This is a smart and thoughtful interpretation of South Pacific that takes carefully considered approach to some of the problems in the scenario without fully absolving the characters for their behaviour and choices. Managing to balance the sparkle of the big set-pieces and the not so charming effects of military occupation with some serious emotional clout that will leave you wrung through at the end, this sets the standard against which future productions will be judged. With a UK tour running until November, Bali Ha’i is calling you, don’t resist.
Taking a hard line on a troublesome musical is smart work and Sheader has given considerable thought to reconfiguring Carousel for twenty-first century audiences.
In a mini-season of nostalgic musicals looking back to mid-twentieth century song and dance styles, Carousel probably least deserves its cosy reputation. While the racial politics and untrammelled heroism of South Pacific is troubling, its love st…
Warmhearted and sincere, Jonathan O’Boyle’s concert production of Rodgers and Hammerstein’s musical take on Cinderella is gorgeous to watch and listen to from start to finish.
Really, The King & I could hardly be bettered. Beautiful staging without exaggeration, a real spark between O’Hara and Watanabe, and perfect support.
‘Waiter, have you got frog’s legs?’ ‘Yes, sir.’ ‘Well hop over the counter and fetch me a bacon sandwich …’ – is about the only old joke not shoehorned by Nathan Lane into his adaptation of Stephen Sondheim and Burt Shevelove’s musical The Frogs derived from an Aristophanes tale.
‘In a cavern, in a canyon, excavating for a mine … ‘It’s very hard to get Huckleberry Hound’s tone-deaf version of ‘Clementine’ out of your head in this musical where a young Kentucky man.
The performers were accompanied by The Royal Philharmonic Concert Orchestra, whose conductor Richard Balcombe musically directed the evening to perfection, orchestrating some beautiful arrangements within the revue. We were fortunate to have four fabulous leading West End stars to pay tribute to this genius Broadway legend.
Gary Wilmot is a much-loved British comedian, singer and actor. First finding fame through the television programme New Faces, he has enjoyed a brilliant and varied career. Possibly best known for his stage roles in Me and My Girl and most recently seen in Dirty Rotten Scoundrels. Gary is going to be performing at Cadogan Hall in August along with Lesley Garrett, Ruthie Henshall and Michael Xavier in Some Enchanted Evening, a concert celebrating the music of Richard Rodgers.
Royal & Derngate, Northampton
Music by Richard RodgersBook and lyrics by Oscar Hammerstein IIDirected by Rachel Kavanaugh
Ashley Day and Charlotte Wakefield
There is a traditional charm that pervades the Royal & Derngate’s Oklahoma! This show, the first collaboration of Rodgers and Hammerstein, is at once dark and glorious but above all, crammed with some of the biggest numbers from the Golden Age of Broadway. And here, on Francis O’Connor’s set that has been cleverly designed to be taken on the road, it is beautifully staged.
Set around the turn of the last century, the Oklahoma!’s book glosses over much of the Indian Territory’s troubled history (the actual State of Oklahoma was not created until 1905). Whilst the legacy of the recently ended American Civil War is roundly ignored, the tale does hint at the vastness of the land that was there to be grabbed, as well as the agricultural rivalries between the cattle rancher and the farmer and all alongside the emerging technologies that were seeing automobiles appear and skyscrapers come out of the ground. Famously though, the story bravely weaves its human interest themes as light and frivolous romance seamlessly segues into the dark and damaged side of our fellow man.
Charlotte Wakefield is a delight as Laurey, the orphaned niece of her aged Aunt Eller with whom she lives on the farm that they own and tend. Wakefield has previous form with Rachel Kavanaugh, having garnered an Olivier nomination in the director’s The Sound Of Music two years ago.
The actress epitomises tough yet cute, with a carapace that ultimately holds a vulnerable soft-centre. Initially wary of suitor Curly’s advances, Laurey is in fact desparate for the love he offers. Throughout, Wakefield’s singing is divine, with her handling of the harmonies in People Will Say We’re in Love proving a gorgeous take on the classic tune. Alongside Wakefield, Ashley Day’s Curly is handsome and well sung , but he needs to dig deeper to earn our sympathy. All too often Day glosses over the nuance of his lyrics, losing much of the cleverly crafted Hammerstein verse. But these are early days for the production, though and there is no-one better than Kavanaugh to coax that little bit more from her leading man.
Elsewhere there is doom and delight from the supporting cast. Belinda Lang is fabulous as Aunt Eller. With no apparent kin aside from Laurey, Eller is the loving matriarch not just to her niece but to her wider community too and Lang nails the fiercely protective loyalty that the old woman shows towards her ward.
Nic Greenshields’ Jud Fry offers a chilling take on the tragic desparate loneliness of a man shunned by the world. As Laurey’s hired hand on the farm, he craves her beauty and there is a true terror and menace in his manner. But in Greenshields’ singing of Lonely Room there is also a profound exposition of a deeply damaged man.
At the other end of the emotional spectrum, Lucy May Barker’s Ado Annie is just so incredibly believable as the girl who sings I Cain’t Say No. Barker shamelessly steals her scenes, but with a performance that deliciously good who cares? Other comic treats come from Gary Wilmot’s exquisitely timed work as peddlar Ali Hakim, whilst James O’Connell’s Will Parker truly gives his all in All Er Nothin and his Kansas City makes for good fun too.
Edging south down the M1 following his recent stints at Leicester, Drew McOnie choreographs in his first ever partnership with Kavanaugh. The flamboyant hallmarks of musical theatre’s wunderkind of dance have been reined in for this is tale, but it still remains a treat to see his interpretation of some of Broadway’s biggest classic routines. McOnie’s work impresses with his movement perfectly capturing the humour of It’s a Scandal! It’s a Outrage in a whirl of chaps, petticoats and bloomers, whilst the ballet sequence that closes act one is truly a dream. Credit too to Stephen Ridley’s 10 piece band. They’ve been well drilled and as the first notes of that gorgeous Overture sound out, they set the tone for an evening of musical excellence.
Shortly to tour the UK, Rachel Kavanaugh’s Oklahoma! is a classic musical, wonderfully performed. Go and see for yourselves, you won’t be disappointed.
Plays until February 28th 2015, then tours