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Posts Tagged ‘Jonathan Bailey’

Every time I see a new production of a Sondheim musical, I think its his best, so here we go again! There hasn’t been a major London production of Company for 22 years, though we have had some fine fringe ones. Director Marianne Elliott’s reinvention, with Sondheim’s approval and involvement, changes 35-year-old New York male singleton Bobby to female Bobbie, the three girlfriends to boyfriends and one couple, Paul & Amy, about to be married after living together forever, have become gay couple Paul & Jamie. It makes a 48-year-old show feel fresh and bang up to date.

It’s Bobbie’s 35th birthday and there’s a surprise party planned. We meet her and her three casual boyfriends and her best friends, five couples who fret about her lack of a long-term relationship whilst making attempts at match-making and harbouring some jealous thoughts about her freedom. She’s at that age where she’s trying to reconcile her love of independence with her mid-thirties body-clock, which is where this production works even better with the change of gender. The normality of a gay marriage is the other change which works in its favour and choosing this particular couple, about to be married with one party having second thoughts, is inspired. Each couple has their own story, and they’re interwoven with Bobbie’s three casual romances and all the issues and pressures of being single in your thirties.

The production is highly inventive, with a terrific design from Bunny Christie. Each song and each scene seems to be a showstopper. The boyfriends trio You Could Drive A Person Crazy was deliciously interpreted by Richard Fleeshman, Matthew Seadon-Young and George Blagden. Individually, Fleeshman shines as airline steward Andy in his bedroom scene with Bobbie where they sing Barcelona, the destination of his forthcoming flight, and Blagden as PJ delivers Another Hundred People superbly. Liam Steel’s choreography comes into its own in the staging of Side By Side / What Would We Do Without You, which becomes a slick series of party games. With Jamie a gay catholic, Getting Married Today rises to new manic / comic heights and Jonathan Bailey brings the house down. Broadway royalty Pattie Lupone sings The Ladies Who Lunch like I’ve never heard it before, fabulously. Left alone on a bare stage, Rosalie Craig’s Bobbie sings Being Alive, the song that is the emotional heart of the piece, and her tears are matched by the audience; she’s wonderful as Bobbie.

As a Sondheim fan, being in a full house that roars its approval is a joy. Watching Patti Lupone leave the stage hugging Rosalie Craig felt like one generation of performers nurturing the next, as Marianne Elliott thrillingly passes on this masterpiece to the next generation too. A triumph for all concerned.

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Peter Gill is better known as a director, and a lot less prolific as a playwright, but he’s written a handful of very good plays, of which this is one of the best. First seen in 2002 at the Royal Court, revived just seven years later at the Riverside Studios, which Gill founded, and now nine years on at the Donmar Warehouse in what might be the best of the three.

Farm labourer George lives with his widowed mother in their tied cottage, with his sister Barbara, husband Arthur and their three children in the nearby council estate. Neighbour Doreen persuades George to get involved in the York Mystery Plays where he meets Assistant Director John, up from London, with whom he develops an unlikely friendship and a clandestine relationship; this is the early sixties. It starts and ends after the relationship, moving back to the visit John makes at the beginning of their relationship, an evening after the show and then to George’s mothers’ funeral. It’s not until the end that we fully understand the intervening years.

The culture clash between city and country, North and South, thespian and farmer are deftly handled and the understated writing is matched by a restrained production and a set of beautiful, authentic performances. Robert Hastie’s staging is finely tuned and hugely sensitive. Peter Mackintosh has designed an evocative, realistic, intimate cottage, with the countryside projected high above. Ben Batt and Jonathan Bailey give wonderful, delicate, nuanced performances. Lesley Nicol is simply lovely as the archetypal working class loving Mother. Lucy Black is a down-to-earth Barbara who may be more knowing than we think, and Matthew Wilson her husband Arthur who isn’t knowing at all; both fine characterisations. Katie West beautifully conveys neighbour Doreen’s yearning for George, and there’s an auspicious stage debut from Brian Fletcher as young Jack. A faultless cast.

This is an impeccable revival which draws you in to the world and lives of the characters and captivates you, proving conclusively that its a fine play indeed. This is why I go to the theatre.

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This 15-year-old two-hander by Jason Robert Brown, a somg cycle rather than a musical, was first seen here at the Menier ten years ago with Damian Humbley & Lara Pulver. I recall being more enthusiatic about it then than I am now.

It tells the story of Jamie and Cathy’s five-year relationship in a series of solo songs, Jamie chronologically and Cathy reverse chronologically, with one duet when their stories intersect at their wedding. They are well-crafted songs, if a touch bland, and they are beautifully sung by Jonathan Bailey and Samantha Barks, though Bailey is more animated and connects more with the audience. The music is played beautifully by the six-piece string-heavy band.

My problem with the show is that I found it impossible to engage with it emotionally and didn’t really care much about the characters or their relationship. Because it is merely songs, there’s little room for the development of characters and this is where it fails. A song cycle has its limits and this is a song cycle. I admired the craftsmanship but it felt cold and clinical. I left the theatre disappointed, I’m afraid.

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