ABBAsolutely Fabulous

THE WAY OLD FRIENDS DO

The REP, Birmingham, Thursday 23^rd February 2023

It’s 2015.  When a Grindr hook-up between two middle-aged men turns out to be a surprise reunion between former schoolfriends, a chain of events is triggered that leads to the formation of a gender-swapped ABBA tribute act.  Like it does.  Ian Hallard’s wonderful script, full of barbed wit and brittle emotions beneath the surface, is an absolute belter.

Hallard appears as Peter, greying and good-natured, and an abbasolute ABBA afficionado.  When the time comes, he makes an alluringly winsome Agnetha.  James Bradshaw’s Edward is a neat contrast, waspish and snarky, and unhappy with his long-term partner.  He is an excellent fit for Frida, the flame-haired siren of the Swedish supergroup.  They audition for female artistes to portray the male members of the group.  Nervous Josie (Rose Shalloo) gains confidence before our very eyes as Bjorn Ulvaeus, but the biggest surprise comes from the casting of Mrs Campbell, a woman in her sixties, as Benny Andersson.  The part is written as a Scot but in this matinee performance, the role is taken by Tariye Peterside, who gives the character a hilarious Caribbean lilt, rather than the intended Caledonian.  Peterside underplays her funniest lines to killer effect; you can’t help but love her.  In fact, we root for the quartet from the get-go as they prepare for the first and only gig.

Enter the gorgeous Christian (played by the gorgeous Andrew Horton) a young Aussie who wants the group to perform at his 25^th birthday do.  He also offers to take publicity shots. Edward finds him irresistible (and who can blame him?) but does Christian’s professed penchant for older men mask an ulterior motive?  The action is kept strictly backstage and there is a whiff of All About Eve to what transpires before the end.  Completing this superb ensemble is the marvellous Donna Berlin as Sally, stage manager and best mate to Peter.  Berlin imbues her role with heart and an arsenal of facial expressions that add to the comedy and reveal her genuine concerns for her friend.  In addition to the onstage performers we get a pre-recorded Paul O’Grady as a radio host and, more wonderfully, a Brummie Miriam Margolyes as Peter’s unseen gran.

Janet Bird’s set makes use of the most famous palindrome in popular music with entrances in the As and scenic features in the doubled-back Bs.  A revolve enables the action to move from place to place, and Bird’s costume designs trigger nostalgia for those 70s outfits. Mark Gatiss’s direction keeps things flowing, timing the punchlines to perfection and giving the characters room to breathe.

ABBA songs punctuate the scene transitions and lyrics pepper the dialogue, some of which will only be spotted by the die-hard fanatics.  It culminates in a massively touching moment when, years later, the tribute act reunite for the first radio broadcast of ABBA’s first new song in decades.

It’s a play about friendships, the experience of older gay men, and being a fan.  I’m not saying that ‘rainbow spectrum’ people have a monopoly on fandom, but we are rather good at it.  Perhaps we’re filling a gap in our lives that no amount of dredging through Grindr can fulfil.

A hilarious, heart-warmer of a show with some saucy rejoinders and a whole lot of humanity.  Just as society has learned that there is no shame in being gay, there is also no shame in being a fan.

☆ ☆ ☆ ☆ ☆

Ian Hallard (Peter) and James Bradshaw (Edward) Photo: Darren Bell

Feline Groovy

WHAT’S NEW, PUSSYCAT?

The REP, Birmingham, Friday 29^th October, 2021

A jukebox musical?  A jukebox musical based on the back catalogue of Welsh superstar Tom Jones?  A jukebox musical based on the back catalogue of Welsh superstar Tom Jones with a plot inspired by Henry Fielding’s novel of 1749?

Oh, go on then.

It turns out to be a consummate example of the jukebox musical genre.  Writer Joe DiPietro takes the bare bones of Fielding’s book, transposing the action to 1960s London — the show’s aesthetic blends elements from both periods, and it works beautifully, to create a vibrant, post-modern experience that is a whole lot of fun.

In the lead as Tom Jones (the hero from the book, not the singer) is the snake-hipped, angel-voiced Dominic Andersen, who is absolutely perfect. Those rich vocals soar and his charisma never wanes. At one point, due to plot reasons, he is stripped down to his underwear (but he keeps his hat on) and I am reminded of his turn as Rocky Horror a few years back. Kudos to the casting director! Andersen seems born for this role. His ‘It’s Not Unusual’ gets the heart racing, and ‘I Who Have Nothing’ is stunning.

