Tag Archives: Simon Anthony

Talent Management

FAME

The Alexandra, Birmingham, Monday 19th November, 2018

 

It strikes me as odd that in a musical, where everyone sings and dances at the drop of a hat with impressive proficiency, the characters should see the need to go to a performing arts college.  But, putting this reservation aside, I settle in for an entertaining evening.

David De Silva’s stage show is inspired by Alan Parker’s hard-hitting film and the somewhat sentimental TV series that followed, and so the characters here are versions of the originals, adhering to types and situations familiar from the previous incarnations.

Ruling the roost as the strict-but-caring Miss Sherman, the mighty Mica Paris is in great form.  Her old-school rhythm and blues number in the second act brings the house down, a searing bit of soul-searching triggered by a run-in with illiterate, arrogant bad boy Tyrone (an intense Jamal Crawford).

Stephanie Rojas is appealing as fame-hungry Carmen whose road to the top is diverted by drug abuse; Simon Anthony gives a sensitive portrayal as her musician friend, Schlomo.  Hayley Johnson adds a touch of humour as Mabel (it’s not just fame she’s hungry for!); while Hollyoaks’s Jorgie Porter convinces as graceful dancer Iris.  Molly McGuire’s Serena is one of the more rounded characters.  She gets to sing one of the score’s stronger tunes about her unrequited love for Keith Jack’s Nick.  Jack is excellent and, unlike most of the others, doesn’t just belt out his numbers, but shows us how vocal dynamics can add character to and enhance the meaning of a song.

The trouble is there are just too many characters, too many subplots.  We only glimpse them throughout the course of their four-year studies.  Albey Brookes’s extrovert, very funny Joe has potential for a proper storyline, but he’s elbowed aside in favour of Serena and Nick’s story.  His resolution is tagged on in a throwaway line about working in a comedy club.  Similarly, Carmen’s descent into drug addiction is handled glibly.  There is simply not time enough in Jose Fernandez’s book to get beneath the surface of their experiences, and this is a shame given the calibre of this talented and energetic cast.  The score, with lyrics by Jacques Levy and music by Steve Margoshes, is also patchy, reaffirming my belief that the show shouldn’t be a musical at all but a play with music that allows us to see the progress the students make in their chosen field of acting, music or dance.

For all that, it’s still an enjoyable watch and it’s easy to be entertained by the performers.  It’s just that I would prefer something with a little more substance regarding the pursuit of fame and the effect of that on young lives.  In this celebrity-obsessed age where anyone can achieve notoriety without a shred of talent, the show could have had a stronger impact.

Fame The Musical-Tour-Manchester-2216

Class acts: the students of FAME

 

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Oh, What A Beautiful Show!

OKLAHOMA!

Birmingham Hippodrome, Tuesday 30th June, 2015

 

Having seen this production earlier in the tour, it was an absolute treat to be given the chance to see it again. I loved everything about it the first time and my love is renewed and redoubled to catch it a second time.

The material, of course, is sublime. Richard Rodgers’s melodic score, Oscar Hammerstein II’s witty book and lyrics, blend to create sumptuous entertainment, and this high quality production from Music & Lyrics and Northampton’s Derngate Theatre serves this classic supremely well.

Director Rachel Kavanaugh evokes both period and place, sending up, like Hammerstein does, the charmingly parochial attitudes (cf Kansas City) creating a community with its own moral values. She brings out the humour of the script and has her superlative company play it with heart as big as all outdoors.

Unofficial matriarch Aunt Eller rules the roost in a stonking performance by Belinda Lang, hard-boiled with a soft centre. Charlotte Wakefield’s Laurey is feisty and bold, with a sweet but powerful singing voice. From the off, Laurey bickers with cowboy Curly – in a homespun Beatrice and Benedick way – and we know they are made for each other. As for Curly – well – you fall in love with Ashley Day as soon as his voice announces, clear as bell, what kind of morning it is. Day has the matinee idol good looks, the irreverent attitude, heart-on-his-sleeve, good humour. He sings like an angel in a cowboy hat.

A rival for Laurey’s affections, although a non-starter, is live-in farm hand Jud Fry – a towering performance from Nic Greenshields. His operatic bass blends well with Curly’s tenor for the ironic duet, Pore Jud Is Daid.   He is a barely contained mass of menace, a dark presence in this otherwise idyllic land. Kavanaugh balances the comedy with tension: Pore Jud is volatile enough to explode at any second.

Gary Wilmot is in his element as itinerant peddler Ali Hakim, delivering more than ribbons and other fripperies on his rounds. Wilmot’s comic timing is flawless – the jokes and business still play fresh. Lucy May Barker’s Ado Annie, a girl of distractable virtue, is a belter, in terms of selling her big number I Cain’t Say No, and in characterisation. It’s a dream of a cast, supported by an excellent chorus, including great character work from Kara Lane as Gertie Cummings and Simon Anthony, appearing in this performance as Will Parker.

During the interval I hear some purist complaining that the cylindrical hay bales with and on which the cowboys dance come from a later, mechanised age. “They should be haystacks!” he moans, balefully.  I think he’s looking for something to criticise and is clutching at straws.  I’d rather sacrifice agricultural accuracy for theatrical expediency: Drew McOnie’s spectacular and exuberant  choreography would miss those bales terribly.

If you can overlook the hay issue, and most people seem able to, this is a truly wonderful production of a masterpiece, the pinnacle of its genre. Sometimes humanity gets things right and produces a perfect classic. Mozart did it with Don Giovanni, Walt Disney did it with Pinocchio. And Rodgers and Hammerstein did it with Oklahoma! This is popular art that speaks to us on many levels, through solid storytelling and life-affirming values.

The tour has just six weeks left to run. I urge you to catch it if you can.

Ashley Day as Curly (centre) and those controversial bales of hay (Photo: Pamela Raith)

Ashley Day as Curly (centre) and those controversial bales of hay (Photo: Pamela Raith)