yet it all ends too suddenly, a shortcoming of the ambitious plot that even time cannot quite heal. Joseph may turn his back on the modern age in his pursuit of a more humble lifestyle, but is the grass of home really greener than a fistful of dollar bills and opportunity? We'll never find out.

4/5

Watch: Allegro runs at the Southwark Playhouse until 10th September.

Allegro @ The Southwark Playhouse

Allegro @ The Southwark Playhouse
Photos: Scott Rylander

Friday 5 August 2016

The Secret Garden @ The Ambassadors Theatre

The Secret Garden @ The Ambassadors Theatre

It's remarkable that it took 10 years for such an inherently British musical to make its way across the Atlantic. Marsha Norman and Lucy Simon's adaptation of Frances Hodgson Burnett's 1911 novel hit Broadway in 1991 and subsequently won the Tony award for Best Book of a Musical, but didn't reach the West End until 2001 in a production by the Royal Shakespeare Company.

Producers Matthew and Stephen Chandler, on behalf of The British Theatre Academy, have now brought the show back to the West End in its 'Spring Version' form that reduces the show to 75 minutes and is geared specifically towards children. It remains as typically British as ever, with its quaint storyline, country garden setting, and score imbued with delicate folk melodies. It's sweet without being saccharine, lovely without being twee.

Even with its young audience in mind, there are enough narrative layers to please young and old alike. The story, of a young orphan who stumbles upon a secret garden belonging to her uncle's dead wife, is full of discovery and wonder. Yet it's also a story of loss and grief, of adults being unable to let go of the past and holding children accountable, of childhood innocence overcoming the pain and cynicism of adulthood.

This production, however, does lean a little too heavily on grief, even though it rapidly whips through the early stages of the story. It all feels a bit plain, with an intentionally grey and dismal set that never quite comes alive in the garden scenes, despite some clever use of choreography in the scene changes. The music, too, sounds too sparse, with piano accompaniment alone stifling Simon's lush melodies. Some extra orchestration would add a touch of enriching magic.

With the emphasis on children, it's fitting that the young actors steal the show: in this particular cast, Alana Hinge's precocious Mary Lennox and Sam Procter's argumentative Colin. As a whole the cast is strong, with adult actors Samantha Bingley (Martha) and Matthew Nicholas (Dickon) amusing in lighthearted comedy roles, and Scarlet Smith sounding sweet yet haunting singing Lilly's repeated refrains to "come to my garden".

Elsewhere, though, the children's chorus are barely used, either singing off-stage or simply aimlessly wandering through scenes. Director Rupert Hands seems unsure of what to do with his cast, torn between the youthful focus and appealing to adults with the show's graver themes. Though the cast do a fine job, this secret garden never quite blossoms as it should.

3/5

Watch: The Secret Garden runs at the Ambassadors Theatre until 31st August.

The Secret Garden @ The Ambassadors Theatre

The Secret Garden @ The Ambassadors Theatre

The Secret Garden @ The Ambassadors Theatre