Tag Archives: musical

42nd Street – Theatre Royal Drury Lane

42nd Street, Theatre Royal Drury Lane

A dastardly diva, conniving chorus girls, the spikey director and the talented young ingenue with little experience who just wants to be a star – it can only be a classic Hollywood musical. The 1933 film of 42nd Street became a bone fide Broadway musical in 1980 and is currently enjoying a glitzy run at the Theatre Royal Drury Lane. Maybe it’s the long years of austerity, maybe the political polarisation that led to Brexit, but the West End is a pretty nostalgic place to be right now with An American in Paris, Dreamgirls and even Love in Idleness transporting us back to a mythical time when all that mattered was love, music and dancing. Any night of the week you can be swept away by showtunes, glitter and misty sentiment, and it’s no bad thing.

There is a darker side to all this of course which most of these shows choose to gloss over; for someone to be the star they have to push someone else aside first, and Hollywood loves to explore the, predominantly female, battle between the established luminary and the bright young thing snapping at her heels. It’s a trope used in All About Eve, as Bette Davis nurtured a calculating young fan who sets about stealing her life – a much anticipated stage version will arrive in London next year starring Cate Blanchett – we saw it too in Phantom of the Opera as diva Carlotta must make way at the Paris opera for the more innocent Christine, in Black Swan as Natalie Portman replaces old hand Winona Ryder as prima ballerina, and even Dreamgirls is the story of supressing one band member’s dream to sell another. Showbiz is a brutal world and the next big thing is waiting in the wings wearing your costume.

42nd Street takes a slightly gentler view of this process of replacement, but the outcome is the same. At an audition for a new show called Pretty Lady hardnosed director Julian Marsh is putting the chorus through their paces when Peggy Sawyer arrives late. Initially sent away, Marsh reconsiders when he sees Peggy dance and invites her to join the troupe who head to Philadelphia for tryouts. Meanwhile, unable to dance as well as she sings, star of the show Dorothy Brock’s poisonous attitude and arrogance manages to rankle with cast and crew alike, especially as her private life threatens the show’s finances. On opening night in Philadelphia, Peggy accidentally scuppers Dorothy’s performance, paving the way for a new star to take her place. As Peggy tries to hide from the responsibility and pressure, will the show go on in New York?

The choreography in 42nd Street is what you’ll remember and, as with the balletic style of An American in Paris, this tap-focused show is at its best when all 50 dancers are on stage delivering one stunning routine after another. Like many shows of its era, we get to see both behind and in front of the curtain as song and dance numbers from ‘real life’ are mixed in with ones from the fictional show they’re creating, which means the plot is essentially paper thin, and don’t ask me what the point of Pretty Lady was meant to be, but you do get a range of sequences that take in everything from 30s Busby Berkeley and Vaudeville to 50s MGM classic musicals with their everyday singing-in-the-street charm.

As the start, the curtain goes up just a few inches to show a line of tap-dancing feet, and from here on in it’s a riot of sound, colour and cartoon-like characters, painted backdrops, gold lamé and good wholesome fun. The very best sections come from the faux musical including the Busby Berkeley-inspired Keep Young and Beautiful in which the dancers lay in a circle on stage, like synchronised swimmers, using their arms and legs to create a series of intricate patterns, while a large mirror is lowered from the ceiling so the audience can see both the stage and aerial view which is a lovely touch – although if you’re sitting higher than the Royal Circle you won’t see the full reflection.

Equally delightful is the I’m in the Money section as chorus girls dance on with their own round podia made to look like coins which they place on the floor and tap on top of, while the male dancers fill in the gaps in top hat and tails. It’s a dazzling spectacle of white, silver and gold that showcases the increasing complexity of Randy Skinner’s choreography that builds on the original work of Gower Champion, which the cast executes with faultless precision.

But it just gets better and better, building up to the final scene in Pretty Lady, the title song 42nd Street which references the fantasy sequences in several Gene Kelly films. Beginning on a black stage with a spotlight on Peggy, it rapidly becomes the street itself with neon theatre signs advertising shows up and down the famous street while mini-stories of New York life are told around the stage; the sailors, the party girls, the Park Avenue set. The pace and movement build frantically until a gunshot clears the stage and a set of steps unfolds. If you’ve seen enough classic musicals you know what happens next, a show-stopping tap routine with steps that light-up as the full ensemble delivers a rousing finale.

