"Sunset Boulevard", 3/10/17, Edinburgh Playhouse

Sunset Boulevard, Andrew Lloyd Webber, Don Black and Christopher Hampton's musical, based on the Billy Wilder film, portrays the story of hard-up screenwriter Joe Gillis and his fateful encounter with former silent movie goddess Norma Desmond. Desmond ostensibly employs Gillis to rewrite her comeback return whist he elects to make the most of the situation while alternately engaging in another partnership.
The original movie contained elements of film noir and melodrama and these are retained for the musical's book and are promoted in Nikolai Foster's stunning production.

The production boasts an orchestra of 16 which is quite an exception these days (but would be seen as small some years past) and is all the better for it; Lloyd Webber's score is inherently cinematic and as such relies on string and brass orchestration for emotional and physical prowess which pulsates throughout the piece. The sound design further enhances the power of the live musicians.

This production is blessed with a beautiful design which is both evocative and striking and perfectly encapsulates Foster's concept of a theatrical film production; with the set moving fluidly, cinematically at one time; then physically, theatrically the next, the mix is a sublime blend. Added to that are exceptional projections brilliantly used to add further depth as well as some contrasting lighting which furthers the experience. In tandem they create some exciting sequences including the care chase which was at once both cinematic and theatrical. Foster is a director who really knows how to work a set and his use of space and dimension is second to none and I am always excited by his production, even the ones that don't quite hit the mark.

The ensemble cast lend great vocal power to the musical and portray many varying roles, including the stagehands who lurk about the sound-stage set, silently observing an occasional moment before engaging in the next scene-change. There are occasions when an older actor would be more appropriate (as in the studio figures Norma recalls from previous days) but this is a small niggle.
Molly Lynch as Betty Schaefer, a wannabe screenwriter, lends an amiable yet determined air and a sweet voice that manages to harden as the plot reaches its resolution. Adam Pearce is a strong and centred Max with a voice that is both powerful and tender. His precise movements are appropriately attuned and something that leading man Danny Mac should learn from; Mac is too energised as cynical Joe Gillis with lots of arm gestures and bouncing throughout the production. There is an economy of stillness that he should learn which would make his performance all the more powerful. As it is he is adequate in the role even if his vocals are unremarkable for the most part.
Ria Jones however has an awesome presence and exceptional vocals in the role of Norma Desmond, the part she originated in the musical's early workshop. When she sings As If We Never Said Goodbye she really means it. Jones captures the melodramatic elements of Desmond with aplomb and the only negative is that she really doesn't play the various descents in to melancholy with enough darkness until the final scene. That said, she stalks the set and hovers over all her scenes like some decrepit vulture eagerly anticipating the next opportunity - be it in Joe Gillis or her reunion with Cecil B. DeMille. Hers is a mesmeric performance and she demands attention every time she opens her mouth to sing.

The production is nearly perfect aside from a few small issues; I was surprised to see that the scene for much of the Act I finale - Artie's apartment - was replaced with Schwab's Drugstore requiring some slightly clunky dialogue changes and though the use of projection was, in the main, inspired there were occasions where it was overused and none more so than in the sequence where Betty journeys to Norma's mansion where we are treated to projection that was reminiscent of The Matrix's falling letters. Here the chosen images were out of place with the remainder of the production. At other occasional moments the amount of projection threatened to become distracting from the onstage action. There is also a need for the final scene to be played at a more suitable pace as it felt too rushed and it should be where we see Norma completely deconstruct, and the audience should have the time to appreciate the awful tragedy of it all. Elsewhere in Act I pace could be picked up here and there, though in reality this may be an argument for some trimming of the musical's book/score (There is at least one small part that I feel could be cut without any damage to the piece's structure at all).

Sunset Boulevard remains one of the best of Andrew Lloyd Webber's canon and this production is as near perfect as such a production can be and extols how, with the right director and design team, a touring production can match - even excel - much of what London's west End can offer. Exquisite design and conception matched with (for the most part) exceptional talent has created one of the best productions to emerge for many a year.

"Breakfast At Tiffany's", Glasgow Theatre Royal, 26/5/16

Richard Greenberg's adaptation of Truman Capote's famous novella was first seen on Broadway in 2013 and was the second attempt at a staging by director Sean Mathias (the first, in London's West End in 2009, was written by Samuel Adamson) and neither production proved to be what one would consider a success, leading others to speculate that perhaps the story is one of those which doesn't translate adequately to the stage. This new production by the Curve Theatre, Leicester, may have the doubters proclaiming they were correct although, in reality, there are glimmers throughout that illustrate the true potential of the play.

Greenberg's script is clunky in places and really could do with some trimming although the devices he utilises work well, including much of the narration by the character 'Fred'; such a device could have come across as stale but director Nikolai Foster is adept at making it anything but. 

Foster is a director who works with his designers to create a fluidity onstage that is pleasing to the eye and the lighting and set design are positive additions to the production and raise the standard of the entire production.

