The Glory of Gloria

ON YOUR FEET!

Birmingham Hippodrome, Wednesday 4^th September, 2019

 

This biographical show tells the story of Gloria Estefan’s rise to fame, from humble beginnings as a Cuban immigrant living in Miami to world-renowned music star.  As far as stories go, it’s pretty straightforward: girl meets musician boy, she fronts his band, they make records, overcome the prejudices of the music industry, hit the big time… It seems quite an easy ride with very little conflict.  There’s some argy-bargy with her mother, who is supposedly envious of her daughter’s career having lost out on her own big chance…

As the show goes on, you come to think, the plot is not the point here.  The point is the performance.  It’s an absolute party of a production right from curtain up.  The energy blasts from the stage and does not let up.  It’s bright and breezy, colourful and cheery, and we are reminded how many hits she (and the Miami Sound Machine, who hardly feature) had.  Dr Beat, 1-2-3, Anything For You…

Heading the cast is Philippa Stefani as Gloria and she is, well, glorious, bringing a Cinderella quality to the role, as Gloria (quickly) overcomes her initial shyness, learns to stand up for herself, and conquer the world.  Stefani is paired with George Ioannides as husband-mentor-business manager Emilio Estefan, a passionate advocate of Gloria’s music, a charming, handsome presence, with some ‘amusing’ linguistic blunders.

Also strong is Madalena Alberto as Gloria’s strident, stubborn mother, and there is fine comic character acting from Karen Mann as Gloria’s abuela, Consuela.  (There is a bilingual aspect to the dialogue, with Spanish phrases translated into English, a bit like Dora The Explorer.)   Robert Oliver also makes an impact as record executive Phil, who overcomes his reluctance when the money starts rolling in.

The bus crash that almost ended it all for Gloria leads to the emotional heart of the piece, not so much her brave fight back to full mobility, but the reappearance of her estranged mother at the hospital.  A flashback scene to Cuba, before the family fled to the US, attempts to add a bit of depth and historical context, but doesn’t really go anywhere.

On the whole, this is light-hearted, easy-going, undemanding fare.  The book, by Alexander Dinelaris, contains some amusing exchanges, and keeps the action zipping along from hit to hit.  Inevitably, the show is at its best during the musical numbers.  The Latin arrangements are infectious, the singing and dancing are top notch – although I find some of the male vocalists a bit shouty.  This is proper feelgood stuff, a surge of sunshine in these benighted times.  The Rhythm is Going To Get You is not an empty threat.  You will get off your arse and on your feet.

Philippa Stefani and George Ioannides as the Estefans (Photo: Birmingham Hippodrome)

 

Look Who’s Stalking

THE BODYGUARD

Grand Theatre, Wolverhampton, Wednesday 26^th June,2019

 

Never having watched the Whitney Houston-Kevin Costner film, I come to Alexander Dinelaris’s stage adaptation of Lawrence Kasdan’s screenplay without expectations – other than I expect to know the songs (the score is Houston’s back catalogue).  But will the whole enterprise be nothing more than a glorified, glamourised jukebox musical?

Short answer: yes.

Longer answer: yes, it is.

Rachel Marron is a diva at the top of her game, and as stroppy a Queen of the Night as her namesake in The Magic Flute.  When security expert Frank Farmer is hired to protect her from the nutter who has been sending creepy messages, she digs in her high heels and stubbornly refuses to comply with the measures Frank puts in place.  You can see where it’s going: she gets in danger, Frank rescues her, and it’s not long before they’re snogging.  Frank is conflicted with this blending of his professional and personal lives.  Meanwhile, the nutter is becoming more audacious, and Rachel’s overshadowed sister is mooning over Frank with unrequited affection…

It’s a loud, brash, lavish affair and I have to say I enjoyed it immensely.  As the determined diva, Jennlee Shallow is the real deal, a phenomenal belter-outerer of Houston’s signature songs.  (Alexandra Burke will take over the role for the second week of the show’s sojourn in Wolverhampton).  Shallow is matched by Micha Richardson as sister Nicki – her renditions of Saving All My Love For You and All At Once are definite highlights for me.

French actor (and renard d’argent) Benoît Maréchal is unbelievably handsome in the role of Frank Farmer, bringing Gallic charm and charisma to the role.  His lacklustre karaoke version of I Will Always Love You is hilarious.  In fact, the best scenes between the two leads are when they lighten up with each other.

Phil Atkinson is an imposing and menacing presence as The Stalker, although I wonder how he has time to run a campaign of terror when he is clearly never out of the gym.

The plot may be simplistic but such are the production values, with Tim Hatley’s sliding set and Mark Henderson’s cinematic lighting, we are swept along.  It’s a love story, a thriller and above all, a reminder of how many great tunes Whitney Houston put out there.  The hits keep coming and the orchestra, led by Michael Riley, is superb.

This is musical theatre on a grand scale, a spectacle, a chance to escape from reality for a couple of hours, and it manages to deliver the goods without descending into schmaltz and sentimentality.

I may not have seen the film, but I have heard the old joke about Whitney Houston’s favourite kind of coordination…

Hand-eye………………….

Up in arms: Jennlee Shallow and Benoît Maréchal (Photo: Paul Coltas)