Just like An American in Paris, there is so much joy in the dance sequences that any other problems the show has – including its somewhat old-fashioned and sexist instance on youth and beauty –  just evaporate, and with so many musicals really focused on the singing, it’s refreshing to see two in quick succession that remind audiences what a great choreographer can do, and, in our pared back times, the effect of a stage full of people performing completely in sync.

Given that this is essentially a caricature, outside of the musical numbers the characters haven’t much personality of their own which gives the performers very little to cling on to. Clare Halse’s Peggy is perky and talented with no malice in her. She aches to be a star but the slightest knock has her scampering back to her small-town home. Still it’s hard to dislike her and Halse’s tap talent is genuinely impressive. Stuart Neal as Pretty Girl’s male lead Billy sings and dances beautifully but has little to do backstage but make an early pass at Peggy that goes unremembered for the rest of the show.

Tom Lister finds depth in the second act as scary director Julian Marsh, and although he has no chemistry with Peggy, his discovery of her talent and growing affection for her is well charted, while Lister’s voice is delightful. Stealing the show musically is Sheena Easton as Dorothy Brock, relishing every sneering put down and hissy fit as the diva, but finding real emotion and sympathy in her love songs as she aches for lover Pat in tunes like I Only Have Eyes for You and You’re Getting to be a Habit with Me which are as touching as they are melodious, and prevent her from being a two-dimensional villain.

The pros and cons of a particular show may seem trivial in light of this weekend’s events, and the previous attacks in Westminster and Manchester, but arts and culture have an important social role; they bring us together and reflect our communities back at us, they create empathy, understanding and the ability to see things from another perspective – not just of people half way round the world but sometimes also the ones right next door – and the more we know about something, the less we fear it. So, shows like An American in Paris and 42nd Street may not have any searing political insight to offer, but they tell us that right now we’re missing something, something we almost certainly never had – sometimes we want to escape to a world in which love, singing and dancing is all that matters. And, honestly, what’s so wrong with that?

42nd Street is at the Theatre Royal Drury Lane until 10 February 2018 and tickets start at £15. Follow this blog on Twitter @culturalcap1

An American in Paris – Dominion Theatre

An American in Paris, Dominion Theatre

With the world back in love with the classic musical thanks to La La Land, the arrival of the 2015 Broadway Production of An American in Paris couldn’t be more timely. After a brief stint in Paris and rave reviews on Broadway, this much anticipated revival, based on the 1951 film starring Gene Kelly and Leslie Caron, has its press night at the Dominion Theatre tomorrow. But this isn’t the standard all-singing all-dancing musical you might expect, and while there are a number of memorable songs, this is really a dance and classical music piece, with choreography drawn from ballet rather than modern dance and tap. But more than that, this tale of soldiers and restoration is couched in the consequences of conflict and its effect on the arts – a romantic fantasy very much grounded in the aftermath of World War Two.

Demobilised in 1945, Jerry decides not to return to America with his colleagues and to pursue his career as a modernist painter in Paris, where he unexpectedly meets Lise after rescuing her from a pushy crowd. He falls instantly in love with her but she disappears into the night and instead Jerry becomes involved with fellow American Milo, who offers to help him promote his work to local gallery owners and as a set designer at the ballet. Meanwhile Lise has also caught the attention of pianist Adam who is charmed when she becomes principal ballerina in a work he is composing but Lise is engaged to Henri whose mother is patron of the ballet. When Henri, Adam and Jerry become friends and with the ballet premiere approaching, how soon before they realise they’re all in love with the same girl and who will win her?

Most musicals open with some big all-cast number with another either side of the interval and a rouser to send people home at the end. But An American in Paris has a more muted trajectory, opening with only a piano on a dark stage because this is one man’s memory, the story of Adam reflecting back many years later on what appears to be a lost love affair, a happier time not just for him personally but for the whole of France as it emerged from occupation. That piano becomes a key focal point throughout the show moved skilfully around the stage, identifying times when the audience is privy to Adam’s direct memories. But, as it’s clear from the start that we’re seeing things from his point of view, crucially the piano’s absence implies events between other characters that he has imagined – such as any private encounter between Jerry and Lise – which adds to, and partially explains, the heightened fantasy element of the sections where Adam is not present.

