The Sorcerer’s Apprentice brushes up well as a classy and confident new British musical.
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Me and My Girl’s politics may be of the dark ages – but its ability to put grins on faces and set toes tapping is the mark of a modern show that knows how to please its audience.
This really is a delightful revival of classic show Me and My Girl – next stop the West End? I think or rather I believe it so.
Actor Ryan Pidgen will remember this night. It was the moment when he went out on stage an understudy and came back a star after single-handedly saving a show and the neck of its worried director.
The sun has got his hat on, England’s in the semi-final under a chap with a proper waistcoat, and Noel Gay’s 1937 musical is a great big, lovely, silly, dancing elephant of an all-British vintage musical.
In Sheffield Daniel Evans made a name for himself with dazzling musicals that were, for all the razzamatazz, full of heart and he’s done the same here, taking a show so familiar and finding a whole new range of nuances within it.
Julian Fellowes’ book undulates gently rather than creating any particularly dramatic waves – Rat and Mole’s growing friendship is quietly but effectively done, Toad is characterised as a Boris Johnson-like would-be-lovable-rogue.
The Wind in the Willows’ charms are gentle, befitting any iteration of the beloved children’s novel by Kenneth Grahame. Julian Fellowes’ adaptation is faithful to that story and though the scale of Rachel Kavanaugh’s production is suitably large, it is also refreshingly simple.