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Posts Tagged ‘John Weidman’

I was lucky enough to be passing through Chicago (as one does) when the second incarnation of this show, then named Bounce (it’s first title was Wise Guys), was playing in 2003. It was OK, but seemed a bit slight for Sondheim – a light musical comedy about a con man. Well, this certainly isn’t that show!

From his deathbed, Addison & Wilson Mizner’s father encourages his sons Wilson and Addison to go off and make names for themselves and change the world, as you can only do in the US of A. The story of their attempts to fulfill his wishes start with the Alaska gold rush and ends with a property development in Florida, the idea of which comes from Addison’s new partner (in every sense of the word), rich boy  Hollis Bessemer. In between, the brother’s relationship moves between closeness and antagonism, with Wilson’s con man tendencies and Addison’s relationship with Hollis piling on the pressure.

It had little depth back in 2003 and one was left with a ‘what are you getting at?’ feeling. ‘This is Sondheim; it can’t be as simple as all that’. Following a number of re-writes and productions, and more significantly for me, the fact that it comes after the credit crunch, and we get a show that examines both the American dream and brotherly love. In many ways it resembles Assassins – both in terms of musical style and the fact that both are poking around in the American psyche. This new incarnation does have depth and is now very much a Sondheim show. Thank god he and John Weidman persisted for so long; many would have given up.

John Doyle’s traverse staging has extraordinary pace and intimacy. There’s no set as such, just props piled up at both ends to be brought on when required and a lot of fake money to be thrown around. The 8-piece band under Catherine Jayes play the score superbly. I do think it is musically a bit derivative, though – but of Sondheim himself; there were a number of occasions when I was thinking ‘ I’ve heard that before’.

Michael Jibson and David Badella as the brothers are both absolutely brilliant, with real chemistry between them. Jon Robyns is excellent as Hollis and both Glyn Kerslake and Gillian Bevan make much of the relatively small roles of mama and papa. The tightly knit ensemble of eight play all other characters and constitute a chorus that glides and flows with the story.

It zips along so quickly that I felt I’d not been able to take it all in, so when I got home I booked to go back!

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