Strictly Ballroom, Piccadilly Theatre, London W1.

Strictly

Strictly Ballroom is a crowd pleasing juke box musical. It certainly has a lot of good things going for it. The film, on which is based, is a classic Australian indie comedy of the early ’90s and it is wonderfully odd and funny. The songs are popular upbeat singalong tunes that the audience will know and love. The cast is great and the director and choreographer have some great musicals on their CV.

The show has been rewritten for the stage and a new character, a narrator, has been added. The idea is brilliant, he sings the songs, adds perspective to the larger than life characters and propels the action along with some knowing repartee. Matt Cardle plays this part, Wally Strand, and he does a good job. He has a great voice and he is nicely self deprecating. However there are 35 different songs in this 2 hour show, many of them delivered in two, three or more pieces. He rarely get to sing more than one bar without stopping. It would have been lovely to listen to a complete song in one go, instead of hearing them broken up into fragments.

The story has not been changed from the film and is simple but solid. The difference is that, in the film it was mostly played straight and the characters were unintentionally amusing. Here we have cartoon-like caricatures played for laughs and the comedy feels strained at times. There are funny lines and the caricatures are comical. The acting is  good, Matthew Stevens and Anna Francolini’s over the top performances as Doug and Shirley Hastings were both enjoyable.

Jonny Labey and Zizi Strallen are both good dancers and excellent as Scott and Fran. The ensemble look good, but the stage at the Piccadilly is too small fit the entire company  and the group set pieces feel cramped and uncomfortable.

The set is sparse and effective, it needs to be because of the lack of space. The costumes are wonderfully sparkly and camp. “Strictly Ballroom, the Musical” has been damned with faint praise, the show is fun and the audience gave it a warm reception. It is a good show, but the sum does not quite live up to all its parts. I liked it but the expectations are high and, in London’s West End, the competition is fierce.

 

 

Kiss Me Kate, Opera North, London Coliseum, London WC2

kiss me kate

Cole Porter’s 1948 musical, Kiss Me Kate is a complex show, some of its numbers are  classic Broadway showtunes, while others have a light opera edge. It has complicated, full company dance routines as well as individual virtuoso displays. It also has a couple of good comedy roles that require great timing and delivery. On top of this, the Coliseum itself, has a big stage that needs a large company to fill. All in all, this is a show, in a venue, which will test every part of the company putting it on, to the fullest degree. I have to say that Opera North have passed this test with honours.

The two operatic leads, Quirijn de Lang and Stephanie Corley, as Fred/Petruchio and Lilli/Kate both have splendid voices, suited to their roles.  Zoe Rainey and Alan Burkitt, as Lois and Billy, carry the more standard musical numbers perfectly. Each of the four of them has at least one great song to show of their respective talent. Lois has possibly the most famous songs in “Always true to you in my fashion” and “Tom, Dick or Harry” but Kate’s “I hate men” and Petruchio’s “Where is the life that I led” are really great songs that show of their vocal abilities. The show’s biggest song, of course, “Too Darn Hot” is sung by the chorus, and the dancers, particularly Aiesha Pease and Stephane Anelli, deliver a truly show stopping performance to this number.

Kiss me kate 2

Joseph Shovelton and John Savournin play the comedy roles of first and second Gunman. They work very well together, their interaction is excellent and they make the most of their comedy duet “Brush up your Shakespeare” – a song more full of puns than I had previously realised. The company as a whole is excellent and you realise that this is going to be a show full of movement and vigour, right from the first song of “Another Op’nin’, Another Show”.

Kiss Me Kate is a big show, and this is a big full-on production of it. The costumes are bright and lavish.  The choreographer has a tough job, with so many people on stage at once, however the dance routines are vivacious and have lovely shape. The set design needs ingenuity too, and is very clever at swapping from front of stage to back of house in seconds.

The director, Jo Davies, has taken the bold decision not to update the show in any obvious way. At times, it felt like you were actually watching a show made in the 1940s, giving the show an interesting post-war period feel. The tap routine, in particular, had a dated, black and white movie quality, which suited the production very nicely. This is a lush and exuberant production of a distinguished show and it fully deserved the love it received from the packed audience at curtain down.