In many ways this is an intimate show, concerned with the relationships and developing affections among a small group of artists in post-war Paris, and while this bigger picture is an underlying theme it’s really the smaller human interaction that is the focus. With that in mind, the size of the Dominion Theatre stage is frequently a problem with even the largest dance numbers looking a little swamped amidst the acres of empty space, although surprisingly that’s not always the case with the duets. That aside, the dancing is beautifully choreographed by Director Christopher Wheeldon, perfectly capturing the lyricism and romance of Gershwin’s score mixing fun upbeat numbers such as I’ve Got Rhythm set in a local café during a power cut, with the extraordinary I’ve Got Beginner’s Luck in the department store where Lise works as three sets of display cabinets whirl around the stage allowing Jerry to hop between them as dancers parade and spin in the latest ‘new look’ fashions creating the sense of the old counter-style service in a busy store as well as the disruption Jerry causes by turning up out of the blue. As a set-piece its elaborate glamour is very much in line with things like the Ascot race from My Fair Lady and Beautiful Girl from Singing in the Rain.

But Wheeldon also brings genuine tenderness and emotion to Jerry and Lise’s interactions, demonstrating their growing connection and the somewhat wistful nature of their romance as they meet in secret by the Seine. He christens her ‘Liza’, encouraging her to take more risks and their dance along the riverbank is beautifully staged. It’s a classic 50s musical concept of love presented in an emotionally touching but chaste way.

Yet, the traditional dream-like quality of the romance is constantly buffeted by the realities of post-war France and the intrusion of modernist notions which we see particularly in Jerry’s art and how this is reflected in the design of the extraordinary ballet sequence. While this type of art first emerged as a response to the First World War, rather than the Second, its use here emphasises the idea that the world has been fundamentally changed by the experience of conflict, where new ideas and freedoms, driven by the young, are demanded to challenge the cosy traditionalism of the elder generations. So the way in which Jerry’s painting captures the imagination of Milo Davenport leads quite naturally to the fully modernist ballet that in look and feel entirely eschews more classical approaches, is redolent of this new wave of art and interpretation that pits two halves of Paris against each other in this show.

Like The Red Shoes (wonderfully staged by Matthew Bourne at Sadler’s Wells recently), An American in Paris contains a lengthy ballet within a ballet as the audience gets to see the show composed by Adam, designed by Jerry and danced by Lise. And it makes for a striking contrast with what has gone before as the stage is filled with geometric shapes in bold primary colours – reflecting work of artists like Mondrian – while the dancer’s costumes are similarly unusual if you’re used to traditional ballet. It’s an incredible piece of work and although it doesn’t add anything much to the direct plot, it is one of highlights of a show that emphasises the integrity of the dance and the emotional turbulence of the characters primarily.

If you’ve never seen the film, then there is a genuine uncertainty about who will end up with who, with the three supporting players nicely fleshed out, giving them proper rounded characters and a realistic stake in the eventual outcome. There are benefits and downsides to this however which slightly take away from the eventual resolution.  As our narrator, Adam is already a highly sympathetic character with the audience deliberately on his side from the start and David Seadon-Young really draws on the luckless and lonely composer who writes beautifully but cannot translate his feelings into a real relationship. His unrequited affection for Lise is subtly portrayed and his generosity to his good friend and fellow veteran Jerry make him highly sympathetic.

Likewise the semi-cuckolded Milo becomes Jerry’s rebound love interest which is given considerably poignancy by Zoe Rainey. It’s clear to the audience that she’s just a passing thing but her continued efforts to enhance his career and a growing sense of hopelessness are nicely charted. Joining her is Lise’s fiancé Henri (Haydn Oakley) who is doggedly devoted to his ballerina girlfriend, offering her a less explosive but steady and consistent love. And while the French accents get a bit Allo Allo at times, these characters and their stake in their mutually dependant future are very nicely drawn, which adds considerably to the audience’s dilemma over who to root for.

