LONDON TRIP REVIEWS

Oct 99

Ten performances in a mere six days this year, I must be completely mad. Madness notwithstanding, I've put fingers to keys for the benefit of those who wish to read another opinion about some of the shows that are, or recently have been, about. There are some really top notch shows on in our dear capital at the moment, and I saw a fair share of them, as well as some that weren't quite so good.

Woman In Black
After ten years in the West-End, Woman in Black still raises the hairs on the back of the neck, and also prompts the occasional leap out of the seat. On-the-money performances from the two leads, John Nettleton and Robert Hands, makes this an exceptional "ghost story". Exceptional, because the audience was filled with two school-trips on the occasion I visited, and it still remained affecting. I could object to the schoolgirls' piercing screams (at admittedly frightening moments). I could complain that they laughed (in that embarrassed fashion so common) at the first genuine 'shock' moment (but some elder audiences that should know better do that as well). I could be annoyed (as some other audience members clearly were) at the murmur of chatter and subsequent shushing that arose on several occasions throughout the performance. I could do or be any of these things, but I shall not. I shall refrain. Firstly, because there is little point, and secondly, because the power of the play before me on the stage made such things insignificant. Even with all of these annoyances, this was a truly gripping performance. In a West-End brimming with quality, this right at the top of the glass.

Mamma Mia
Booked pretty solidly up to next June, this is one of, if not the, big hit of the year. Believe the good reports and add a dollop of optimism into the mixer of belief as well. "Fantastic" is one word I'd quite happily use to describe this show. The music speaks for itself - tuneful, catchy melodies (not all as well-known as you may think - unless you're a 'big' ABBA fan, that is) stream from the bright, simple set for the duration (and the well-appreciated encore at the end). The rest of the package matches up to it well. Wide smiles all around the audience - and a well-deserved standing ovation. It's funny, in a simple way (that's not meant pejoratively in any sense), both in the script itself, and the numerous ways that the songs are levered into the script. The cast are marvellous as well, and you'd have to be a real cynic to pick flaws. Wonderful, lively songs, performed in a wonderful, lively way, by a wonderful and lively cast - and a happy ending to boot - what more can you ask for in a night out. In the words of a certain breakfast TV presenter - "genius".

Miss Saigon
What a shame that decisions like the one to close this long-runner can't be reversed. Sir Cameron could have made a fortune - sorry - another fortune. Still, if we have the patience (and the optimism) we'll get to see it on tour in 2001 (albeit in a slimmed-down form). So it is that, with the news of its closure, the esteemed 'Mr Producer' wheedles another visit to the (now departed) Miss Saigon out of me. It is with the added personal poignancy of a final visit to a well-loved and oft-visited show that these comments are tinged/made. This is the show that 'inspired' me to go to London for the first time, it was the first cast recording I purchased, and it was the first show I saw in the West-End. Miss Saigon is like an old friend who has now moved away. It seemed as fresh as ever - directorial tweaks easily noticeable, but not spoiling the flow. Even with most of the major roles played be the 'understudies' (according to the program, at least) it was a marvellous performance - lacking none of the power of the night I first saw it. I suspect I shall not be the only one to mourn its passing.

The Lion King
Also known as the Julie Taymor show. On the previous evening, and in the morning, I had seen the furore that was the star-packed premiere. Chris Tarrant enthused about the show on both the BBC and ITV. This was, apparently, the pinnacle of the (huge) marketing effort. The show will obviously run for years - it has vast pre-sales and will clearly be a big success. This aside, is this collaboration of Disney and Julie Taymor any good?

I had prepared myself to be underwhelmed, having seen the previous Disney effort Beauty and The Beast, and having seen clips of the Broadway version, but was nevertheless somewhat disappointed when I still felt that way when the curtain fell. (I say fell, but it kept getting caught up, so it didn't really 'fall' correctly, but you get my gist.)

It isn't that it's not good - it is - but I think the overall feeling is that it is generally insubstantial. You 'see' this show rather than 'feel' it. It is not really a conventional musical, but rather a piece of theatre with music.

Those who have seen the film may wonder how well the sweeping African vistas, as well as the animals therein, are recreated. The answer is a qualified 'very well'. The use of puppetry has been well documented, and acclaimed, but lets itself down on occasion by trying to be a little too clever and all-encompassing. Sometimes the audience is left wondering what specific costumes are supposed to represent (the ant-hill for example). Also, especially in the opening scene, there is simply too much going on at the same time for the audience to take it all in. As a result of the innovative approach, and this 'overload,' it is initially difficult to get a grasp on the show, and it sometimes appears messy. You do become used to it, however, certainly by the end of the first half. This having been said, the costumes/puppetry are generally impressive - especially those of Timon, and the hyenas.

