Imaginary - Review

The Other Palace, London


*****


Music & lyrics by Stuart Matthew Price

Book & lyrics by Timothy Knapman

Directed by Shaun Kerrison

Tom Price and Josh Gottlieb

“Never Leave A Man Behind” is the pact made at the very start of Imaginary. A simple declaration of trust, loyalty and friendship that in many ways lies at the core of this endearing zany, and almost Pixar-esque musical, a show that marks the 2017 return of the National Youth Music Theatre (NYMT) to London’s The Other Palace. 

Creating good new musical theatre continues to be a challenge across the industry, but Timothy Knapman and Stuart Matthew Price can be deservedly proud of their achievement. Knapman’s book and lyrics indulge in glorious wit and charm, complete with thrilling revelations and even the odd cliff hanger. Price has written an equally dreamy score, with melodies that you can’t help but find yourself whistling all the way home. Under Shaun Kerrison’s direction the NYMT company (ages 11 – 23) rise to the challenge of putting on a new musical with apparent ease. Kerrison captures the natural energy of the youngsters at all the right moments, yet never loses sight of the show’s clarity. 

Imaginary follows the friendship of two young boys, Milo (Tom Price) and Sam (Josh Gottlieb). As Sam’s only friend the pair do everything together, playing all day and letting their imaginations run wild. It all seems too good to be true until Sam starts secondary school and he and Milo find themselves facing a whole new dilemma.  

Aged 13 and 11 respectively, Price and Gottlieb turn in compelling perfomances that drive the show’s sense of adventure and discovery from the start. Their energy makes the piece a rollercoaster for audiences, played out against a backdrop of the universally recognized concepts of imagination and childhood. There's some great work too from 11yo Lizzie Wells as Sam's schoolfriend Alice. 

Alongside the child characters, Robin Franklin as the school’s Headmaster commands both his students and the stage with a frightening presence and character. Toby Turpin also delivers a dazzling performance as the 7ft (!) tall Big Brenda, giving a performance that’s even bigger than his colossal outfit and wig (costume credit: Jason Denvir) 

The tunes are gorgeous with She Played Guitar, Imaginary, The Adventurers Code and Upgrade Time all proving equally wonderful numbers, the latter in particular featuring some stylish choreography from Anthony Whiteman. Among the entire cast there isn't a weak link, with Charlie Ingles having done some cracking work, both on the ensemble’s harmonies as well as the score's orchestrations. 

At a time when many producers struggle to bring new writing to a stage, yet again the NYMT’s Jeremy Walker delivers just that. Both book and score are tremendous and if last night’s audience are anything to go by, Imaginary will be bringing about tears of laughter, sadness and just sheer awe at this company’s remarkable talent.

Runs until 12th August

Reviewed by Josh Adams 

That's Jewish Entertainment - Review

Upstairs At The Gatehouse, London

****

Written by Chris Burgess

Musical Arrangements by Andy Collyer

Directed by Kate Golledge

The Cast

Katy Lipson's Aria Entertainments unveils its latest revue drawn from the world of Jewish melodies at Highgate's Gatehouse Theatre for a month's residency.

Compiled by Chris Burgess, That's Jewish Entertainment, unlike Aria's previous forays into the kosher catalogue, doesn’t just focus on the showbiz greats made famous by Jewish writers or performers, but also takes in snatches of liturgy from the synagogue alongside a sprinkling of Yiddish songs that stem from the vanished world of the shtetl, as well as from New York's Lower East Side at the turn of the last century. It all makes for a lively and entertaining evening, with Burgess having researched some fascinating historical details to link and segue the numbers.

Kate Golledge directs a strong quartet of singers who are all in fine fettle throughout. David McKechnie brings a neat impersonation of Groucho Marx to the gig, while one of Matthew Barrow's solo highlights is a well nuanced take on Al Jolson's Mammy. A novel twist sees the honours shared in the Barbra Streisand, Funny Lady moment. Emma Odell gives Sadie, Sadie, Married Lady an interpretation that can more than match the Barnes/Smith roadshow soon to tour the UK. Just before Odell's turn however, Joanna Lee steps up with a barnstorming Don't Rain On My Parade that was spine-tingling in Lee's power and presence.

