Though we’ve seen rarer Rogers & Hammerstein shows on the fringe (most recently Me & Juliet, State Fair & Pipe Dream), I’m not sure anyone has tackled one of the ‘Big 5’ before (Oklahoma!, South Pacific, The King & I, The Sound of Music and this). If I had been asked for my opinion, it would be unequivocal ‘avoid’ – these are big Broadway shows that require big resources and a big stage. WRONG! This is an absolute triumph.
This was only their second show, 70 years old next year. moving musical theatre into a new era of realism, with themes never before associated with the form. It’s packed full of wonderful music, but it all goes a bit awry in the second half when it becomes sweet, sickly and a bit preposterous at the gates of heaven. Not here, though, where it becomes a tense musical drama with a moving moral message. Luke Fredericks’ production has not only turned the sentimentality into pathos, but he’s made the ballet an integral part of the show.
Based on an early 20th century Hungarian play, this production has moved the setting forward 50 to 60 years to start around the time of the Great Depression, providing clearer motivation, and ending as the second world war ends (the year it was first staged), more appropriate for its hopeful, uplifting conclusion. Nothing else is changed, but it’s more intimate, involving and moving. Thankfully, I wasn’t the only emotional wreck at curtain call.
The musical standards are sky high. The unamplified voices have a purity to them and don’t have to compete with a largely unamplified band located above and behind. The use of flute, double bass and above all harp brings a beautiful new quality to the music – it’s amazing how much harp accompaniment transforms You’ll Never Walk Alone. Stewart Charlesworth’s design is a miracle of economy and a brilliant use of the space, with versatile mobile metal ‘arcs’, everything from washing to carnival banners to canopies raised high by pulleys and superbly evocative costumes. Lee Proud’s choreography is fresh and often brave and the second act ballet was thrilling.
It’s hard to talk about the performances with anything but a shower of superlatives. Gemma Sutton follows her sultry, sexy turn in Hackney Empire’s Blues in the Night with a wonderful sweet, naive Julie, with Vicki Lee Taylor matching her all the way as best friend Carrie. Tim Rogers brings more passion and a rougher edge to Billy, which makes the second act all the more heart-breaking. Amanda Minihan’s younger Hettie is more of a role model for the girls and the character seems more central in this setting. There isn’t a weak link in this cast, one any producer would die for.
This is the fourth time I’ve seen this show. The first three – NT, West End and most recently Opera North – were very good, but this intimate staging is something else altogether. I’ve seen and enjoyed producer Morphic Graffiti’s first two shows, but this propels them into the premiere league. Why on earth would you want to go to the West End when you can see a show this good for a third of the price?
Missing this makes any lover of musical theatre certifiable!