As a consequence though, and despite beautiful dance performances from Robert Fairchild as Jerry and Leanne Cope as Lise, it becomes increasingly difficult to be entirely on the side of the leads when they deliberately and wilfully string other characters along until they can be together. This did happen in the original film of course but then that was Gene Kelly, and how can you not want smiley charming Gene Kelly to get whoever he wants. Here, Cope and Fairchild are a convincing pairing, but maybe we’re more cynical or we take a more rounded perspective these days, so even if the happy couple dance off into the sunset as the curtain falls you can’t help but think ‘what about all those poor people you hurt.’ And because of the sympathetic portrayal of these other characters, this for me slightly undercuts the “love conquers all” tone of the finale.

The technical design by 59 Projection is stunning helping to create a variety of locations, show big events and reflecting the particularly French style of visual design which add considerably to the atmosphere, bringing a different sense of spectacle and innovation to the West End than we’ve really seen before on this scale. And while the first half is arguably a tad lacklustre, the second draws you into the emotional heart of the story. It may look small on the Dominion stage and while the central romance may not be as transporting as it once was, An American in Paris utilises Gershwin’s beautiful score to offer something quite different to the standard musicals format.

An American in Paris is at The Dominion Theatre until 30 September. Tickets start at £17.50 with reduced prices until 31 March. Follow this blog on Twitter @culturalcap1

Dreamgirls – Savoy Theatre


Growing up, my house was always full of music, predominantly Motown, which even now always takes me back to being eight years old listening to my mum play her records. Stevie Wonder, Billy Ocean, Marvin Gaye all featured regularly but the artist I most remember hearing is Diana Ross, her silky, hauntingly romantic voice pleading with some unknown man to keep loving her while she looked unbelievably glamorous on the record covers. But most of this music came from Ross’s solo career, long after she left The Supremes to go it alone, as so many former band members seem to do, and it’s easy to forget how she got there.

The last couple of years in London have been a fantastic time for lovers of the origins of soul and RnB music, and the fight for equality with several plays and musicals that chart their development. From the Royal Court’s Father Comes Home from the Wars to The National Theatre’s Ma Rainey’s Black Bottom and Shepherd Bush Theatre’s The Royale, to all singing all dancing productions like Memphis, Motown The Musical and now Dreamgirls, these productions have shown us greater diversity by telling stories about the (largely American) experience of segregation, slavery and the role of music in breaking down racial divides. All of which have been reinforced by the ongoing #BlackLivesMatter and #OscarsSoWhite campaigns, as well as perfectly timed Black Star season of films currently at the BFI.

The shamefully late arrival of Dreamgirls in the UK may seem astonishing seeing as it premiered on Broadway 35 years ago, but actually it is, in many ways, perfectly timed to coincide with this growing momentum. The show, still in preview at the Savoy Theatre, will be a sensation combining an engaging semi-real story that utilises its songs to advance the characters emotions, with sequin-bedecked visuals – including sets and costume – that look as though they have stepped right out of one of Shirley Bassey’s dreams.

Ettie White is the leader of three-piece girl group The Dreamettes in 1960s America who enter a local talent competition in front of big record producers. But spotting the girls, manger Curtis has other ideas and wants them to sing backing vocals for established singer Jimmy Early rather than have their own career. As relationships form and tempers fray the group begins to separate and when they finally get the chance to go it alone, someone is left behind. The consequences are played out in the 1970s-set Act Two as we see what happens to the characters and whether any of them can ever really break free to pursue their dreams.

Perhaps unexpectedly, one of the most striking elements of the show is just how much it deals with the experience of the men surrounding the group and as many of the scenes are about them and their struggle for political and musical acceptance as about the development of the group. Central to the changing dynamics of the plot is the character of Curtis Taylor loosely modelled on Berry Gordy, the former manager of The Supremes, who is both the key to the success of the Dreamgirls and eventually the one holding them back.

The 60s and 70s were still a period when men ruled the world and certainly the music industry, and as this show suggests the same was still true in the black community. Curtis’s world is entirely about fulfilling his dream to merge soul music into something with a pop focus that will make it more tenable to the Hit Parade – gaining radio play and traction among a white-dominated industry. Joe Aaron Reid’s performance makes the character ambiguous enough that you hate his methods but admire his attempt to pioneer musical cross-over, as well as having a degree of sympathy for his motives. Boxing drama The Royale recently asked whether a few casualties are worth it if you start to chip away at the wall and create heroes, and I think Dreamgirls, perhaps unexpectedly, has some of that political edge in places.