Quite in contrast to the 'overload' scenes, there are also sections where very little happens, and on a number of occasions the performance comes very close to dragging. Whether this is a flaw is open to debate, but certainly the erratic changes of pace and 'feel' don't help the audience to become accustomed to the design in the first half. The humour of the show, and the tone in general, does help alleviate this - it's been neatly tuned for both the children and the adults in the audience. Whereas I could (and did) criticise BATB for being patronising and, in places, childish, the same cannot easily be said for The Lion King. In-jokes, self-referencing and references to UK culture all add to the tongue-in-cheek charm of it all. This is particularly the case in the second half, with the introduction of Timon and Pumbaa, who add the fun typical of Disney's comic characters. It is mainly because of this switch to Disney's strength, i.e. a more character-driven approach (as opposed to action-driven), that the second half seems to bubble along more satisfactorily than the first. The second factor influencing this, of course, is the familiarisation to the costumes and design in general.

The sets are cleverly simple and fantastic at the same time, as with the lighting. There are sections, especially in the second half, that are quite stunningly beautiful, but equally, there are times where it is messy and erratic (especially in 'crowd' and 'fight' scenes). Efforts have also been made to bring the show into the audience as well, with the African drums being placed in the boxes, and with the cast often moving through the audience, most notably at the start of each half.

The score is delightful. African in style, it has been penned by Sirs Elton and Tim (John and Rice, as with the film) with additions from a crop of others. Perhaps the most notable of these is Lebo M, whose South-African rhythms help form the prevailing musical tone of the piece.

Critics have fallen over themselves to praise the show, saying how marvellous it is. While it is good, even very good, it is ultimately not 'great', at least on first viewing. It's lovely to look at and listen to, but I doubt whether there is sufficient substance to justify repeat visits for all but the most ardent of fans. In this respect, it is similar to BATB. It is for this reason that I doubt whether it will 'run forever,' despite the success of the film (and Disney's undeniable marketing expertise). Another contributory factor may well be it's biggest attraction at the present time. It is, almost by definition, very different in both style and sound to other West-End shows, and it may well be that after the initial surge to see the show, interest will flag as the novelty wears thin.

All of this may just be pessimism, of course. The cast is universally excellent, their voices and movement are excellent and you find yourself wanting to applaud heavily at the end, if for no other reason than the sheer invention of it all. In the final analysis, however, it's just too flawed to be a 'great' show - and it ends up being simply very good.

Money
This is running second fiddle in repertory to Candide at the National. A 19th Century comic play so rare it's even out of print. The RNT has a reputation for solid performances of a very high quality, and this is no exception. It is, as the reviews have noted, perhaps not the most of exquisite of plays, but the performances are the best you're ever likely to see. Not one weak link in a 'leading' cast of around 10 (depending on how you define a 'leading' role). Performances of particular note were that of Simon Russell Beale, in the central role (who could only be described as 'flawless'), and Roger Allam, who was simply hilarious as the maudlin executor of the estate left to him.

This is a very funny play, a 'comedy of life,' which could easily have dragged with a less talented cast. This does nothing of the sort - and the climax of the show is superbly well done. This is exactly the sort of thing the RNT should be doing. Simply superb. Again. It was only marred (and that's not true because it didn't affect the performance, only my state of mind) by the two thoughtless old fools [write and complain if you wish] in front of me who stood up and slowly and awkwardly put on their coats while the actors were taking their bows to the well-deserved rapturous applause. Extremely rude people. And no, they weren't rushing for the last train - this was a matinee. This was also quite aside from the gamete of people who stood up and made their way straight to the isles at the end (at least in a seemingly apologetic fashion), who are just ordinarily rude.

Phantom of the Opera
After criticising Mike Sterling's 'Raoul' last year (albeit slightly), it is perhaps typical that he should pull out a superlative-defying performance as the Phantom this year - compelling both vocally and emotionally (he makes the final sequence truly torturous). He is not alone. This is an excellent cast - and the best overall I've seen for a number of years. There are no real weak links here, where there have been in the recent past, no 'sore-thumbs' sticking out. They also seem to give a more energetic and emotional performance than in recent years. I could criticise Meredith Braun's voice (Christine) for the lack of power on certain notes, but its sweetness, beauty and easiness-on-the-ear more than compensated for that, so I won't. It's a measure of the performance and cast that this is the only noticeable flaw (if indeed it is a flaw at all). Even Raoul, which I believe is a difficult part to play well, is performed superbly by the charming Gadar Thór Cortes.

