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Posts Tagged ‘David Delve’

It’s a while since I’ve been to The Mill at Sunning dinner theatre – their programming of whodunit’s alternating with farce’s isn’t really to my taste – but I couldn’t resist ‘big’ musical High Society in this intimate space, even though it’s less than eighteen months since I saw it in a big space, or perhaps because I had…….

It’s set in the elegant thirties amongst the rich socialites of Long Island. Tracey is about to marry ever-so-dull George, but not before she has an elongated drunken flirt with tabloid photographer spy Mike and has been visited by her ex (and true love) Dexter. Her feisty teenage sister Dinah is determined to reignite her relationship with Dexter and spike the wedding. Her mum is rather pre-occupied with reigniting her relationship with her own ex Seth, a bit of a philanderer, and Uncle Willie chases any woman in sight, but particularly tabloid journalist spy Liz, who’s love for colleague Mike is unrequited. Liz and Mike have been promised the wedding story in exchange for burying the story of Seth’s fling with a dancer. Still with me?

It’s based on the 1939 Hollywood film The Philadelphia Story and started out as a film musical in 1956 before making it to the stage in 1987 in London in a Richard Eyre adaptation (nine years before another stage version on Broadway). The Broadway version had a very successful Ian Talbot production at the Open Air Theatre in 2003, which toured before transferring to the West End, where it only lasted a few months. The latest incarnation was Maria Friedman’s sensational in-the-round production at the Old Vic in 2015. The show’s trump card is Cole Porter’s score-to-die-for with more standards than just about any other show.

Scaled down for a cast of eleven and a three-piece band, it works superbly on this scale. Though it’s occasionally unclear which location we’re in, it’s a simple elegant design by Ryan Light (with great costumes by Natalie Titchener) which enables fast-moving action and scene changes, leaving enough space for director / choreographer Joseph Pitcher’s nifty staging and movement. The musical standards under MD Charlie Ingles are excellent. There isn’t a fault in the casting, with a lovely leading lady in Bethan Nash, a great comic turn from David Delve as Uncle Willie and Kirsty Ingrams’ spirited Dinah.

I love musicals on this scale and this was certainly a treat, and where else can you see a quality musical with a decent two-course meal, coffee and a programme for not much more than £50! On this form, a deserved winner of the 2016 UK Theatre Most Welcoming Theatre Award.

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When I saw the West End première of this show in 1992 I was completely underwhelmed. Part of the problem was that it was staged in the vast Dominion Theatre. I warmed to it when the Donmar revived it in 2004, winning an Olivier award for Best Musical Revival, and again when the Guildhall School of Music & Drama gave it their all just last year (https://garethjames.wordpress.com/2014/07/11/grand-hotel). Now I’m getting positively hot. The producer / director team of Danielle Tarento & Thom Sutherland have another big hit on their hands with this thrilling revival.

It’s a character-driven piece set in a Berlin hotel in the 1920’s. It revolves around a broke Baron, Felix von Gaigern, forced to steal by his criminal creditor. He falls for both fading Russian ballerina Elizaveta and temp secretary Flaemnchen, and befriends dying book-keeper Otto, himself intent on a little bit if luxury on the way out. Otto used to work for Preysing, an unprincipled businessman in the process of engineering a merger for his ailing company, and buying Flaemnchen’s attentions. Felix is also kind to hotel concierge Erik, awaiting news of the birth of his son, much more so than his boss. It’s all presided over by Colonel-Doctor Otternschlag, a somewhat mysterious morphine addict, acting as narrator.

The score is a lot better than I remembered and there’s a lot of it (and little dialogue). It unfolds over 105 unbroken minutes on a patterned faux marble floor, with a huge chandelier above and just a few props, in a traverse setting. Lee Newby’s costumes are terrific and Lee Proud’s choreography is superb, miraculous given the space he has to work with. Thom Sutherland’s staging is masterly, overcoming my initial fears that it would be cramped in this space. The Southwark Playhouse often has issues with sound at its musicals, but not here. With a lot of small overhead speakers angled down, Michael Bradley’s string-heavy septet sounds great, and all of the lyrics are clear.

Tarento does her own casting and again she has assembled a truly gifted ensemble. Scott Garnham is terrific as Felix, with particularly fine vocals. I loved both the characterisation and singing of Christine Grimandi, an auspicious British debut for this Italian performer. It’s great to see Valerie Cutko as Elizabeta’s companion / assistant Raffaela, the same role she took over in the original Broadway production. Here David Delve took over the role of the ‘narrator’ Otternschlag at very short notice, but you’d never know it from his confident, commanding performance. There are too many more to mention – another 13 – in this fine cast, except perhaps to say that there are excellent professional debuts from 2015 graduates Jammy Kasongo, Durone Stokes and Leah West.

We are ever so lucky to get work of this quality on the fringe. I think I might have to be greedy and go again…..

 

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