Tag Archives: Dr Seuss

Phat Lot of Seuss

HOW THE GRINCH STOLE CHRISTMAS – The Musical

Alexandra Theatre, Birmingham, Tuesday 3rd December, 2019

 

Dr Seuss’s Christmas classic is given the Broadway treatment in this vibrant musical version by Timothy Mason (book and lyrics) with music by Mel Marvin.  As the years pass, I feel a growing affinity with the Grinch, a hermit-like, curmudgeonly Scrooge of a creature who begrudges the simple townsfolk their seasonal cheer.  He is the Anti-Santa, entering people’s homes and taking stuff away – although even I stop short of burglary.

John Lee Beatty’s set design draws heavily on the Seuss illustrations, with their off-kilter, pen-and-ink style.  Robert Morgan’s costumes follow suit, padded to alter the shape of the actors, especially those playing the Whos, the peculiar race of Christmas worshippers.  Add to the mix Ben Cracknell’s luscious lighting design, and you have a weird and wonderful world straight out of a storybook.  Production values certainly are high – just look at the size of the chorus!

Steve Fortune is Old Max, formerly the Grinch’s dog.  He is our narrator, our link to the past.  Fortune has a strong and pleasant baritone, which he gets to demonstrate in his rendition of You’re A Mean One, Mr Grinch – a song from an animated TV version of years ago.  The song is more well-known in the States than over here, so later, an audience singalong doesn’t really come off.

Playing Young Max is Matt Terry, last seen as a lion in Madagascar.  Terry seems to be carving out a career playing animals in musicals, and why not?  He is excellent at it, and this show gives him chance to show off his movement skills, even with his padded costume, and his vocal talents.

Holly Dale Spencer shines as Mama Who, with a fine singing voice, and a quirky way of moving.  There is a touch of mania in her eyes that is just delicious.  Together with Alan Pearson as Papa Who, and Karen Ascoe’s Grandma (in a towering pink wig like a dollop of ice cream) and David Bardsley (a sprightly Grandpa), there is a lovely quartet as the adults prepare the house on Christmas Eve.  The score is rich, and very Broadway, with catchy tunes and Sondheimesque phrasing.

Tiny Isla Gie almost steals the show as cute-as-a-button Cindy Lou Who, who interrupts the Grinch’s housebreaking.  She holds her own in a hugely impressive performance, like Shirley Temple with an edge.  Matt August’s direction allows a satirical touch so that things never get too saccharine or cloying.  The show delivers its message that Christmas is not about consumerism and brand names but those with whom you share it.

Now to the Grinch himself.  Edward Baker-Duly is just magnificent.  He makes the role his own with some cartoony reactions and some masterful showmanship.  One of a Kind is an old-fashioned showstopper.  This is a villain to be cherished and enjoyed – and I enjoy his throwaway topical references.

This crazy, stylish, funny and tuneful show has heart and is a welcome alternative to all the versions of A Christmas Carol that are out there.  It will get you in the feels; it even melted this cold-hearted Grinch of a reviewer.

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The Cat’s Meow

THE CAT IN THE HAT

The REP, Birmingham, Tuesday 26th February, 2019

 

Dr Seuss’s bestselling children’s book is brought to vibrant life in this new touring production from Leicester’s Curve theatre.  The story of two children, Sally and Boy (Conrad in the book) who, bored on a rainy day, get a visit from a fantastical cat and his troublesome brace of Things, is faithfully re-enacted using many of Seuss’s rhymes.

It begins with a prologue, a warm-up in which the children introduce themselves to us before bringing out the super-soaker water guns.  They get us on our feet and singing along, to get us in receptive mood before the main action begins.  Which it does – opening the story with a dumb-show sequence, brimming with physical comedy, as the children try to occupy themselves and annoy each other.  We meet their pet goldfish, here portrayed as an operatic diva in a bubble.  And then, at last, the Cat himself arrives…

As Sally and her brother, Melissa Lowe and Sam Angell are full of childlike energy, only outdone in this respect by Thing 1 (Celia Francis) and Thing 2 (Robert Penny) two wild-haired acrobats who hurl themselves around the set, with skill and exuberance.  As the Fish, Charley Magalit is glamorous to look at and beautiful to hear.  But it is Nana Amoo-Gottfried as the eponymous Cat who captivates and amazes the most.  He is urbane and smooth in his delivery, with slinky moves and a jazzy voice, all of which he demonstrates while balancing on a ball, holding an increasing variety of objects.  It’s an astonishing feat.

When the Things get out of control, Sally and the Boy despair at the mess being made and try to contain the tearaway creatures.  The Cat wheels in a weird contraption to tidy up before he takes his leave.  But what does it all mean?  The Cat is a trickster, an agent of chaos, and his antics are at first attractive to the children.  The Fish is the unheeded voice of reason, the conscience.  The wanton behaviour of the Things teaches the children there are boundaries, and the Cat takes responsibility by cleaning up the mess.  So, it’s a moral lesson after all: it’s OK to be a bit Dionysian, just don’t go the full Bacchae.

Suba Das directs this colourful, anarchic spectacle with gusto, showing a great eye for comic business and an understanding of what makes children laugh.  Isla Shaw’s remarkable set (part illustration, part practical) is put to extensive use to support the storytelling and the physicality of the shenanigans.  The costumes are delightful, capturing the spirit of Seuss’s original drawings, yet adapting them for human-shaped performers.  The Things are spot on, and I love the Cat’s furry tuxedo, complete with tail and his signature red-and-white striped stovepipe hat.

There is much to marvel at here in this show bursting with theatricality and brio.  It’s a thrilling live experience for the little ones, something they’ll never get from a screen or an app.  More senior members of the audience will be nostalgic for when they read the book, and will derive pleasure from seeing the much-loved classic staged so inventively.

cat in hat

Purrfect: Nana Amoo-Gottfried as the Cat in the Hat on two chairs (Photo: Manuel Harlan)