reviewed at the Gordon Craig Theatre, Stevenage on 30 August
Few musicals of the 1940s have stood the test of time with repeated revivals. Oklahoma! by Richard Rodgers and Oscar Hammerstein II passes with flying colours. Catherine Lomax directs this new Gordon Craig Theatre production which treats it as the musical play – rather than operetta or musical comedy – intended.
Her musical director Rob Scott takes his 15-piece orchestra through the score with panache, from the brisk overture through the mock-solemnity of “Poor Jud is dead” to the lyricism of “People will say we’re in love” and “Oh, what a beautiful morning!”. The large cast act, sing and dance (choreography is by Khiley Williams and Philip Joel) with skill and energy.
Carrie Sutton makes an attractive Laurey, the girl who finds herself with one suitor too many. Lisa Bridge’s Ado Annie is engaging and has a memorable laugh which is part irritated cockerel and part aggravated hyena. Jeremy Batt leads the male dancers as Will Parker, sort-of-rivaled by Joe Leather’s pedler Ali Hakim.
There are also good portraits from Alice Redmond as Aunt Eller and Ian McLarnon as Ado Annie’s father. Joshua Gannon has a strong if not subtle voice and his Curly is very credible. Villain of the piece is Jud Fry and Connor Ewing makes the most of both his brutality and the sense of isolation which fuels it.
No designer is credited for the costumes or the set which transforms between four locations in the course of the action. it works very well, as does Peter Kramer’s lighting. For my taste, sound designer Luke Hyde has overdone the use of mics diminishing the graduation of sound as the story unfolds.
Four star rating.
Oklahomo! runs at the Gordon Craig Theatre, Stevenage until 8 September with matinées on 1, 6 and 8 September.
reviewed at the Gordon Craig Theatre, Stevenage on 31 August
Catherine Lomax’s summer musical at the Gordon Craig Theatre stands comparison with many a more expensively lavish touring production – in fact, it deserves a tour of its own. The Producers, that in-joke about how to stay out of the bankruptcy courts as a Broadway impressario, is a bold choice for a small regional theatre.
The settings and drop-curtain scenes follow each other slickly, aided by Pete Cramer and Al Rivers’ lighting and enhanced by Lisa Hickey’s clever costuming. from the opening number – bridging the gap between the first and closing nights of Max Bialystock’s latest production – a musical skit on Hamlet called Funny Boy – Khiley Williams and Philip Joel’s choreography sparkles.
Pail Easom as Max dominates the show throughout; we may wince at his exploitation of elderly female “angels” and shameless manipulation of everyone with whom he comes into contact, but we can’t help rooting for him. Even when he and the hapless accountant Leo Bloom (Ryan Owen) he has recruited launch that farrago called Springtime for Hitler to lose rather than to make money.
Owen makes an excellent foil to Easom, as does Oliver Stanley as the unrepentant Nazi with his cages of storm-trooper-drilled pigeons (a set designer is not credited in the programme) but s/he and the stage crew deserve plaudits of their own. Ali Bastian as sultry Swedish bombshell Ulla looks and sounds charming but rather pales into the background of the character studies around her.
These include Daniel Page as the campest of cross-dressing directors, Joel as his other-half and their coterie of flamboyant thespian homosexuals (Joseph Connor, James Donovan and Adam Shorey) and one butch lesbian (Catherine Millsom) (remember that this all takes place in 1959).
Sound balance (Luke Hyde) is excellent with Phil Dennis’ orchestra allowed to make its musical points whle never swamping the actors’ words. The ensemble comprises ten young performers just launching their professional careers who display impressive talents in song, acting and dance.
Four and a half-star rating.
The Producers runs at the Gordon Craig Theatre, Stevenage until 9 September with matinées on 2, 7 and 9 September.
(reviewed at the Gordon Craig Theatre, Stevenage on 18 August)
Theatrical cliché number one – the show must go on!. And go on it did for Catherine Lomax’s summer in-house production, even though Simon Anthony suffered a foot injury during a particularly energetic dance routine as Cosmo Brown, necessitating an extended interval, roughly where one would have occured in a (now old-fashioned) two-interval production.
Craig Armstrong, who had been playing the two smaller roles of Sid Philips and the diction cach, had played the part previously and took over script-in-hand for the rest of the performance. Overall it’s a lavish production, complete with rainfall for the title number and finale, which moves slickly from scene to scene (there are 21 of them).
The script follows the Betty Comden and Adolph Green screen-play with Nacio Herb Brown and Arthur Freed’s songs, most familiar to most of us from the Gene Kelly film. Khiley Williams’ choreography has th right 1920s influences – this is a story which centres on the Hollywood change from silent to sound films – and she has deised some good production numbers as well as the iconic “singin’ in the rain”.
Central to the story is stage actress Kathy, who is invested by Katie Warsop with just the right mix of steel-backbone determination and disarming femininity. She also dances extremely well and has the voice to match. As script-writer Don Mike Denman is perhaps a better dancer and actor than he is a singer, but his engaging ersonality makes up for this.
Screech-voiced Lina, the glittering Hollywood star with a temperment to match and completely non-existent vocal charm, is brought to full theatrical life by Cameron Leigh. Lomax’s production has a clever use of film which both sets the period and reminds us of the double artificiality of the whole set-up. Chris Keen is in charge of the (unseen) orchestra and the lighting design by Pete Kramer adds to the illusion.
Singin’ in the Rain runs at the Gordon Craig Theatre, Stevenage until 27 August. There are matinée peformances on 20, 25 and 27 August.