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Posts Tagged ‘Terry Doe’

Yet again, I find myself reflecting on how you can visit a show again and come out with a completely different reaction. Earlier in the Summer I found Rosencrantz & Guildenstern Are Dead irritatingly glib, having previously found it clever and entertaining. When I first saw Alfred Uhry & Jason Robert Brown’s show four years ago at the Donmar, even though I’m perfectly comfortable with musicals on serious subjects, the musical form seemed wholly inappropriate for the subject matter and the musical style jarred. Now, having seen Thom Sutherland’s masterly production at Southwark Playhouse, I feel completely differently. Your frame of the mind at the time is so crucial to your response. If you’re in a Mamma Mia mood, however fine the Richard III production is, it just won’t do. If you’re up for a dysfunctional Sam Shepherd mid-west family, there’s no point in going to Priscilla.

Parade tells the true story of the framing a New York Jewish man for murder in Georgia in the early 20th century. The governor makes it clear he needs a conviction and the prosecutor delivers one by dubious means including the coaching of young witnesses. Just when it appears the governor’s review of the case will lead to a reprieve, a hasty hanging is arranged.

On this occasion, I found the music heightened the intensity and emotion of the story and Sutherland’s production grips throughout. Though it’s a tiny space with a traverse staging, it somehow feels epic. It flows seamlessly from scene to scene by having the set at either end of the space and just a handful of props to bring on and off. Wherever you sit, you’re never far away, so you always engage with the characters and the story. John Risebero’s set and costumes are excellent and there’s particularly effective lighting from Howard Hudson.

Yet again, Danielle Tarento’s casting is outstanding. Alastair Brookshaw and Laura Pitt-Pulford give hugely committed performances in the central roles of Leo & Lucille Frank; Laura’s singing is exceptional. Mark Inscoe has great presence as prosecutor and would-be governor Hugh Dorsey. It’s a tribute to David Haydn that it wasn’t until the end that I realised he’d played three roles including the pivotal ones as governor and newspaperman. Terry Doe follows two fine musical performances at the Finborough, with three fine performances in one evening here. There is also an auspicious London debut from Samuel J Weir, a 2011 graduate. The 7-piece band under Michael Bradley play the score brilliantly.

It’s not without its faults. Though mostly effective, the traverse staging was occasionally irritating, the over-amplification took away some subtlety from the solo vocals and at 2 hours 40 mins it was a little too long. That said, this production turned around my view of the show, won me over and deserved its spontaneous standing ovation.

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What an odd musical this is. A Brechtain allegory on the British class system by Leslie Bricusse & Anthony Newley with a (long) pun for a title! Waiting for Godot – The Musical.

Set in a Big Top (well, this in the Finbrorough, so not so big – but a superb use of the space) with a game board floor on which an incomprehensible game between Sir and Cocky is taking place, in a Mornington Crescent sort of way. Sir appears to make up the rules to suit himself; Cocky can’t possibly win. Our other characters are The Kid, The Girl, The Negro (this show is 47 years old!), The Bully and six ‘Urchins’ dressed as Pierrot’s just like Oh What A Lovely War. As I said a, Brechtian allegory in a Beckett frame! I loved it.

It’s got some great songs, including standards Who Can I Turn To, Look At That Face, The Joker and Feeling Good, which are sung brilliantly by a first class cast and played miraculously by Ross Leadbetter on solo piano. Somehow, the Finborough have attracted hugely experienced director Ian Judge and hugely talented designer Tim Goodchild to give this odd little show a stunning production. Matthew Ashforde is outstanding as Cocky and Oliver Beamish a perfect Sir. There’s excellent support from Lucy Watts as The Kid and Terry Doe as The Negro and a fine ensemble.

It’s not a great show, but I doubt it could get a better production. It’s a bit baffling in 2011, so it must have been utterly mind-blowing in 1964 and positively jaw-dropping when it hit Broadway a year later. It toured the UK but never made the West End, so this is a fabulous opportunity to catch a fascinating rarity and you shouldn’t miss it.

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