The cast are uniformly quite excellent, including Matt Barber as 'Fred', with the only exception, sadly, being the actress playing the major role of 'Holly Golightly'. It may be an unfortunate side-effect of casting several actresses in the role for the duration of the tour, but Emily Atack, whilst attractive to look at, lacks the depth required for the pivotal role and she comes over as somewhat under-rehearsed, lacking in confidence and it feels she may be overwhelmed with the demands of the role. Her performance is two-dimensional with not enough variety to give it the edge required. She does, though, offer glimpses of her potential in the role but she fails to take full advantage when these crop up. Her singing voice is delicate and sometimes fragile, not inappropriate to the character, but the fact that three songs are plonked almost randomly throughout the script means they serve no purpose whatsoever, save to placate the audience expectation that they'll hear the famous 'Moon River' which was composed for the film adaptation of the novella.

It should be said that Greenberg's adaptation is based on the book rather than the film and so the play is more layered and multi-faceted creating a grittier, darker plot within a grimmer New York than that portrayed in the movie. This, ultimately, creates a more interesting drama and, given a tighter reworking by the author and a more competent lead, shows this particular adaptation has some real potential.

"Annie", King's Theatre Glasgow, 9/2/16

A review written for Backstage Pass:

http://www.backstagepass.biz/2016/02/theatre-review-annie-kings-theatre.html

"Annie" is a musical that needs little introduction; the story of "Little Orphan Annie" was adapted for the musical stage in the late 1970s from the comic strip that began in 1924 and went on to become one of the most successful musicals on Broadway at that time. Featuring some of the most famous songs in musical theatre, including Tomorrow and Hard Knock Life, this new touring production is directed by Nikolai Foster, artistic director of the Curve, Leicester, and is a bright and colourful affair that bursts with thrilling energy.

Foster is a rather under-valued director whose name is not (yet) as well known as it deserves to be. His direction for "Annie" is beyond assured and is a fine indicator of how well he is able to orchestrate a large scale production such as this. Foster is able to deftly manipulate the smallest detail, be it lighting, sound or piece of acting business, so that each piece builds up into the most satisfying construct of theatre where nothing is wasted. Whilst the libretto has the occasional moment that threatens to drag, Foster is able to marshal his forces into keeping the stage alive and this is true from the outset given his decision to dispense with the overture and to instead dive straight into the plot following the period radio broadcasts that are heard as the audience take their seats.

 

Nick Winston's choreography is exciting, witty and smart and perfectly attuned to Foster's direction and the musical numbers are executed with verve by an excellent ensemble of performers. 

Colin Richmond's costumes are period specific and have the vivacity of a living comic strip whilst his set design, a playing area decorated with the map of NYC and other details broken up using an odd motif of jigsaw pieces (reminiscent of the alphabet tiles throughout the design of the musical "Matilda"), becomes filled with beautifully realised scenic elements making up such scenic delights as a gloriously near-caricature of an NYC 'Hooverville', the grim orphanage and the elegant art-deco Mansion of "Oliver Warbucks". The lighting design of Ben Cracknell works brilliantly well in tandem with the set being vivacious and kinetic whilst also creating some beautifully moody and evocative sequences where appropriate.

The orchestra, led by accomplished musical director George Dyer, are sprightly, energised and powerful and the orchestrations by Dyer are punchy, elegant and animatedly rousing. 

It is not unfair to say that a lot of the success of "Annie" relies on the portrayal of "Miss Hannigan" and Elaine C Smith is, bizarrely, not up to the comedic demands of the role. Her vocal chops are perfectly adequate, even if her dance skills are not, but there are moments where she looks unsure and her portrayal threatens to drag down the energy of some of the scenes she is in. She is more than ably supported in many of her scenes by Jonny Fines as "Rooster" and Djalenga Scott as "Lily St Regis" who are quite brilliant, both vocally and physically. Their portrayals are finely tuned and they dazzle throughout. Fines especially hints at the dangerous predator that lurks beneath the barely placid surface of an already detestable character. 

The "Daddy Warbucks" of Alex Bourne is presented as a more kindly figure from the off as opposed to the usual portrayal and he lends a commanding presence and fine voice to the role and is one of the few more natural realisations in an otherwise larger then life production.

In the title role Elise Blake is a dynamic, charming and vocally gifted "Annie" who never fails to be a sympathetic and eye-drawing force. She is a talent to keep an eye on indeed. In fact, the entire company of orphan girls (Team Rockefeller at this performance) are strong and vibrant and each presents a separate and engaging character and the stage is never more alive than when they appear on it. Their first number, Hard Knock Life, sets a standard of excellence that proves to be an accurate marker for the quality and vivaciousness of the production as a whole.

Of course, it would be amiss not to highlight what many would consider the true 'star' of the production: "Sandy", here played by Amber who presents a most sympathetic and engaging furry figure eliciting some profound 'ah-ing' from audience members. Quite frankly, it's a shame the dog is not utilised more.

 

This production of "Annie" is a striking comic strip come to life and is a jubilant production of pure joy bursting with outstanding talent both on and off stage. Nikolai Foster's new production sets a new standard in the quality of touring musical theatre, both in the design and the casting, and I hope that other producers take note for future productions. There is so very much to enjoy in this production - nearly everything, actually.