It just goes to show that a change in cast really can make all the difference. If the loss of Miss Saigon was a blow, the loss of Phantom would be, perhaps fittingly for its storyline, a real tragedy.

Juno and the Paycock

When the synopsis mentions that this is set in 1920's Ireland, and is about the troubles there, you immediately think 'gritty, dark, hard drama with people being killed.' While all of the aforementioned do apply to Juno and the Paycock, either in whole or in part, it is more than that. The first act is, in fact, a largely rosy picture of the Boyle family of Dublin. They sing and dance, and the characters are endearingly funny. It is not until the second half when things begin to collapse around their ears that the metaphorical grim grey clouds descend. The cast is good (headed but not dominated by the powerful Colm Meaney) and the intimacy of the Donmar adds to the claustrophobic atmosphere of the play. It is neatly balanced as well, the lighter humorous first section contrasted by the darker dramatic second section, highlighting just how things can go so very wrong. A fine play, performed very well, which would normally get more positive adjectives bestowed upon it but for the excellence of the performances preceding it on this trip. It consequently gets just a well-deserved thumbs-up.

Saturday Night Fever
Not being one for the dancing, I suppose it was predictable that this wasn't going to set my world on fire - which is why I delayed seeing it until now. That notwithstanding, the audience liked it, standing and dancing (well, swaying) at the end, and it is far from dire. Fans of the film will no-doubt be fans of the show, and it has already developed a fanatical "must go again" following. The plot is thin and meaningless, the dialogue is questionable, the characters are one-dimensional, and many of the songs are sung in too relaxed a fashion. There are songs that impress, however, as well as performers, "If I can't have you" sung by Nina French was a particular highlight. Overall, though, the story and characters never grabbed the interest and I didn't really care what happened to them - which is probably just as well as the end is left hanging open in an unsatisfactory way. Despite not being an advocate of the dancing, it was still impressive and obviously well-worked. It was even thrilling on occasion, though perhaps not often enough. They're still playing to full houses, so they must be doing something right. Still, worst of the bunch by a substantial margin.

The Pajama Game
Another trip to the Victoria Palace, and another trip to a half-empty auditorium. I really don't know how they survive - but I'm glad they do. The Pajama Game has had tepid reviews, not least from Darren himself, and (having booked before it opened) I had begun to wonder if it was to be the best usage of a theatre slot on this trip. I need not have worried. A lovely, bright and "cute" little show. Odd drawing-board style backdrops added to the charm, along with the bright and breezy costumes. There was a warm 50's Hollywood light romantic comedy feel to the performance (as well there might be). True, certain characters took a while to get used to (notably John Hegley's time and motion guy), but others were instantly attractive and likeable - essential for a show of this type. Leslie Ash and Graham Bickley as the lead couple were very impressive. This was particularly the case with Ms. Ash, whom I had not seen on the stage before. Some have criticised her singing, but I found it sweet and warm, maybe not the most powerful in the world, but that wasn't really necessary for the role. Jenny Ann Topham was also lively, standing in for the injured Alison Limerick.

I'll grant you that this isn't the best on in London at the moment, but it's not sufficiently far off to justify its absence from a 'worth seeing' list, even if it doesn't make a 'must see' list. I suspect that if this goes out on tour when its run ends it will play to packed houses whose members will love it to bits (in a similar fashion to its predecessor, Annie).

The Complete Works of Shakespeare (Abridged)
Down into the bowels of Piccadilly I descended, to the subterranean Criterion Theatre. This has run long enough to suggest that I should have seen it by now - I hadn't - but now I have. With a great deal of energy and doffing of caps to the bard, the three gents of the Reduced Shakespeare Company take to the stage and whizz innovatively through his 36 works (except Coriolanus, which they don't like). Humorous throughout, and very, very funny on occasion, arguably the best points come with their interaction with the audience, especially when they drag those fortunate/unfortunate enough to be picked from the stalls onto the stage. On this occasion, we were blessed by some great participants - I suspect the overall feel of the show will depend on the quality of those selected. It's not a 'must-see' by any stretch of the imagination, but if you want to get to know Shakespeare's work better (he is the greatest English playwright after all) in a quick, easy and digestible format, this is an honourably humorous effort to do just that and educate us all.

So, that is, as they say, 'it' for another year - just in time, it appears, to book again for next year. With shows like The Lion King and Mamma Mia reportedly booked up until next June already, it appears the West End is busier than ever, and booking will become an activity distanced even further from the visit itself (unless you wait until the day, with fingers crossed). It's a small price to pay for the success of the theatre - and one well worth paying - long may it continue.

END

(Oct 1999 / David Heppell / david.heppell@eidosnet.co.uk