Andrew Lippa In Concert

St James Theatre, London

****

Carrie Hope Fletcher raises the roof as Andrew Lippa accompanies

A packed house at the St James Theatre saw Andrew Lippa's London debut. For two hours and accompanied by a stellar cast of the capital's musical theatre talent, the New York composer (actually a Yorkshireman by birth) presented a collection of his showtunes.

Lippa was quickly into a selection of songs from Big Fish that recently opened on Broadway. One of the show's finer compositions, I Don't Need A Roof, sung by a wife reflecting upon her near unconditional love for her dying husband, was given the most moving of interpretations by Jenna Russell. I reviewed Big Fish last month (link here) and commented then that it seemed unlikely to transfer to London and indeed it closes on Broadway in a few weeks. Up close however, the show's songs took on a beautiful resonance and seen in this more intimate setting, were a producer to consider a modestly sized off-West End or chamber production, it may well prove a hit.

Willemijn Verkaik was masterfully elegant throughout with Big Fish’s Time Stops, a duet with Lippa, proving to be another of the evening's tender highlights. Earlier, when Verkaik had sung the line "it's my turn to fly" from The Wild Party's number The Life Of The Party, there was the sweetest of ironic presciences, as she was performing with Lippa only 24 hours before making her debut as Wicked-London's Elphaba. 

The stunning turn of the night was Carrie Hope Fletcher and her take on Pulled from The Addams Family. Injecting humour, presence and a vocal impact even bigger than her amazing hair, the young performer very nearly took the St James’ roof off. Other highlights included Ashleigh Gray's Live Out Loud, whilst a duet of Lippa and Tam Mutu in This River Between Us proved to be a masterclass in calm professionalism in retrieving a song when both performers dry.

Lippa's patter throughout was witty and refreshingly self-deprecating as he referenced the number of his shows that have closed early over the years. His newly written You Are Here however, from I Am Harvey Milk, penned for a large male chorus and offered here as his solo, showed glimpses of what must be a truly inspiring number when sung by an ensemble.

Simon Beck stepping in on piano as needed, with Hannah Ashenden's subtly elegant cello work gave a neat finish to an event that again demonstrated classy management from producers Stuart Matthew Price and James Yeoburn.

Big Fish

Neil Simon Theatre, New York City

***

Book by John August

Music and lyrics by Andrew Lippa

Directed by Susan Stroman

Kate Baldwin and Norbert Leo Butz

Big Fish is an imaginative piece of new musical theatre to emerge on Broadway. Based on Tim Burton’s 2003 movie, the show’s book is by original screenwriter John August and with the innovative approach of Andrew Lippa’s compositions and Susan Stroman at the helm, the show would be expected to have a sound pedigree.

The Big Fish of the title is a euphemistic reference to the tall stories that Edward Bloom, played by Norbert Leo Butz has told throughout his life. Bloom is a curious character, an ordinary travelling salesman by trade supported by a wise and loving wife Sandra (Kate Baldwin), struggling to earn the respect of his grown-up son Will (Bobby Steggert). For a plot that is seeking depth through fantasy, this show does at times skim over very shallow waters. That Edward blurts out his son’s impending fatherhood during the young man’s wedding, after having been expressly forbidden to do so is a an act of such crassness that it almost justifies the contempt in which Will views his father. If Bloom Snr is truly so insensitive, what hope for reconciliation between the two men can there possibly be? 

With the first act demonstrating the pain of father and son at emotional loggerheads and with a death in the family clearly signalled, come the interval one could be forgiven for mistaking the show for a musical take on Arthur Miller’s Death Of A Salesman. Fear not though, for with Harvey Weinstein amongst the show’s producers however, darkness is to be banished. There has clearly been every intention for this to have been a thoroughbred Broadway production, sired by Hollywood out of Stroman and where an ending of pure schmaltz is de rigeur. 

If act one drags, the second half zips along with pace and spectacle. Stroman’s zanily patriotic vision of Red, White And True offers more than a nod to her brilliantly choreographed Springtime For Hitler from The Producers and Butz proves why he is one of today’s leading men on Broadway with masterful deliveries of Be The Hero and Fight The Dragon. The show clearly has impact, for when Butz sings his final number, How It Ends, many of the audience sobbed. Sandra is a cleverly crafted character and Baldwin's pragmatically wistful I Don’t Need A Roof is a fine performance.

Suspend your disbelief as high as possible, enjoy the talent on display and you will find the show to be a moving and occasionally, an enchanting night at the theatre. Don't expect Big Fish to swim the Atlantic anytime soon though. It's an un-ashamedly all American show, that's likely to find itself flapping out of water on this side of the pond.