While many will be here for Amber Riley, the finest and most intriguing performances of the night comes from Adam J Bernard as Jimmy Early, the soul singer whose backing group begins to outstrip him. Already nominated for a Whats On Stage award, despite the show still being in preview which only started a week before nominations were announced, Bernard’s scene stealing performance as the confident diva becomes increasingly sympathetic and multi-layered. His character is a metaphor for the treadmill nature of fame, where stars strive for years to “make-it”, shine briefly before being unceremoniously spat-out by the industry and left struggling for an audience. Bernard’s Jimmy has an Elvis-like sex-appeal which gives his songs considerable dynamism, but he struggles to contain his personality and soul-roots to conform to white ideas of music which add a valuable contrast to the success of the Dreamettes.

The story of the female characters is two-fold, seen both as an issue of race – forcing them to change their look, set-up and style of music – and ideas of gender relations being played out in their narratives, as the men in their lives control and direct them, regardless of their burgeoning fame.  Ettie (Amber Riley) may be the original lead but her sass and overconfidence are ultimately her undoing. There is a lot of talk of dreams being stolen throughout the production, with Curtis reminding Diana Ross-based Deena (Liisi LaFontaine) repeatedly that she is fulfilling his dream to produce the kind of music he wants, while Ettie sees Deena living the life she aspired to, yet Deena’s plans to act remain unfulfilled. Likewise third member Lorell (Ibinabo Jack) embarks on an eight-year affair with the married Jimmy when all she wants is to settle down with him. So, based on the decision made by men in the more restrictive society of the 60s and 70s, for much of the production the women are hampered by things outside of their control.

With another week of previews much can change but the production is already a gratifying one for audiences with Riley’s performance as Ettie enthusiastically received. Each Dreamette gets a few solos and Riley’s character has a number of emotional belters that have the audience clapping and whooping from the start. In fairness to the production, Riley’s star power doesn’t overwhelm it and Casey Nicholaw’s direction blends scenes smoothly to ensure the action resumes rapidly, so it really is a team effort telling a story rather than a concert for Riley which it could have become. And pleasingly as the narrative continues the audience begins to show equal appreciation for all the leads because there are some genuinely superb vocal performances particularly from LaFrontaine and Bernard as well as Riley.

With any musical you always want a spectacle and visually Dreamgirls more than delivers the goods. Set designer Tim Hately has created two contrasting worlds with a simple, pared-down set, largely in black for the pre-fame storylines, while his staging of the big concert numbers are full of colour and sparkle. Gregg Barnes’s stunning costumes and Hugh Vanstone’s lighting combine well with Hately’s vision to emphasis the shows core themes, while being practical enough to allow for speedy changes and rapid removal of podia and glitter-curtains.

All of that clearly costs a lot to run, and ticket prices are the big concern with this one. Even in preview, a restricted view seat at the back of the stalls costs the best part of £45 including ATG’s exorbitant booking fees, while those nearer the stage will have parted with £60 to £80 for a single seat. It’s pretty much sold out through December when after press nights the best seats will be £145 while even Grand Circle seats at the very back are £40, all plus booking fee. There is a ticket lottery however and a lucky few may get front row seats for £15 but this will be an expensive night for everyone else.

Dreamgirls is predominately a plot-focused piece so there isn’t always enough time to linger on emotional depth and consequences of events, but the songs and performances give enough of a hint to make the characters more rounded. Yet the overall effect is impressive and at times dazzling. In just over a week’s time the critics will have their say, but audiences are already on their feet about this one. It may have taken 35 years to reach the West End but its central messages are as relevant now as they were in 1981. It may be a bubbly musical, but it has plenty to say about inequality and not letting others stand in your way – and with the year we’ve had, that’s something we all need to hear.