Interestingly, Lee is the show's only Jewish cast member and whilst ethnicity may not matter when it comes to singing the Broadway greats, the foreign tongues of both Hebrew and Yiddish (like any language) demand an innate cultural familiarity in order to be fully savoured. Barry Davis is credited with having coached (well) the linguistic pronunciation, but it's hard, nay impossible, to replicate a lifetime's understanding and recognition of a language in a two week rehearsal window. Similarly Burgess's translations, albeit carefully created, tend to blunt the romantic power of the foreign lyrics' original sound. In future shows, maybe stick to the original words with projected surtitles? Just a thought.

The show's music however is flawless. Andy Collyer's arrangements of tunes drawn from across the Western Hemisphere is a joy to listen to and under Charlie Ingles' direction (though on the night of this review the talented Alex Bellamy was in the chair), the four piece band capture the songs' time, location and above all their spirit, perfectly. A nod too to Joe Atkin Reeves' sublime work on the reeds. His snatch of Rhapsody In Blue is spot on and when his clarinet work drifts towards klezmer, a Pied Piper-like entrancement falls across the predominantly grey-haired audience.

It’s a lovely show and as Moses might have said, That's Jewish Entertainment is well worth crossing the Red Sea for (or at least the North Circular Road)!

Runs until 11th March, then at The Radlett Centre on 12th March

Photo credit: Pamela Raith

The MGM Story - Review

Upstairs at the Gatehouse, London


****


Book by Chris Burgess
Directed and choreographed by Matthew Cole

The quartet of performers

Transporting us through the history of musical theatre’s golden age, The MGM Story dives into the tale of how the Hollywood studio nurtured the talent of stars that were to include Judy Garland and Gene Kelly alongside composers such as Cole Porter, Irving Berlin and countless others.

Directed and meticulously choreographed by Matthew Cole and with Charlie Ingles perceptively directing his band, this newly compiled musical revue flips back to some timeless movie classics, featuring songs from Singin’ in the Rain, An American in Paris and The Wizard of Oz. Imaginatively set on a studio back lot, the world of the MGM musicals is brought to life and genially animated by the four performers who sparkle in this narrative.

As the evening unfolds, each actor at some point represents one the celebrated names of the Golden era. Emma Kayte Saunders embodies the young Judy Garland and her casting is inspired. Saunders’ voice is earthy and beautiful, with an ability to portray the starlet’s innocence in her early days of fame that is mesmerizing.

Similarly, James Leece’s portrayal of Gene Kelly in the iconic dance sequence of Singin’ in the Rain appears almost effortless. With no streetlight for Leece to hang off of, the use of a step ladder is inspired and the routine still proves an absolute charmer. 

West End veteran Miranda Wilford feels somewhat underused toward the beginning of the performance, appearing firstly and rather oddly, as the Cowardly Lion in Follow the Yellow Brick Road But during the second act, her performance of They Say It’s Wonderful from Annie Get Your Gun, as Betty Hutton, was indeed, wonderful – and note too that there is an incredible resemblance between Hutton and Wilford.

Steven Dalziel, brings a wonderful energy to the quartet that, like Saunders, has you watching him continuously through the show. Each gesture and facial expression has been well thought out and while vocally, he may not have been as showcased as the other three performers, his embodiment of a number of different characters throughout the night highlighted his multi-talented skills. 

Katy Lipson, whose Aria Entertainments co-produces, continues to show real flair in putting together these gorgeously staged revues. Like the rest of London’s fringe, her productions cost a fraction of a West End ticket, yet offer first class production standards and outstanding value for money.

The MGM Story is a sparkling example of the legacies of talent and sophistication that brought about today’s modern musicals and if you love the songs of that era, it’s a perfect night out.

Runs until 25th September, then touring to Windsor, Norwich and Radlett

Reviewed by Charlotte Darcy