Imelda Staunton in Hello, Dolly! – London Palladium – review

A chorus line dance in front of a backdrop of Yonker New York in the nineteenth century as part of the London Palladium production of Hello, Dolly! August 2024 — Imelda Staunton and the cast of Hello, Dolly! Photo: Manuel Harlan

It’s a legendary show from the Golden Age of Musicals. It’s one of the most successful shows of all time in terms of awards and performances. Yet (whisper it) Hello, Dolly! isn’t very good. Michael Stewart‘s book comprises a ludicrous plot and is saved only by the amusing machinations of its main character. Jerry Herman contributed hardly any memorable songs except the title number and Dolly’s other great song Before The Parade Passes By. Worse, the score also features the execrable It Only Takes A Moment.

Its greatness lies in two redeeming features: the opportunity to put on magnificent chorus numbers, like Put On Your Sunday Clothes (which I admit has a nice hook) and the title number; and providing a vehicle for a female musical star to shine. Fortunately, if a production can get those right, that’s all it needs. And this new production, directed by Dominic Cooke who was responsible for the National Theatre’s legendary Follies, does get it right.

For a start, it is a sumptuous production in the great tradition of the Golden Age. The large London Palladium stage is not only packed with people, it is filled with Rae Smith‘s set and costumes that conjure up the glamour of the end of the nineteenth century. Among its delights are a conveyor that stretches the width of the stage and creates even more movement, a full-size train that is jaw-dropping in its execution, and an enormous staircase to accommodate the arrival of Dolly for her big number.

The choreography was originally by Gower Champion, who wowed Broadway and gets a credit to this day. Bill Deamer is named as choreographer of this production, and his chorus numbers are magnificent in their scale, co-ordination and vitality. There are something like three dozen members of the company but, in case you’re wondering, there’s not much opportunity for individual brilliance on the dance floor.

Imelda Staunton in Hello, Dolly! Photo: Manuel Harlan

Then there’s the star. Carol Channing first played Dolly, the matchmaker and all-round entrepreneur, to massive acclaim. Since then, many top musical stars have added it to their cv, including Ethel Merman, Mary Martin, Pearl Bailey, Bernadette Peters and of course Barbra Streisand in the film version. Can any have bettered Imelda Staunton? I don’t see how. She has a great voice that hits the back of the circle when it needs to, but also an ability to plumb a depth of pathos you didn’t even realise was there in a potboiler song like Before The Parade Passes By. Plus she injects the whole proceedings with a level of energy that could single-handedly power the government’s new Great British Energy company.

Fans of her film and television work would probably have no idea of her ability as a singer, but she has played the Baker’s Wife in Into The Woods, Miss Adelaide in Guys And Dolls, Mrs Lovett in Sweeney Todd, Sally in Follies, Gypsy Rose in Gypsy, and now Dolly Levi. All triumphantly. Only Mame remains before she has a full house of the great musical roles for mature women.

She is supported by a strong cast but the characters don’t give them much to get their teeth into. In fact, the term ‘character’ may qualify as misinformation. Andy Nyman is an excellent actor but as Dolly’s prospective husband, the rich but miserable Horace Vandergelder, he has little to do except be irascible while his suitor draws him into her web. The same goes for Jenna Russell as Irene Molloy, Dolly’s friend who has her own romantic ambitions: she does what she does very well but she hasn’t much to do. Irene’s romantic interest Cornelius Hackl is a traditional (for which read ‘cliché’) ‘juvenile lead’, with little to do except look pretty and behave cheekily. Harry Hepple handles the role well. Their friends Minnie Fay and Barnaby Tucker are supposed to be the comical parts but remain resolutely unfunny despite the Olympian efforts of Emily Lane and Tyrone Huntley.

With due respect to all of company and creative team, the evening belongs to Imelda Staunton.

Hello,Dolly! can be seen at the London Palladium until 31 August 2024. Click here to buy tickets from the theatre

Paul paid for his ticket.

Click here to watch this review on the YouTube channel Theatre Reviews With Paul Seven

Click here to read a summary of other critic’s reviews of Hello, Dolly!

May 14, 2022May 4, 2023

Nicola Walker in The Corn Is Green – National Theatre – review

Nicola Walker and director Dominic Cooke refresh dated play

★★★★

production photo of Nicola Walker in The Corn Is Green at the National Theatre in London 2022 — Nicola Walker in The Corn Is Green. Photo: Johan Persson

The Corn Is Green is a production that is worthy to stand alongside the best of the National Theatre. It almost seems a bonus that it features a star performance from Nicola Walker.