Dreamgirls is at the Savoy Theatre until 6 May and tickets start at £20, although deals are available from other vendors, and a ticket lottery is in operation. Follow this blog on Twitter @culturalcap1

La La Land – BFI London Film Festival


The London Film Festival is now well underway, and La La Land is one of the most anticipated films being previewed here, having already won huge acclaim and prizes at the Venice and Toronto Festivals, as well as plenty of Oscar buzz. And all of that praise is absolutely spot on, because it is a film that beautifully combines the dazzle and flair of 1950s musicals that you watch with a smile on your face, with the moving intimate drama of a relationship that cannot work in which its central couple, an aspiring jazz pianist and an wannabe actress fall in love and then fall apart.

Director Damien Chazelle’s film is a constant conversation between past and future, where styles, themes and visual effects don’t just merge seamlessly but violently collide together to create a vibrant and engaging spectacle of a film that is at the same time full of heart; in short a love letter to a different kind of LA. As Chazelle explained during the Q&A which accompanied the UK Premiere of this film, he actively wanted to showcase less shiny areas of LA, which burst onto the screen immediately with an opening song that takes place in a huge motorway traffic jam as shiny-faced hopefuls queue not just to get into town but for their shot at fame. It takes a few minutes to adjust to the contrasting hyper-real style and mundane locations but it’s soon utterly absorbing.

But it is a film of two halves, the first the pure Hollywood romance of dreams and aspiration, and the second half the melancholy decline of love as careers takes precedence. Having encountered each other briefly on the motorway, we initially follow Mia’s story (Emma Stone), working in a coffee shop on a Studio lot serving the famous people she hopes to become, while running off to auditions, or attending parties with her 3 female flatmates. Everything in her world is full of hope, and in homage to the classic musicals, it is a Technicolor dream of jewel colours and blurred parties. Suddenly a piano refrain cuts through this extraneous noise and everything slows as she hears Sebastian playing in a restaurant.

Meanwhile Sebastian’s world is somewhere much darker, a rundown flat, jobs he hates and dreams to open his own pure jazz club that he cannot fulfill. A surly young man in the model of James Dean – a Rebel Without a Cause is one of the films repeatedly referenced – he is disconnected from the world and having encountered the more enthusiastic Mia a few times, he’s sure they wouldn’t fit together. But in one of the film’s more enchanting scenes, one magical night after a party they tap dance their way into each other’s hearts as they contemplate the sunset over LA.

A series of fairy-tale dates follow including a trip to the Griffith Observatory where they find themselves on cloud nine, dreamily dancing among the stars. One of the joys of Chazelle’s work here is how seamlessly these set-piece moments are integrated into the main story, and unlike the 50s musical, characters don’t just burst randomly into song, these sequences either explain the emotions of the protagonists or represent the fantasy world of their relationship.

But that’s only half the story and while Sebastian and Mia may be perfect for one another, they both have dreams that begin to drive a wedge between them. Again Chazelle manages the tone change perfectly and it is in this section that as an audience you begin to realise quite how much you’ve invested in these characters, and watching them moving in different directions becomes quite affecting. By the end of the film as you discover what happens to them and their dreams of ‘making-it’, the whole thing you realise is both an elegy to the people they were, and, in a magnificent alternative reality sequence – right out of the fantasy moment in Singing in the Rain and others – to the people they didn’t become.

These are first rate performances from Stone and Gosling, who have probably never been better, and have a particular fizz on screen. Stone’s Mia in some ways is her usual loveable slightly goofy heroine, but here she adds a considerable understanding of the old Hollywood style. In particular there are two key places where she uses a single look to convey a great deal of information; first when she hears Sebastian’s tune in the restaurant, Stone shows not just the weariness of her current life and appreciation of this new music, but also you see her enchantment with him. This is beautifully mirrored later in the film when she’s in the crowd at Sebastian’s concert, hearing his new band for the first time, and realising he has sold-out, her face falls as she tries to contain her disappointment both for him and herself, which signals the shift in their relationship.

Gosling too is excellent as the perhaps less idealistic Sebastian, who, in his relationship with Mia, finds both encouragement to pursue his own dreams and a pressure to reroute them to be the man she deserves. One of the more engaging aspects of the film is seeing the compromises he is forced to make to achieve a form of stardom far from who he wanted to be, and what this has to say about the Hollywood machine. It questions what the price of fame is worth, and for Sebastian it may cost him both his integrity and his relationship. Yet, it is clear how much he loves Mia and while his choices may stifle him and take him away, he makes them for her which means their pain is all the more poignant for the audience.

