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 - Girlfriends in Concert (Bishopsgate Institute)

Every November, since the end of World War I, Remembrance Day has been observed, as a tribute to those who served in the armed forces, and way of remembering those who lost their lives. What better time, therefore, for London Musical Theatre Orchestra to revive Howard Goodall's musical Girlfriends, which follows a group of young women plucked from normality and dropped onto the front line as part of the Women's Auxiliary Air Force during World War II. 

The cast of Girlfriends in Concert 
Photo credit - Nick Rutter

The musical in concert, which played three performances at Bishopsgate Institute where LMTO is orchestra in residence, featured a large, mostly female, ensemble cast. Heading up the gang of women was Lou and Amy, a couple of pals from home who join the WAAF together. Whilst Lou takes a rather more hopeful view of the experience to begin with, Amy is much less impressed with the rather unglamourous, unforgiving military lifestyle, until Lou introduces her to pilot and self-appointed Errol Flynn lookalike Guy. Lou and Amy were played sweetly by Lucie Jones and Lauren Samuels. Both sang the score beautifully, and perfectly portrayed the youth, inexperience and hopefulness of the young WAAF women they were embodying. Meanwhile, as the love interested who tore Lou and Amy apart, Rob Houchen was vocally spectacular, inflecting his vocals with 40s inspired stylings which helped emphasise the wartime setting. Houchen and Jones' act two duet Remember You Wanted Me was a thrillingly sung high point in the concert.

Outside of the central trio, interesting characters came in all shapes and sizes; young war widow Jane, played by Bronté Barbé, was given a bleak and subtly emotional solo in the form of The Chances Are. Meanwhile Jasmin, a young women from Scotland, soured towards the WAAF and war in general after the death of her brother in action and the denial of her request for leave by her tough leader Woods (a small yet pinnacle role, played with ferocity by Lizzie Wofford). Meanwhile Natasha Barnes and Chris McGuigan played Sally and Gareth, a couple who were drawn to each other out of a need for love against a violent and unforgiving background, where every night could be their last.

The cast of Girlfriends in Concert 
Photo credit - Nick Rutter

The score, which was reworked for the concert by Goodall and Simon Nathan, was extremely evocative of the time period in which the musical was set, and conductor Freddie Tapner brought out the best in a slick orchestra packed with passionate players. A couple of jaunty band numbers such as In the Messes and Clubs offered swinging toe tapping fun. They made a drastic change from the majority of the songs with more swoony swooping melodies, shot through with streaks of wartime panic and paranoia, signalled by repetitive counterpoints and terse, clashy harmonies. The music was spine tingling at times, but did begin to feel rather repetitive. 

Outside of the excellent performances of both the cast and orchestra, Girlfriends was disappointing though. For a musical which touted itself as a celebration of women's contribution to the war effort, the plot very much centred around the men of the story, despite them being outnumbered drastically on stage by a whole host of potentially fascinating female characters. It was rather dispiriting to hear so many songs in which the girls did not much other than moon over the men. The relationships formed between the WAAFs would've been more than sufficiently interesting and enlightening, and so putting a conventional love triangle at the musicals heart felt misjudged. Perhaps this was partially due to the complete lack of book in the concert setting, which may have fleshed out the characters between musical numbers, but whatever the case, it felt like a waste of a brilliant premise. 

Review - Eugenius! (The Other Palace)

Eugenius! The upbeat 80s musical is back from outer space and zapping joy into the hearts of audiences at The Other Palace once again. The spoofy sci-fi show, with book, music and lyrics by Ben Adams and Chris Wilkins has been building towards cult status since it first appeared on stage at the Palladium Theatre back in 2016, and with its infectious pop score, magnificently silly plot, and overarching message that the geeks shall inherit the earth, it’s easy to see why.
 

Laura Baldwin, Rob Houchen and Daniel Buckley in Eugenius!
Photo credit - Scott Rylander

Eugene is a weedy kid from Ohio whose dreams are inhabited by uber macho superhero Tough Man and his bratty estranged twin Evil Lord Hector, who Eugene immortalises in comic book form. When a Hollywood producer sends one of his lackeys in search of the next big Hollywood script, Eugene‘s comic is snapped up and he is whisked away to sunny Los Angeles, to watch his dreams come true. Literally. As Evil Lord Hector really does appear on set, armed with a laser gun and desperate to coax his brother out of hiding for a final showdown.

Eugenius! is a musical with a lot going for it. It’s fun, flashy (thanks to Andrew Ellis’ pops of neon lighting), and nostalgic, with a cracking cast who bring the story to life, channelling the huge, stereotypical performances which typified 80s flicks.

Rob Houchen leads the cast as Eugene. Houchen has an understated presence compared to his cast mates, but it’s one which instantly endears. Plus, it’s as if he was born to sing the musical’s retro pastiche tunes. Eugene may be the bullies’ verbal (and increasingly, as the plot advances, physical) punching bag, but Houchen is so supremely likable that it’s no wonder his fellow dorks (Laura Baldwin and Daniel Buckley’s Janey and Feris) orbit around him.
 

Laura Baldwin and Rob Houchen in Eugenius!
Photo credit - Scott Rylander

Baldwin gives an absolute gem of a performance. Sweet, gawky, and utterly infatuated with her bestie Eugene, Janey is a character which most people will empathise with. Baldwin also gets to belt out one of Eugenius!’s best songs The Future Is Bright, accompanied by a trio of perfectly synchronised backing singers, with a fan to blow her hair back in true melodramatic 80s music video style! Buckley also gets some prime material as funny friend Feris, getting some of the biggest laughs in the show thanks to a barrage of puerile jokes, sold with a mischievous grin.