It’s a hundred years ago and an Englishwoman Miss Moffatt, played by Nicola Walker, arrives in a Welsh mining village. It’s her mission to educate the children. One of them, Morgan Evans, played with feeling and humour by Iwan Davies, is exceptionally clever and becomes her protégé. Much of the play hinges around the question, will he or won’t he go to Oxford University?

Apart from Morgan, the other characters are one-dimensional so anyone playing Miss Moffatt is required to carry the show. In the past, the part has attracted some big guns: Sybil Thorndyke, Ethel Barrymore, Bette Davis, Katharine Hepburn, Deborah Kerr. Hard acts to follow, and it seems for the first half that this is going to be a one note performance from Nicola Walker. I mean a beautiful pure note, but essentially she is determined and haughty toward everyone she meets and in everything she does. Then as she becomes more emotionally involved with making Morgan a success, a throatiness and slight hesitation pervades the previous stridency. It’s a subtle, powerful performance.

This semi-autobiographical play is dated in some respects and could have failed as a production but for some brilliant ideas by, I assume, director Dominic Cooke. First he introduces the author onto the stage, giving the stage directions and in that sense showing he is both is telling a story and that the story is very much about him.

Production photo from The Corn Is Green at the National Theatre London 2022 — The Corn Is Green. Photo: Johan Persson

Morgan talks about the conflict he feels about leaving his community but this is not dwelt on in the play. Again Dominic Cooke’s production comes to the rescue. The use of a miners’ chorus throughout is a reminder of the draw of the community.

The production opens with a 1930s ball shown in silhouette behind a curtain. A man steps out from it to the front of the stage. We soon realise this is Emlyn Williams. He begins to type his semi autobiographical play and creates the characters and story before our eyes. We’re back in a Welsh mining village in the early twenties. A group of miners sing in Welsh. The great Bill Deamer choreographs the moments of dance.

We meet some of the characters: the village children, who only speak Welsh, and the English who stand above and apart from them, showing contempt for people they regard as savages. Themain characters are amusing but fairly one dimensional: Richard Lynch is the saved Christian Mr Jones, with red-faced passion bubbling under his proper exterior; the dim, nervous Miss Ronberry played by Alice Orr-Ewing and the even dimmer landowner that she loves, simply known as The Squire, played by Rufus Wright. Then Miss Moffat appears.

Educating the children means teaching them arithmetic and to read and write, English, that is. The playwright appears to support this and treats the many racist attitudes towards the Welsh as a bit of a joke.

Morgan is the a cocky and clever leader of the boys (all of whom are played by adults). He becomes Miss Moffatt’s star student and she is tyrannical in her determination to pursue her ambitions for him, without care of any enemies she might make.

At first the actors mime on a set, designed by ULTZ, that is a blank and black with minimal props, perhaps indicating the emptiness of the prospects of these people who start down the mines at age ten. I don’t want to spoil the surprise but ULTZ’s set design is gradually populated with more detail and, when you come back after the interval, the curtain goes up on a transformed stage, like an Aladdin’s cave after the austerity of the first act. Just as Miss Moffat has become emotionally engaged and the educated Morgan has become committed to leaving for a wider world, the set becomes a naturalistic with colourful wallpaper and detailed furnishings.

Sure, The Corn Is Green is sentimental, patronising, and not overly challenging but, in the hands of Nicola Walker and Dominic Cooke, it is also heartwarming, and a hymn to the power of education.

The Corn Is Green can be seen at the Lyttelton Theatre within the National Theatre until 11 June 2022.

Paul received a complimentary review ticket from the producers.

Click here to watch this review on the One Minute Theatre Reviews channel on YouTube

February 5, 2020February 21, 2020

Sandy Wilson’s The Boy Friend at the Menier – review

Janie Dee leads delightful revival of The Boy Friend ★★★★

Production photo of Dylan Mason and Amara Okereke in Sandy Wilson's The Boy Friend at The Menier Theatre in London — Dylan Mason & Amara Okereke in The Boy Friend. Photo: Manuel Harlan

Even when it was first performed in 1954, Sandy Wilson’s The Boy Friend appeared to hark back to a bygone era, a time of flappers and musical comedies, that preceded the then modern muscular realist musicals like Oklahoma! That it still appeals 65 years later suggests that the secret of its longevity is that it is set not so much in the past as in a world of its own.

This is a world where rich young English ladies attend a finishing school under the benign supervision of Madame Dubonnet, in which English reserve melts in the warmth of the Mediterranean sun and the charms of the French, and in which a little deception and misunderstanding are mere ripples on a smooth voyage to romance and happiness. Put simply, its appeal is that it offers us a utopian world of innocence.