Chazelle’s film is an extraordinary clash of past and future explored in several ways throughout the film. Not just the merging of 50s musical styles and imagination with grittier visuals from modern LA where beautiful old cinemas and clubs are left to rot, but of the purity of Sebastian’s love of jazz ‘infected’ by new styles of music, and how the personal past and future of the characters plays out. I referred to it earlier as a violent collision of styles and Chazelle keeps control of these elements very nicely often allowing a fairly hum drum moment to erupt into a beautiful fantasy sequence, or conversely punctuating too much dreaminess with intrusive blasts of car horns or fire alarms, forcing reality to come between Mia and Sebastian once more.

Linus Sandgren’s cinematography gloriously emphasises this clash of styles and he’s given each of the leading characters their own visual tone – a simpler, washed out look for Sebastian, to emphasise the life he’s living in his small and plain apartment, while Mia gets vibrant jewel colours and plenty of soft Hollywood glow around the leading lady. Some of the best work is of course in the stunning musical sequences, whether imagining the life they could have had or an emotional Sebastian walking along the pier at sunset still forming that tune that would become his signature, Sandgren has painted incredible pictures that will make you smile.

La La Land is then a film about fate and destiny, bringing people together for a time and then understanding that love is not always enough; they may only be able to really fulfil their dreams apart. We learn later in the film, that destiny would always bring the two of them to certain places at certain times, but the sadness lies in what happened in between. Justin Hurwitz’s music manages to be a whole extra character adding just the right balance of romance and melancholy while being a celebration of the soundstage musical. Sublime, moving, delightful, exquisite and joyous, if la la land is a fantasy place for dreamers and fools, then in Chazelle’s magical film it is a place you long to be.

La La Land was premiered at the BFI London Film Festival on 7 October after screenings at Venice and Toronto. It will be released in the US on 16 December and in UK on 13 January 2017. Follow this blog on Twitter @culturalcap1.

High Society – Old Vic

In Kevin Spacey’s first season as Artistic Director of the Old Vic he staged The Philadelphia Story starring himself and Jennifer Ehle, so it is perhaps appropriate that the musical version of this tale, High Society, should now book-end his reign. And it seems that ending will be a triumphant one in a dazzling and fizzy revival of the much loved film. I don’t often write about musicals here and I tend to have mixed feelings about them; in general preferring the classics to a more modern tendency to string a load of pop songs together around a half-baked story.

For years I just didn’t see any musicals at all and there still exists a certain snobbery about them as not ‘proper’ theatre, whatever that is supposed to mean. As a critic, the quality of theatre I see can range from breath-takingly stunning to offensively bad, and a musical is no more likely to be poorly produced and performed than a Shakespeare play – and in fact the lowest star ratings I’ve ever given are for terrible interpretations of Shakespeare, while recent revivals of Spend, Spend, Spend, The Dreaming and the West End transfer of Memphis have been a delight. High Society may be all about snobbery but that should not apply to the genre itself – yes there are bad musicals but there are also a lot of bad plays, believe me I’ve seen them!

So, I’m going to put my hat into the ring now and say I actually like some musicals and I’m not ashamed. I’ve seen the stalwarts like Phantom of the Opera, Les Miserables, Blood Brothers and Hairspray and loved them all, which doesn’t mean I can’t simultaneously appreciate a fine Hamlet or go to see the recent A View from the Bridge 3 times between the Young Vic and Wyndhams because it was so wonderful, it’s just one of those contradictions about people that life is full of. It probably all began watching the big 50s and 60s musicals as a child with my Nan of which Singing in the Rain and My Fair Lady were our favourite. For some reason High Society rather passed us by but then she never really cared for Frank Sinatra.

So with lots of positive reviews and a chance to see it in the round, the Old Vic’s new show promised much. On the eve of her second wedding to a very dull man Tracy Lord has doubts exacerbated by the sudden appearance of her neighbour and ex-husband C K Dexter Haven who is also still in love with her. Their dilemma is diverted by the appearance of two undercover society journalists who are blackmailing Tracy’s father to get access to the wedding or they will publish a compromising story about him and a dancer. As the pre-wedding party gets underway Tracy finds herself drawn to journalist Mike, but is he just a passing fancy because she can’t have the man she really wants? As dawn breaks after a drunken evening just who will Tracy walk down the aisle with?

