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Posts Tagged ‘Miriam-Teak Lee’

This new jukebox musical comes twenty years after Mamma Mia, which of course featured the catalogue of Swedish group ABBA and is still running in London. This
latest one features the compositions and collaborations of another Swede, songwriter Max Martin, with a book by David West Read. I’m not the target demographic and I didn’t know many of the songs, but I thought it was huge fun, quite possibly the most successful non-biographical example of the genre since Mamma Mia.

The company are in rehearsal with William Shakespeare at the Curtain Theatre for the premiere of Romeo & Juliet when his wife Ann, visiting London, intervenes wanting to change the ending. From here we embark on Juliet’s ongoing story, written and rewritten live on stage by Will and Ann. The sixteenth century meets the twenty-first, in costume, language and behaviour, as the songs are fitted in with great skill to the narrative of this new tale with a contemporary spin by both Shakespeares.

One of the joys of seeing Mamma Mia for the first time was those delicious moments as you hear a song audaciously slotted in, and it felt the same here. It’s tongue is firmly in its cheek and you find yourself laughing and smiling with it. The play within the show takes us from Verona to Paris and has great pace and energy, propelling us to the happy ending that the first version doesn’t, with no less than four unions to celebrate.

Though it’s look is loud, gaudy and colourful, there are a lot of clever touches in the meeting of periods 400 years apart in Soutra Gilmour’s set and Paloma Young’s costumes. Howard Hudson lighting and Andrezej Goulding’s projections add to the pop concert aesthetic and Jennifer Weber’s pop video choreography completes the picture. This must be director Luke Sheppard’s biggest gig and he rises to the occasion with a slick, sassy, funny show, with has more depth and layers than you might expect in this genre.

Miriam-Teak Lee, in only her third West End show, is sensational as Juliet, with the complete ‘triple threat’ of acting, singing and dancing. Oliver Tompsett and Cassidy Janson are a great pairing as Will and Ann, sparring affectionately with each other, and there’s another great pairing in David Badella and Melanie La Barrie, both of whom its great to see on stage again. The rest of the cast of twenty-five are brimming with talent and infectious enthusiasm. It was good to see the fine but hidden nine-piece band get an onstage curtain call.

The Shaftesbury Theatre hasn’t had that many long runners, but I suspect that is about to change. Great fun.

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It was touch and go at the Open Air Theatre on Tuesday, with the rain continuing until minutes before the start, but apart from a short break to mop the stage it went ahead, and the warmth from the stage just about made up for the chill in the air. OAT continues it’s pre-eminence in musicals revivals with this wonderful production of Bernstein’s rarely performed musical comedy, which I’ve only seen in ENO’s 2005 production, and we all know opera companies rarely do musicals well because they are, well, opera companies.

Three sailors arrive in New York on 24 hours leave, determined to make the most of it. Chip wants to see the sights, but Gabey and Ozzie prefer more hedonistic options. Gabey falls in love with a poster girl on the subway and they set about finding her, splitting up to visit the locations mentioned in the poster. Chip finds Hildy who’s just been fired from her job as a taxi driver and Ozzie finds anthropologist Claire in the Natural History Museum, and eventually Gabey finds his poster girl Ivy at Carnegie Hall. They all plan to meet for a date, but Gabey is stood up by Ivy. He eventually learns where she is from her music teacher and sets off for Coney Island to find her, whilst the others go on a bar crawl that gets seedier as they go.

Betty Comden & Adolf Green’s book and lyrics are much funnier than I remember and Bernstein’s score is better than I remember too, proving to be much more than its most famous songs New York, New York (not THAT one) and Some Other Time, and there’s a fantastic 15-piece band under MD Tom Deering to do it full justice. Drew McOnie’s hugely successful transition from Choreographer to Director / Choreographer continues and his staging of this is thrilling, with the balletic dancing so true to Jerome Robbins simply sensational. Peter McKintosh has designed a three-story set inspired by the opening and closing scenes at the dockyard which transforms into streets, subway trains, taxi, museum, apartment and nightclubs, with gorgeous bright and colourful costumes. When we get to Coney Island, the transformation takes your breath away.

Danny Mac, who plays Gabey, doesn’t have a strong voice, but it has a nice tone, he’s a good actor and his dancing is outstanding. Samuel Edwards is a great Ozzie and Lizzy Connelly a superb Hildy. Jacob Maynard has taken over the role of Chip after Fred Haig’s accident, and I thought he was terrific. Then there are two extraordinary professional debuts from Siena Kelly as Ivy and Miriam-Teak Lee as Claire – wow! The whole ensemble is wonderful and contributes much to an exciting, uplifting evening.

Not the best conditions for an evening at the OAT, but one of the best shows I’ve seen there. Go!

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