The Biograph Girl,

This is more of a rediscovery than a revival, a 1980 musical which may well have remained lost but for the ever enterprising Finborough Theatre and Mercurius. Written by a man in late career, David Heneker, who’d done eight shows before, including Expresso Bongo, Half A Sixpence and Charlie Girl, and another, Warner Brown, in early career, it seems to have been a critical success but a commercial flop.

Like Jerry Herman’s Mack and Mabel, it’s set in the silent movie era and features real life characters like film-makers D W Griffith and Adolph Zukor of Paramount, actresses Mary Pickford and her friend Lillian Gish and the godfather of silent comedy, Mack Sennett. Over sixteen years, Griffith makes serious epics with Gish and Zukor populist fare with the eternally juvenile Pickford. As it ends, United Artists is born and talkies arrive. The personal relationships are interwoven with the history.

It’s a very good score and the book, in this scaled-down version, is excellent. They’ve reintroduced two songs that never made it to the West End, one which accuses Griffith of racism and the rather chirpier They Don’t Call ‘em Flickers too. MD Harry Haden-Brown plays the score alone on piano, which somehow suits the silent movie aesthetic. Jenny Eastop’s simple production, virtually without decor, allows the show to move and breathe.

I loved Matthew Cavendish’s Sennett, all his work with Mischief Theatre giving him great physical comedy skills, but a great voice too. Sophie Linder-Lee is a delight as Mary Pickford, who’s much more savvy than the girliness would have you believe. Emily Langham’s performance as the more serious and restrained Lillian Gish (who apparently attended the 1980 premiere), somewhat in awe of Griffith, is lovely too. Jonathan Leinmuller has great presence as Griffith, and there are five fine supporting performances, with the MD stepping forward to play a role.

A very worthwhile rediscovery given a fine production. Yet more gold stars for the Finborough.

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Half a Sixpence

This 1963 show was written as a vehicle for Tommy Steele, who also took it to Broadway and starred in the 1967 film. This is a substantial re-working, with a new book by Julian Fellows and new songs from Stiles and Drew. I thought it was a big old-fashioned populist treat!

It’s based on H G Wells semi-autobiographical rags-to-riches-to-rags-to riches-again novel Kipps. Getting a story from the Downton creator where the toffs are the baddies is a bit odd, but it’s a good book. Arthur Kipps is an apprentice draper until he inherits a fortune, falls in love with posh Helen Walsingham, is exploited and left penniless by her brother and mother, realises he doesn’t belong with the toffs and returns to his old world to marry his first love Ann. Working class meets upper class and wins. The characters are all rather stereotypical, but hey its musical theatre. Many of David Heneker’s original songs have been retained, with seven new ones added, including excellent ensemble pieces Look Alive, Back the Right Horse and Pick Out a Simple Tune.

The creation of the two contrasting worlds is brilliantly done by Paul Brown’s set, and even more importantly his superb costumes, and Andrew Wright’s choreography, which is amongst the best I’ve ever seen on any stage, light as air, athletic and witty. Director Rachel Kavanagh presides over this with staging of great flair. Whatever you think of the show, the production is masterly. With great vocals all round and a decent size twelve-piece band, it all sounds wonderful.

Charlie Stemp is a real find. His Arthur has bags full of charm coupled with innocence and naivety. He’s strong vocally and moves superbly. Devon-Elise Johnson and the great Emma Williams make a fine pair of romantic leads as humble Ann and silver-spooned Helen respectively. Arthur’s fellow apprentices Sid, Buggins and Flo are a delight as played by Alex Hope, Sam O’Rourke and Bethany Huckle, with John Conroy the suitably pompous boss Shalford. Vivien Parry, Jane How and Gerard Carey are all excellent as the ladies and gentlemen ‘upstairs’. Chitterlow is an odd character, a bit of an older H G Wells perhaps, but Ian Bartholomew gives another of his fine characterisations. It’s hard to imagine a finer cast.

I thought it was a delight and I predict it will be another big hit for the Chichester musicals machine.

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