Review - Bare: A Pop Opera (The Vaults)

Jon Hartmere and Damon Intrabartolo’s Bare: A Pop Opera is something of a cult favourite amongst musical theatre aficionados. Set in St Cecilia's Boarding School, a close-knit Catholic school in America, a pulsing score accompanies the complex and ultimately tragic story of two closeted students whose relationship is strained when they are cast in a school production of Romeo and Juliet.


Darragh Cowley and Daniel Mack Shand in Bare: A Pop Opera
Photo credit - Tom Grace

First performed in 2000, Bare: A Pop Opera could almost be described as a period piece in 2019 (and certainly one or two scenes and songs feel dated in a pleasantly nostalgic way, despite attempts to modernise – mostly down to the inclusion of mobile phones). Sadly, director Julie Atherton’s new production at The Vaults highlights the fact that themes of homophobia, body image, and bullying are just as pertinent now as they ever were.

Darragh Cowley and Daniel Mack Shand star as Jason and Peter, the schoolboys at the centre of the Bare: A Pop Opera’s main drama. Both actors are believable in their roles, and sell the pain of their joint and individual struggles, although the romantic spark between the pair doesn't fully flare up until they share the show’s titular duet as the story nears its end. The book doesn't offer much of a glimpse into their relationship during happier times, and so as the plot evolves rapidly, its sudden jolt into high drama feels a little disjointed, and as a result the Shakespearian tragedy of the ending falls slightly flat. That being said, watching the couple steal secret kisses between classes as they dodge the ever watchful eyes of their gossipy school friends offers a sobering look at the reality of their relationship.

The cast of Bare: A Pop Opera
Photo credit - Tom Grace

The production is bolstered by an almighty supporting cast, with the cohort who make up the St Cecilia's student body being excellent without exception. Lizzie Emery is sympathetic as Ivy, the misunderstood school beauty who turns Jason’s head and offers him a chance at (what he perceives to be) normalcy. And she sings the hell out of All Grown Up, an electrifying musical gut punch which stands out as a musical highlight in the show. Meanwhile as Jason’s sister Nadia, who also happens to be Ivy’s reluctant roommate, Georgie Lovatt brings humour and pathos in spades.

However, the most compelling supporting performance comes from Tom Hier, who brings an extra dimension to Matt, a classmate who becomes the Jason’s rival both in theatre (he is usurped of the lead role in the school play despite well-rehearsed audition) and in romance (his unrequited feelings for Ivy transition from sweet to malicious at a terrifying pace). Hier shows how Matt’s rocky relationship with religion conflicts with his own internal moral compass impressively throughout, and shines vocally during Are You There?, an angst and alcohol fuelled duet with Daniel Mack Shand’s Peter.

The cast of Bare: A Pop Opera
Photo credit - Tom Grace

The onstage band, led by MD Alasdair Brown, rocks the electric pop score throughout, but at times vocals are drowned out almost entirely by the sound of moving scenery in addition to the unavoidable rumble of trains from train station above. This is unfortunate, as the pop opera is sung-through with very little spoken dialogue, and therefore occasionally vital dramatic moments are diluted. Happily though, the enthusiasm of all involved shines through, and No Voice, one of Bare: A Pop Opera’s most chilling musical moments, is an incredibly affective send-off. As haunting harmonies ring out around The Vaults, the audience is left with plenty to think on.

Review - The Light in the Piazza (Southbank Centre)

The English summer may not have materialised as planned, but over at the Southbank Centre the sun in beaming down on Daniel Evans’ production of romantic musical The Light In The Piazza, which is currently making its debut in London some 14 years after an acclaimed run on Broadway.

Dove Cameron and Rob Houchen in The Light in the Piazza
Photo credit - Tristram Kenton

Renée Fleming stars opposite Dove Cameron as Margaret and Clara Johnson, an American mother and daughter duo holidaying in sunny Florence in the 1950s, who become intertwined with the local Naccarelli family after Clara meets the young and charming Fabrizio Naccarelli. Although there is a language barrier, Clara and Fabrizio fall almost instantly in love, despite the love-extinguishing efforts of Margaret.