Dominic Andersen (Photo: Pamela Raith)

Tom’s love interest, Mary Western, is played by Bronté Barbé — don’t let her diminutive frame fool you; she possesses a belter of a voice, ideally suited to the melodramatic ballads of Tom Jones (the singer not the hero of the book).   Mary is an independent young woman,

There’s a comic subplot (even though the main plot is comic enough) involving Tom’s former teacher, Mr Partridge (Ashley Campbell) and ‘The Girl in the Polka Dot Dress’ (Rebekah Hinds), both of whom are delightful.  There is a touch of conflict stirred up by Tom’s rival for Mary, William Blifil (a supremely snobby Harry Kershaw), while Melanie Walters’s Mrs Western is good value as the acquisitive matchmaker.  These characters epitomise the clash of cultures in the world of this show: marriage as a transaction/sex as a pastime. Julius D’Silva’s kindly Lord Allworthy speaks up for love as the guiding factor. D’Silva imbues his two-dimensional part with warmth, and is not without his surprises.

Bringing the glamour is the fabulous Kelly Price as Lady Bellaston, a kind of Kim Cattrall cougar figure with designs on Tom.  Price gets to wear all the best outfits, including a plastic wedding dress that has to be seen to be believed.  Janet Bird’s costumes go all out to evoke the period settings, and her budget must have been generous.  The iconic fashions keep coming!

Special mention of Lemuel Knights as Big Mickey.  His ‘Delilah’ brings the house down in a show-stopping moment when the song is staged as a psychotic prison ballet.  Which seems like an appropriate time to mention the choreography by Arlene Phillips, no less.  She works the cast hard — the dancing hardly seems to stop, and its slick, of the period, and a delight.  The energy pours off the stage throughout this incredible production.

Luke Sheppard directs with brio, emphasising the staginess of the enterprise.  At one point, he has a couple of ‘stagehands’ come on to help create special effects for a train journey — I would have liked to see more of this kind of thing throughout.  Similarly, the chorus of three girls (think Little Shop of Horrors) come and go, fading from the forefront (but always fabulously dressed!)  The proposal scene is a riot of overblown kitsch; I can barely drink it all in.

It all builds to Fielding’s resolution of laughably convenient revelations, and while some might accuse the show of being a victory of style over substance, I think the meatiness of the songs adds depth to the stock characters, and the sexual politics are handled in a fun way.

An uplifting, energising piece of feelgood fun, this show deserves a long run in the West End.  The songs don’t feel shoehorned in, the design is gorgeous, and the exuberant, talented ensemble impresses. The nine-piece band, under the musical direction of Josh Sood, is absolutely phenomenal.

The next jukebox musical to come down the pike has a tough act to follow.

*****

Dominic Andersen and Rebekah Hinds, with Ashley Campbell (centre) Photo: Pamela Raith

Life of the Party

ABIGAIL’S PARTY

The Alexandra Theatre, Birmingham, Monday 21^st January, 2019

 

Mike Leigh’s classic TV play gets a new lease of life in this new touring production directed by Sarah Esdaile.  The first thing that strikes you is Janet Bird’s impressive set, all suburban 1970s with the perspective raked just enough to engender a slight sense of claustrophobia.  The action takes place solely in the living room of Beverly and Laurence, and like the neighbours who gather there for a spot of social drinking, we can be forgiven if we feel like we’re caged in with wild animals.

Jodie Prenger absolutely rules the roost as the monstrous bully Beverly, in a splendidly performed characterisation of bad behaviour dressed up as good manners.  That’s what this piece is, a comedy of manners with some very black humour indeed.   Prenger is magnificent, eyes shooting daggers – mainly at her tightly wound, hard-working husband Laurence (Daniel Casey) – and she very much makes the part her own rather than trying to recreate Alison Steadman’s original incarnation.

Vicky Binns is great value as the tactless Angela, a kind of acolyte for Beverly, while Calum Callaghan’s monosyllabic Tony is brimming with pent-up aggression.  Completing the quintet is Rose Keegan as the meek and uncomfortable Sue, almost stealing the show, in my view.  By the way, the titular party and the eponymous Abigail are both off-stage in Sue’s house.  Sarah Esdaile gets the most out of this skilful ensemble and paces the exchanges to perfection while maintaining a kind of heightened naturalism.

It’s a very funny piece.  Originally, it was a comment on contemporary society; nowadays, it’s a period piece and there is the laughter of nostalgia as certain brand names crop up.  The attitudes, of course, are still very much with us.  What’s the betting Laurence and Beverly would vote Leave?  This is very much a character-driven piece, dealing with the dynamics and inherent tensions of relationships as well as the sheer awfulness of social niceties.

A high-quality production, where everything from performances to costumes to soundtrack is all spot on.  A real treat to see a classic presented so excellently, so hilariously.  It’s great fun to witness such carryings-on, but Leigh is also holding up a mirror: there is plenty for each of us to recognise in ourselves here, if we’d dare to admit it.

I dare: I’m very much a Sue.

Jodie Prenger as Beverly