Tag Archives: Isabella Kibble

Brolly Good Show

SINGIN’ IN THE RAIN

The Alexandra, Birmingham, Thursday 22nd August, 2019

 

Once a year, the Alexandra Theatre in Birmingham city centre becomes a nurturing ground for young talent with its Stage Experience scheme.  This year the production is the stage musical version of the sublime Hollywood movie musical – it’s a big ask and, as ever, the young performers do more than acquit themselves.  It’s staggering to think how much they achieve in so brief a rehearsal period; it’s thanks to director-choreographer Pollyann Tanner who waves a theatrical wand (or cracks a theatrical whip!) to marshal her company of one hundred and one performers into shape.  Every single one of them performs with commitment, energy and discipline.  Unfortunately, there is no space to list them all here.

Leading the cast is Ben Tanner as silent-movie star Don Lockwood, who shows very quickly he can croon and hoof impressively, bringing warmth to the role.  As his best buddy Cosmo, Sam Rogers has a kind of manic humour that hits more than it misses, while Isabella Kibble is spot on as love interest Kathy Selden, even though it takes me a while to get used to Kathy as a blonde.  When these three get together to perform Good Morning, all the elements align to make this number the highlight of the show for me – it’s just about perfect.

Jessica Walton shines as the villainous Lina Lamont, complete with tortuous accent and monstrous ego, and there is fine support from Thom Lambert as Roscoe Dexter and Jarrad Heath as studio boss R. F. Simpson – although he could do with greying up a little to distinguish him from the other young males.

As we have come to expect, the production/chorus numbers, though densely populated, are beautifully sung.  Special mention goes to Jack Smyth for his assured vocals in Beautiful Girl.  While there is much to marvel at in the organisation and execution of a production of this scale (the costume demands alone are mind-boggling), the show is also a lot of fun and enjoyable in itself.  The specially filmed clips of the silent movies are hilarious, and the title song, with its obligatory rainfall, makes quite a splash.

On the whole, the accents are fine and the pacing works very well.  There are occasions when the dialogue could be crisper, but it would be churlish of me to hold this against them.  Yet again Stage Experience has produced dazzling results, has given a multitude of young people invaluable experience onstage and off, and above all, has given the audience an evening of quality entertainment.

Singin' in the Rain

Gene puddle: Ben Tanner as Don Lockwood (Photo: Sam Bagnall)

 

 

 

 

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Party On!

Stage Experience: BOOGIE NIGHTS

New Alexandra Theatre, Birmingham, Thursday 23rd August, 2018

 

Every summer about a hundred young people flock to Birmingham and just a fortnight later, they’re performing to packed houses.  It’s the Alex’s annual Stage Experience project, a highlight of the theatre’s calendar.  Previous shows include 42nd Street, Footloose, and West Side Story.  This year the choice is Boogie Nights, a jukebox musical of 1970s hits with a plot so shallow it makes Dreamboats & Petticoats seem like The Cherry Orchard.   This is Saturday Night Fever lite, with characters living for their nights out at the local nightclub, and there’s a party atmosphere long before the performance begins with cast members in the aisles encouraging the audience to get up and dance.

The miracle worker, as ever, is the indefatigable Pollyann Tanner who directs and choreographs her huge cast of youngsters with an assured hand.  It can’t be easy managing such a troupe but the enthusiasm of every member shines through – this lot clearly don’t need cattle-prods to get them to cooperate!  I can’t list them all, so forgive me, chorus, for focussing on the main players.

Leading the cast is Elliot Gooch as Roddy, our narrator.  Gooch has presence and a twinkle in his eye, but Roddy is written in such a way, we can’t be charmed by his throwaway sexism and his selfishness.  Gooch works hard to sell the character to us, but ultimately Roddy is an obnoxious plonker.  As Roddy’s long-term girlfriend Debs, Isabella Kibble positively shines in a flawless performance.  She can handle the London-ish accent superbly and sings like a dream.  Furthermore, she brings credibility to the part and is the emotional centre of the piece.  Kibble is supported by Melissa Huband as best friend Trish, who also sings well and displays spot-on comic timing.

Grace Williams also makes a strong impression as night-club singer Lorraine.  Her duet with Debs (No More Tears/Enough is Enough) is a definite highlight.

Among a colourful array of Seventies costumes, Gibsa Bah looks marvellous as Spencer, strutting on huge platforms with an afro like a black cloud over his head, whose chauvinistic attitudes remind us that the period was not just great pop music and big collars.  Thomas Parkinson adds humour as Roddy’s mate Terry, while handsome Jonah Sercombe has the best male singing voice of the lot – it’s a shame we don’t get to hear more from him – but I would advise him not to rush his dialogue, and please, someone get him a wig to hide his on-fleek 2018 hairdo!  There is an excellent performance from Liam Huband as Roddy’s Elvis-worshipping father, Eamon – a strong characterisation, Eamon gets most of the best lines (even if Jon Conway’s script strings together as many old jokes as old songs).

The songs keep coming (and coming) along with gratuitous period references to crank up the nostalgia factor.  A tight ensemble led by Musical Director Chris Newton provides a great sound, and you can’t resist the energy coming off the stage.  More of a party than a play, this show’s delights come from seeing young people giving it their all, rather than getting their teeth into a meatier piece of musical theatre.

boogie