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Posts Tagged ‘Kira Morsley’

Howard Goodall wrote this musical adaptation of Oliver Goldsmith’s restoration comedy for the National Youth Music Theatre 18 years ago (Sheridan Smith’s music theatre debut!). It’s the midpoint of his musical theatre catalogue, to date. It didn’t get a professional production until five years ago and now Ye Olde Rose & Crown Theatre in Walthamstow have matched and in some respects bettered that. It’s been great to see All Star Productions grow through the three Goodall shows they’ve done in the last 2.5 years (not counting the compilation show Love & War) to reach the quality they achieve here.

Charles Marlow is off to meet Kate Hardcastle, their fathers intent on a match. He’s accompanied by George Hastings who is going to have to elope if he is to wed his love, Kate’s cousin Constance, as she’s promised to Kate’s step-brother Tony Lumpkin. The mischievous Tony meets them en route and persuades them the Hardcastle home is an Inn, which results in much confusion as the story propels towards it’s inevitable happy ending.

Charles Hart made an excellent job of the book and lyrics, making it even funnier, though just as broad, and director Brendan Matthew’s time shift from the late eighteenth to early twentieth century makes a lot of sense. There’s a lot of music and it’s an even better score than I remembered (like a lot of Goodall shows, there’s no recording) with particularly fine ensemble pieces. As usual at this venue, the musical standards under Aaron Clingham are outstanding, though the balance of unamplified band and voices meant that some lyrics were lost. It takes a while to take off, the Act One finale is a touch laboured and it could do with losing ten or fifteen minutes, but it’s a great show nonetheless.

It’s another terrific ensemble here, many new to the venue, with all seven leads well cast. The comedy honours belong to Andrew Truluck and Laurel Dougall as Mr & Mrs Hardcastle. Kira Morsley is excellent as Kate, with particularly fine vocals. I very much liked both David Zachary and Robert Metson as Marlow and Hastings respectively, as I did Emily Peach as Constance and Jacob Jackson’s cheeky chappie Lumpkin.

Another good reason to go to the very end of the Victoria Line. I think it’s time to place my order for the London premiere of Goodall’s Two Cities.

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This was written after Ken Hill’s Stratford East original but before Lloyd-Webber’s show, which sadly scuppered its Broadway intentions and quite possibly changed history. Even so, it’s had over 1000 productions worldwide but, astonishingly, this is its London professional premiere – and Maury (Nine, Grand Hotel & Titanic) Yeston & Arthur (Nine) Kopit’s show is rather good.

Of course, it shares the same source in Gaston Leroux’s book, but we get more of the phantom (Eric!)’s history / back story and the music is a nod to French operetta (somewhat appropriately for its late 19th century Parisian setting) rather than ripped off from an obscure Puccini opera set in the wild west! It’s a whole lot less pompous that Lloyd-Webber’s, with some nice tongue-in-cheek touches (this could be the production rather than the show, of course).

This is a room above a pub in Walthamstow, so there’s no multicoloured masquerade, boats sailing on dry ice lakes or falling chandeliers – indeed,the entire budget is probably less than the other one’s chandelier cleaning bill – but it’s a terrific production. This is largely due, as before at Ye Olde Rose & Crown, to sky-high musical standards plus, on this occasion, excellent casting by Ben Newsome (also responsible for One Touch of Venus here last year plus more recently A Class Act & Sleeping Arrangements at the Landor and Rooms at the Finborough).

Kieran Brown is outstanding as the phantom and Aussie Kira Morsley (her UK professional debut?) is a fantastic Christine, with the perfect voice for the part. I loved Pippa Winslow’s Carlotta and there are other fine performances from Andrew Rivera as her husband, Sean Paul Jenkinson as the count also in love with Christine and Tom Murphy as outgoing theatre manager Carriere. They are all supported by a fine ensemble.

I adored MD Aaron Clingham’s arrangements for piano, woodwind and strings and the idea of atmospheric ‘incidental’ music is a very good one. American Dawn Kalani Cowle (it’s a proper United Nations up there in Walthamstow) does a fine job of staging this in such a small space, with clever use of a red curtain across the whole space.

I thought One Touch of Venus was a turning point for this venue, and I think this proves it. Anyone interested in musical theatre should be heading to Walthamstow right now. No excuses.

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