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Posts Tagged ‘Oliver Goldsmith’

I loved everything about this production – a thing of great joy and a triumphant NT debut for director Jamie Lloyd. It’s the equal of the recent London Assurance on the same stage and for a play that’s almost 250 years old, it’s as fresh as they come.

Oliver Goldsmith’s restoration comedy has always seemed less dated and funnier than its contemporaries, but this is unquestionably the best production I’ve seen. Mark Thompson’s design somehow makes the Olivier more intimate. Most of the time, we’re in the Hardcastle’s living room in front of a huge hearth with a welcoming fire. The scene changes are accompanied by delightful jolly choruses and dances and the one from living room to woods and back is a marvel that takes your breath away. The only thing that isn’t in period is modern gestures, but rather than being incongruous they somehow add to the freshness.

City boy Marlow, accompanied by his friend Hastings, is off to the country to meet his intended Kate Hardcastle. Kate’s step-brother Tony Lumpkin convinces them the Hardcastle home is an inn – cue inappropriate behaviour and an outraged Mr Hardcastle. The tongue-tied Marlow has a stumbling meeting with confident Kate where he can’t even look at her, thus enabling Kate to subsequently pose as a barmaid (she stoops to conquer) and see a very different Marlow.

Running in parallel we have the story of Mrs Hardcastle’s niece and her love of Hastings but betrothal to Lumpkin (Mrs Hardcastle’s son by her first marriage, who doesn’t really want marriage), complete with a mix up over a box of jewels. It’s a riot of confusion with city meets country and rich meet poor providing ample opportunity for satire. The humour is broad so the playing is broad, but it manages to stay the right side of OTT. Of course, it all ends happily with both couples united and parents content.

Harry Hadden-Paton is proving equally adept at drama and comedy and here he’s terrific as Marlow. This may be a career high for John Heffernan, equally terrific as Hastings. It’s hard for Katherine Kelly and Cush Jumbo to play against these comic master classes but they do so very well. I assume there is some sort of exchange programme that resulted in Ian McKellern in Coronation Street in exchange for Kelly in this?! Well, she’s been the best thing about Corrie for years (yes, I’m a fan!) and though it was sad to see her go it’s great to see her cutting it in restoration comedy one week later – and there’s something delicious about the former barmaid at the Rovers Return stooping to conquer as a barmaid! Steve Pemberton and Sophie Thompson are great as the Hardcastles, with the latter giving us another of her over-the-top-and-higher-still performances. I was also hugely impressed by David Fynn as Lumpkin.  The ensemble is faultlessly cast and impeccably drilled.

A delightful evening from beginning to end. Miss at your peril.

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I’ve always been puzzled by the critical indifference to Howard Goodall’s musicals. For me, in the (short) list of great British composers of musicals he comes top and his first show, the Hired Man, sits with Les Miserables and West Side Story as one of my favourite musical scores.

Even though he has a very distinctive sound, which is distinctively British, it changes subtly to suit the subject matter. Only three of his nine musicals have been produced in the West End. 25 years ago, The Hired Man lost the Olivier Award to the highly unoriginal 42nd Street (leading lady ill, chorus girl’s big break, yawn…yawn…), soon after Girlfriends closed very quickly (though in fairness, the production didn’t live up to the Bolton premiere) and then we had to wait 24 years for Love Story, one of the best chamber musicals ever, which also got an undeserved early bath.

The Hired Man gets revived on a small scale fairly frequently, Days Of Hope (a lovely show set in the Spanish Civil War) occasionally but the 2nd World War Girlfriends, as far as I know, has never been revived. Two Cities (based on Dickens) was only seen outside London and the other four, like this one, were written for youth groups. Only The Hired Man and Days of Hope have ever been recorded, so you can’t even listen to the music to find out what you’re missing!

I fondly remember seeing the NYMT production of this 12 years ago (with recent Olivier Award winning Sheridan Smith in the cast) at the Lyric Hammersmith and its astonishing that it has taken so long to be revived and to get its professional debut. We’re awash with fringe productions of musicals, but none of them are British. I yearn to see Lionel Bart’s Blitz! or Maggie May or Goodall’s Girlfriends. OK, end of rant and on with the review!

There can’t be many musicals based on restoration comedies like this one based on Goldsmith’s She Stoops to Conquer. Moving it to the Edwardian period works; otherwise its faithful to the play and thanks to Charles Hart’s witty book and lyrics, even funnier. Goodall’s score is rich in lovely tunes and even more varied in style than most of his scores. It takes a little while to take off, but it proves to be a delight. It would have been even better to see it in a bigger space with better sight lines than the cramped and stuffy Jermyn Street Theatre.

Director Lotte Wakeham, who first impressed me with Austentatious at the Landor, has done a superb job on a simple set by Samal Blak (who worked wonders transforming the Cock Tavern for Pins & Needles) with elegant period costumes by Karen Frances. It’s partially in actor-musician mode, but Harriet Oughton at the piano has the primary musical responsibility and manages a bit of acting as well as playing the whole score!

Beverley Klein gives us another delicious musical comedy masterclass as Mrs Hardcastle. Ian Virgo (also in the original production, but as Lumpkin), Gina Beck, Dylan Turner and Gemma Sutton as the two couples at the heart of the story all act well and do full justice to Goodall’s music. It took me a while to warm to Jack Shalloo as Lumpkin (probably because I couldn’t get his terrific turn in Departure Lounge out of my head!) but he won me over.

A standing ovation for producers Peter Huntley and Charlotte Staynings for giving us this long-awaited opportunity to re-visit the show and for doing such a cracking job with it. Girlfriends? Blitz? Please!

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