The rest of the cast is equally impressive, with particular standout performances coming from Emily Tierney and Simon Thomas as a duo of hapless actors (Tierney is Carrie, a wide eyed wannabe starlet who makes up for her lack of dance ability with full out enthusiasm, meanwhile Thomas plays Gerhard, an actor from the Arnold Schwarzenegger school of flexing).
 

Emily Tierney and the cast of Eugenius!
Photo credit - Scott Rylander

Eugenius! may be over-the-top entertainment, which doesn’t take itself too seriously, but it also tries to tackle some pretty prominent modern day controversies. And unfortunately this is the only area which it really falls short. Comments on Hollywood sleaze and Geek Culture sexism don’t come out quite self-aware enough, and as a result sometimes the protagonists are tinged with a bit of sleaze themselves. Although that being said, its heart is obviously in the right place.

Filled with dorky charm and radiating self-love, friendship and acceptance Eugenius! is an addictive piece of musical theatre which will have audiences singing and dancing all the way to Victoria!

I was invited to review Eugenius! thanks to London Box Office 

Review - Broken Wings (Theatre Royal Haymarket)

Broken Wings is a story about forbidden love. Based on a poetic novel by Lebanese American poet Kahlil Gibran, this semi-autobiographical musical tells the story of a young Gibran, who returns to Beirut after 5 years away in America, and meets a local woman named Selma, the daughter of the rich Farris Karamy. The two young people fall in love at first sight, but Selma’s father arranges for his daughter to marry the nephew of powerful local Bishop. Duty bound, Selma reluctantly goes ahead with the marriage, leaving Gibran behind to stew in his loneliness, until the pair find a way to reconnect again in secret.
 

Lauren James Ray, Nikita Johal and Soophia Foroughi
Photo credit - Marc Brenner

Kahlil Gibran is one of the most successful writers of all time, and so the adaptation of his The Broken Wings for the stage makes perfect sense. With a book by Nadim Naaman and music and lyrics by Naaman and Dana Al Fardan, Broken Wings sees a 40 year old Gibran looking back with dismay on his younger years, and touches on issues of corruption, as well as women’s rights, all set against the backdrop of turn-of-the-century Lebanon.

Broken Wings paints a warm, sepia toned picture of Beirut, bustling and welcoming, but stuck in its ways. In fact, the characters frequently remark to each other that nothing ever changes in the city, and those who have never left never challenge the status quo at all. A stark contrast to the life Gibran has led, straddled between two very different countries and cultures. The sumptuous strings of the onstage orchestra constantly reinforce the elysian atmosphere effused by the Beirut of Gibran’s memories, whilst his 40 year old self is scored with more ominous tones. Orchestrations by Joe Davison are utterly faultless throughout, subtle yet striking at every moment.

Rob Houchen and Nadim Naaman

Photo credit - Marc Brenner

The show is also impeccably sung and acted, with Nadim Naaman taking on the role of Gibran aged 40, whilst Rob Houchen plays his younger self. Houchen breathes youthful exuberance into the young and naïve man, whilst Naaman is distinctly more haunted, grounded in a dark and shadowy solitude as he reminisces about his first and only love, his memories bathed in a soft and glowing sunlight. Making her West End debut, Nikita Johal is charming as soft spoken yet strong willed Selma, a woman ahead of her time, and the score gives her plenty of moments to shine, juxtaposing her quiet and patient exterior with the turbulent inner emotions which are revealed through song. In the supporting role of Karim, Gibran’s childhood friend, Nadeem Crowe brings a much needed comedic touch to the proceedings, giving a dynamic and endearing performance.

Some of the most stirring moments in Broken Wings result from the songs, the most wrenching of which are the ensemble numbers, which lift Beirut off the stage and into the audience. That being said, Gibran and Selma’s love duets, whilst offering an insight into the demure couple’s inner feelings, are sometimes a little too syrupy and feel hyperbolic. Gibran’s frequent musical fawning sees Selma described using some beautifully evocative natural imagery, but it is used repetitively, lessening the effect of Gibran’s declarations. The script is also slightly stilted on some occasions, leading to a further disconnect between the characters.

 

The cast of Broken Wings
Photo credit - Marc Brenner

The love story is sweet and ultimately tragic, as the audience is told in Gibran’s opening monologue, and Rob Houchen and Nikita Johal sell their characters’ adoration of one another well, but the book affords them little time alone together, and as such their separation, which should feel like a knife though the heart, is rather more subdued. If the audience is to believe that Gibran is still in love with Selma over 20 years after her death, then the bond which ties the pair together in life should be that of an epic, all-consuming, butterfly-inducing romance. Of course, the traditions and expectations which they are confined to keep them from expressing their true feelings, and Broken Wings carries some strong messages regarding this, but it’d still be nice to feel a more fervent bond between the pair. Nevertheless, the book’s tonal peaks and dips, which take the story from celebratory to desolate and back again, keep the musical engaging throughout.

 

Impressive in scale and soundly structured, Broken Wings is a haunting story which sheds light on important social issues which feel just as relevant today as when Gibran’s poetic novel was first published, back in 1912. Admittedly, a more sweeping romance would have deepened the cutting sadness of the older Gibran’s remembrances, but even so, Broken Wings oozes delight and tragedy, with a finale which truly soars.

I was invited to review Broken Wings thanks to seatplan.com