The Light in the Piazza’s Tony Award winning score, written by Adam Guettel, has been long admired by musical theatre fans, and for good reason. Sweeping strings envelop the every scene, casting a dreamy haze over the proceeding. Robert Jones' simple yet evocatively Tuscan set ensures that the sumptuous Orchestra of Opera North, breezily conducted by Kimberly Grigsby is always in full view.

 

The cast of The Light in the Piazza
Photo credit - Tristram Kenton

The radiant Dove Cameron, a newcomer to the London stage, is well matched by Rob Houchen, and the pair make the musical’s central romantic plot sing. Clara and Fabrizio seem drawn together by destiny, and it must be said that Houchen, who makes deft work of the musical’s extensive Italian portions and is beautifully expressive and utterly charming throughout, seems fated to have played the role. His breathtaking rendition of the passionate and angst filled Il Mondo Era Vuoto is a masterclass in musical theatre. Cameron is a similarly engaging presence, bringing sweet voiced innocence and joy to Clara, and perfectly encapsulating the rush of first love.

 

Dove Cameron and Rob Houchen in The Light in the Piazza
Photo credit - Tristram Kenton


With such an absorbing central romance plot, and gorgeous orchestrations underscoring every moment, it’s easy to allow yourself to be swept up in the emotions of the piece, but although Craig Lucas’ book is brisk and witty throughout, it never really finds its way to a satisfying or dramatic conclusion. However,  that isn't to say that the musical is all fluffy sweetness and romance; there are some darker turns courtesy of Celinde Schoenmaker’s Franca Naccarelli, the scorned wife of Fabrizio’s brother Giuseppe, played by the always charismatic Liam Tamne. Meanwhile the poised Renée Fleming, whose dexterous vocals have earned her four Grammys and a Tony nomination, brings a thrilling edge to Margaret as the root of her high-stung nature is slowly revealed.

 

Despite being semi-staged, the production is totally transportive, with Daniel Evans’ fluid direction keeping the production moving steadily along. Honestly, there’s no doubt about the fact that The Light in the Piazza will make you want to jump on a plane bound for Italy this summer, and find a love of your own. Spellbinding and sun kissed, it’s the perfect summertime treat.



Review - The Woman in Black (Fortune Theatre)

The Woman in Black is now celebrating 30 bone-chilling years on the West End. Based on Susan Hill’s novel of the same name, The Woman in Black sees an elderly former lawyer named Arthur Kipps recounting a fateful trip he made many years earlier, during which time he encountered the titular woman in the derelict Eel Marsh House and fell victim to her curse. Kipps enlists the help of an actor to assist him in putting his story down in a play, but as the two men work to bring the haunting tale to life, a dark prescience lurks in the wings. 

 

Stuart Fox and Matthew Spencer in The woman in Black
Photo credit - Tristram Kenton

Stuart Fox and Matthew Spencer star as Kipps and The Actor, and do a miraculous job of bringing all of the play’s various eclectic characters to life. Within the intimate auditorium of the Fortune Theatre, which stands in for a cosy Victorian stage, the play is utterly engrossing from beginning to end.

Every tiny bump in the dark rings out across the audience and sends shivers down the spine, with Stephen Mallatratt's script amping up the unease as the story builds towards its chilling conclusion. Matthew Spencer’s portrayal of fear and confusion as he re-enacts the younger Kipps’ encounters at Eel Marsh House are so focused and animated that the entire audience can’t help but be pulled in to the world of the play. Yelps of fear from theatregoers are unsurprisingly common, and only help to stoke the energy in audience.

With 30 year reputation for inducing nightmares in audiences of all ages, and a place on the GCSE Drama curriculum, it’s no surprise that The Woman in Black remains as frighteningly fresh as ever.