The Old Vic round space is always something to marvel at; built above the stalls seats to create a more intimate space and now wherever you sit in the theatre the view is pretty impressive. You arrive to find a glitzy party going on with a piano player Joe Stilgoe taking requests and on our night somehow merging Rule Britannia, Strangers in the Night and The Wheels on the Bus into one musical piece. By the time the show starts the pre-warmed audience is already in a jovial party mood, aided by the art-deco influenced side boxes which hold the orchestra and the clever pop-up set by Tom Pye which allows tables, chairs and pianos to rise and lower into the floor. When empty it looks like the intricate Time Lord-like design of the pocket watch carried by Dr Who in the David Tennant era.

The set pieces are rather impressive, the best of which is the party scene at the start of Act 2 which unites singing, dancing, piano playing and some amazing costumes to create a throbbing atmosphere of sound and colour, just right for Tracy’s last hurrah before marriage. Maria Friedman’s direction here is perfect and even if they didn’t bother with the rest of the story you’d go home feeling you’d seen some of the best dance sequences in town. Whatever you may think of Tracy by this point she can clearly throw a hell of a party and the cast are obviously having a wonderful time. But that same verve and style is brought to the rest of the scenes, creating the Lord’s outside breakfast table with real hot plate, drawing room and swimming pool. In fact the pool is the scene of the show’s most tender moment as Tracy at her lowest ebb sails a little boat across the brilliantly projected water while she and Dexter sing True Love, before the waters rise up over her.

The cast is excellent and Kate Fleetwood, who previously made a superb Lady Macbeth opposite Patrick Stewart, takes most of the honours as the contradictory Tracy. She starts waspish and self-satisfied before realising the gravity of what she’s about to do, cutting herself off from Dexter for ever, but revives as drink gives her a flirtatious bravado and a fantastic chemistry with Jamie Parker playing the journalist Mike. Parker is the main reason I wanted to see this, after a brilliant Henry V at the Globe a couple of years ago, and in the Sinatra role here proves he can do everything, bringing great energy and fine voice to the scenes. It helps of course that because of Sinatra his role gets most of the best songs – Who Wants to Be a Millionaire and You’re Sensational as well as the ensemble tunes Well Did You Evah? And Let’s Misbehave. I could never quite see why Tracy didn’t pick Mike, they always seemed so much more suited, and that is certainly reinforced by Fleetwood and Parker’s charismatic partnership.

The problem here is the character of Dexter – Rupert Young is arguably a better singer that actor but the part itself always feels very underwritten. He spars with Tracy nicely early on and their love song is a tender moment but for much of the production he is just an observer watching it all happen, so it’s hard to believe in them as a couple. Her family clearly adore him but the audience don’t get a chance to know him as well as the fun-loving Mike whose prejudices are shown to thaw in the company of the partying Lords. This is not at all the fault of the production but perhaps this is why my Nan overlooked it, it just has a slightly unsatisfactory happy ending that you can’t quite believe in. And I remember feeling the same about The Philadelphia Story here several years ago.

None of that detracts from a fine night of entertainment with great supporting performances in the subplots from Barbara Flynn as Mother Lord, Ellie Bamber as Dinah, Christopher Ravenscroft as Seth Lord and Annabel Scholey as photographer Liz Imbrie. Maria Friedman has created quite a spectacle down at the Old Vic and from the beginning establishes an atmosphere that engages the audience in the celebratory feel of the whole thing, no matter where you sit in the auditorium. For once sitting in the slips in the Lilian Bayliss circle (very top) pays off and for just £16 you get a great view of the marvellous choreography without having to spend a fortune. Through the Lord’s soiree, you’re also there to celebrate the final moments of Kevin Spacey’s decade as Artistic Director and this bubbly production of High Society will ensure he leaves a memorable legacy. So forget the musicals stigma and come on down; it really is quite a party.

High Society is at the Old Vic until 22 August, tickets start at £16 and I can recommend these cheap slips seats in Row X of the Lilian Baylis Circle for actually a very good view. Other concessions are available including reduced prices for under 25 year olds. Follow this blog on Twitter: @culturalcap1

%d bloggers like this: