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Posts Tagged ‘Freddie Tapner’

This new musical is based on the true story of a West Country vagrant who fooled ‘society’ into believing her to be an exotic princess. It was the subject of a 1994 film (co-written by John Wells, no less) and a 2012 novel by Catherine Johnson, but I’d never heard of it! It was intended for a big-scale production in Bristol, but that never materialised, so the Finborough Theatre has the privilege of presenting its world premiere.

An Iberian sailor introduces the ‘princess’ to benevolent aristocrats Sir Charles & Lady Elizabeth Worrall. She reminds them of their dear departed daughter and they ‘adopt’ her and introduce her to society. Their destitute nephew Eddie returns from his travels at sea and attempts to decipher her language, in the process of which he falls for her and she for him. His old school chum, now Lord Marlborough, a better catch, also courts her, though his attraction seems to be more lust than love. She is eventually found out and her benefactors humiliated by The Times revelations of the truth. She returns to poverty before finding her escape route.

It’s good subject matter for a musical and Phil Willmott has done a very good job adapting it for the stage, though the opening is a bit muddled as we’re presented with an illustrated ‘lecture’ by Worrall, with scenes played out by his staff. The lecture as narration might work better on its own without the play-within-a-play idea. The shows strongest point is a lovey, tuneful score by Willmott and Mark Collins, here very well sung (though occasionally a touch more vocal restraint by some would have made it even better) with excellent orchestrations played by a trio of keyboards, violin & winds led by MD Freddie Tapner

You can see how it would work on a bigger scale, though it works perfectly well on this scale, with ten performers playing all of the roles. Choreographer Thomas Michael Voss even manages to get some effective dance & movement in this tiny space. The production values are very good, with a simple uncluttered design by Toby Burbridge, making particularly good use of a large mirror and models of houses and ships, and Penn O’Gara’s costumes are excellent. It’s a fine cast without a weak link. Phil Sealey and Sarah Lawn were delightful as the Worrall’s, Christian James made a charming Eddie and Nikita Johal a fine Princess. I was particularly impressed by Oliver Stanley as Marlborough, as close to a baddie as we get in this show.

It’s refreshing to have a new musical whose setting isn’t contemporary, which has more than four characters and which isn’t Sondheimesque! I’m sure this won’t be its last outing, but anyone interested in musical theatre should head for the Finborough in the next two weeks.

 

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I was lucky to be working in the North-West in the summer of 1986 when this show had it’s world premiere. With the music of Howard Goodall’s first show The Hired Man still ringing in my ears, off I went to Oldham Coliseum. The cast were a bunch of then unknowns, many of who went on to become musical theatre royalty – Maria Friedman, Jenna Russell, Clare Burt, Andrew C Wadsworth….. I loved the show and the following year I was on the Olivier Awards panel when it re-opened the Playhouse Theatre in London, substantially re-cast. I was expecting to lead the campaign to nominate it as Best Musical, but it was a different show and for some reason had nothing like the impact it had in Oldham. I’ve never entirely understood why.

It was 24 years before its second London outing, this time at Ye Olde Rose & Crown Theatre (in a room above a pub in Walthamstow), and it proved to be a delightful chamber piece. So here we are another three years on and it’s the third in the Union Theatre’s Howard Goodall Season, with a production whose musical standards may well be the best. It sounds gorgeous.

Set in the the second world war in the WAAF (Women’s Auxiliary Air Force), the ten ‘girlfriends’ are carrying out admin duties, parachute packing and tea making. We have just two airmen representing the RAF and one of them is caught in a love triangle with best friends Amy and Louise (the other one is trying hard to get laid). The former is toff Guy and the latter Welsh boy Gareth (co-incidence). Everything is told in song – there’s next to no dialogue – which often makes it feel more of a song cycle than a musical. The lack of a good book is its flaw (according to Goodall, Richard Curtis no less added to his research notes with ‘a rambling inventive script’) but the music is glorious.

The vocals here really are beautiful, in solos and ensembles with overlapping melodies. You don’t often here ten women’s voices in harmony and it’s a lovely sound, but the mens contributions, equally good vocals, provide some necessary colour and contrast. The accompaniment of two keyboards, winds and double bass under MD Freddie Tapner ( a professional debut!) is also excellent. The singers and players all do full justice to Goodall’s score and they look like they are having the time of their lives. Bronagh Lagan’s simple staging, with inventive movement and choreography by Iona Holland, suits the piece well. Nik Corall’s design focuses more on costumes than set and you know you’re in the forties by the girls hairdos alone!

It’s great to see this year’s Sondheim Student Performer Award winner Corrine Priest, who made an excellent contribution to the society’s ‘God’ revue, making such a terrific impression in the leading role like Amy, and Perry Lambert is an equally impressive the other leading lady Lou. Both of the boys, Tom Sterling and Michael Ress (a real Welshman, thankfully!), have exceptional voices and act brilliantly. There isn’t a weak link in this young, hugely talented cast.

Though I missed the first show because of my travels, this has been a fabulous Howard Goodall season, so I will end by placing my order for 2015…….Dear Sasha & Howard, the London premiere of Two Cities, please. Thank you. Love, Gareth.

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