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Posts Tagged ‘Betty Comden & Adolph Green’

It was touch and go at the Open Air Theatre on Tuesday, with the rain continuing until minutes before the start, but apart from a short break to mop the stage it went ahead, and the warmth from the stage just about made up for the chill in the air. OAT continues it’s pre-eminence in musicals revivals with this wonderful production of Bernstein’s rarely performed musical comedy, which I’ve only seen in ENO’s 2005 production, and we all know opera companies rarely do musicals well because they are, well, opera companies.

Three sailors arrive in New York on 24 hours leave, determined to make the most of it. Chip wants to see the sights, but Gabey and Ozzie prefer more hedonistic options. Gabey falls in love with a poster girl on the subway and they set about finding her, splitting up to visit the locations mentioned in the poster. Chip finds Hildy who’s just been fired from her job as a taxi driver and Ozzie finds anthropologist Claire in the Natural History Museum, and eventually Gabey finds his poster girl Ivy at Carnegie Hall. They all plan to meet for a date, but Gabey is stood up by Ivy. He eventually learns where she is from her music teacher and sets off for Coney Island to find her, whilst the others go on a bar crawl that gets seedier as they go.

Betty Comden & Adolf Green’s book and lyrics are much funnier than I remember and Bernstein’s score is better than I remember too, proving to be much more than its most famous songs New York, New York (not THAT one) and Some Other Time, and there’s a fantastic 15-piece band under MD Tom Deering to do it full justice. Drew McOnie’s hugely successful transition from Choreographer to Director / Choreographer continues and his staging of this is thrilling, with the balletic dancing so true to Jerome Robbins simply sensational. Peter McKintosh has designed a three-story set inspired by the opening and closing scenes at the dockyard which transforms into streets, subway trains, taxi, museum, apartment and nightclubs, with gorgeous bright and colourful costumes. When we get to Coney Island, the transformation takes your breath away.

Danny Mac, who plays Gabey, doesn’t have a strong voice, but it has a nice tone, he’s a good actor and his dancing is outstanding. Samuel Edwards is a great Ozzie and Lizzy Connelly a superb Hildy. Jacob Maynard has taken over the role of Chip after Fred Haig’s accident, and I thought he was terrific. Then there are two extraordinary professional debuts from Siena Kelly as Ivy and Miriam-Teak Lee as Claire – wow! The whole ensemble is wonderful and contributes much to an exciting, uplifting evening.

Not the best conditions for an evening at the OAT, but one of the best shows I’ve seen there. Go!

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The oddest thing about this 1978 Broadway show is its sub-operetta score by Cy (Sweet Charity / Barnum / City of Angels) Coleman. Oh, and the fact it takes place almost entirely on a train. This is my fourth production and the second at GSMD. I rather like it.

The score somehow suits a story about theatre folk. Producer Oscar Jaffee has had a series of flops and he’s on the run from those involved in the last one in Chicago, which closed mid-performance when the last audience member walked out, on the train named the 20th Century bound for New York. He hears that former star of stage, now star of screen, Lily Garland, is going to board the train. An idea for a new show about Mary Magdalene comes to him and a rich religious businesswoman, Letitia Peabody Primrose, falls into his lap and becomes his backer. He then seeks to bag Lily as his leading lady. With a book and lyrics by musical comedy masters Betty Comden & Adolph Green, there’s a lot of fun to be had, particularly in the second half scenes getting the investment and contracting Lily, plus a delightfully politically incorrect song called She’s A Nut and a running joke about everyone writing a play.

Adam Wiltshire’s set and costumes wouldn’t look out of place on a West End stage – two big gilt proscenium arches and a superb period train carriage – and where else would you get a full orchestra of 35 and a cast of 30 these days! There’s excellent choreography by Bill Deamer, especially in the Act II Mayfair party scene. The musical standards under MD Dan Jackson are high, and whereas last time GSMD staged it many of the cast struggled to play older, that is absolutely not the case here. Bessie Carter was particularly good as Letitia and Michael Levi Harris & Carl Stone a terrific double-act as Oscar’s sidekicks. I very much liked Claudia Jolly ‘s Lily and Josh Dylan provided a great cameo as her new love Bruce Granit. The chorus numbers showed off the vocal and dancing talents of a fine ensemble.

It’s another one of those shows where the second half is sharper than the first, and you can see why the original production never made it across the pond like Coleman’s other shows, but Martin Connor’s revival is a great introduction for anyone who hasn’t seen it, or a fresh look for musical theatre buffs like me who can’t get enough of it. 

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