There isn’t much plot to tell you about. A young heiress wants to be loved for herself not her money. She meets a poor delivery boy, they fall in love, but he’s not all he seems. Don’t worry it all works out. In fact, it all works out for everybody’s love lives.

Sandy Wilson could have tried harder to incorporate some less predictable twists or more plausible predicaments but that’s not the point. The point is, to escape to this fantasy world for a couple of hours and bathe in the brightness of the song and dance.

Romantic jaunty and poignant song and dance

Mr Wilson’s delightful songs aspire to Cole Porter and, while not actually reaching the great man’s heights, there is a lot of humour in lines like ‘The mere idea of living in a palace is, so full of fallacies’. Memorable numbers include the romantic I Could Be Happy With You, the jaunty It’s Never Too Late To Fall In Love, an unexpectedly poignant Poor Little Pierette and of course The Boy Friend. A quick word of praise here for Simon Beck and his live orchestra for driving the show at a jolly pace.

Production photo of Tiffany graves and the Compnay of The Boy Friend at Menier Theatre — Tiffany Graves & Company in The Boy Friend. Photo: Manuel Harlan

In the intimate space of the Menier, the kicks are so high and the lifts bound so far across the stage that people in the front row may need to duck. Among the many glorious dances, there’s an infectious Charleston performed by Gabrielle Lewis-Dodson and Jack Butterworth (both talented performers to watch out for in the future) and an amusing tango in which the couple come to blows while maintaining the moody moves.

The splendid chorus lines extend to the girls speaking in unison as they flirt with their potential husbands. In fact, given that choreographer Bill Deamer is listed as associate director, it is hard to say where his choreography ends and Matthew White’s direction begins. But all praise to Mr White for honouring the gossamer lightness of this musical while introducing enough down-to-earth physical comedy (with homage to vintage TV) to keep a contemporary audience happy. For example, when the stern French maid Hortense, played with gusto by Tiffany Graves, describes the demureness taught at the school while leaving her legs wide apart as she crosses them. Shades here of Kenny Everett.

Adrian Edmonson squeezes every laugh he can

There’s a touch of Benny Hill when Adrian Edmonson, once a Young One, appears as an old English lord, whose lechery is thwarted at every turn. It’s behaviour we wouldn’t expect to find funny anymore but in the world of The Boy Friend, even lechery is innocent fun and Mr Edmonson squeezes every laugh he can out of it. He even eats an ice cream lasciviously.

And he is just one of a terrific cast brought together in this Menier production. It’s led by one of the great musical stars of the older generation Janie Dee who steals every scene she’s in with her ‘Allo ‘Allo style French accent (another blast from the TV’s comedy past) and her knowing smile, especially when she seeks to rekindle an old romance with ‘Petit Percy’ played by an appropriately starchy Robert Portal.

And it’s a pleasure to see a star of the new generation Amara Okereke in the lead role of Polly Browne. Her sweet soaring voice and subtle acting convey both the strength and vulnerability of a young woman looking for love. Dylan Mason plays her suitor with fresh faced innocence.

Paul Farnsworth’s simple Mediterranean blue set is entirely appropriate and his 1920s style costumes are bright, elegant and fun.

You won’t come away from The Boy Friend feeling you’ve had a substantial meal but you will have enjoyed a superb sorbet.

The Boy Friend is performing at The Menier Chocolate Factory Theatre until 7 March 2020.

Click here to watch this review on YouTube

October 2, 2017January 8, 2018

Sondheim’s Follies at the National Theatre

Superb Cast Make Follies A Night To Treasure

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Follies at the National Theatre reviewed by Paul Seven Lewis of One Minute Theatre Reviews — Follies at the National Theatre. Photo Johan Persson

Stephen Sondheim’s Follies is a difficult musical. To carry it off, you need an extraordinarily good cast. Fortunately the National Theatre production has one.

Imelda Staunton is now the preeminent West End musical star, certainly for the more mature roles. Her performance as Sally consolidates her reputation by offering a perfect, beautifully acted and sung portrayal of sadness and illusion. That would be joy enough but just as perfect is Janie Dee. In the role of the cynical but brittle Phyllis, her voice, her acting and her dancing reminded me that she belongs in the highest ranks of musical performers.

Dee gets the most laughs with her songs Could I Leave You? and The Story Of Lucy And Jessie. When she finally crumbles, her performance is every bit as poignant as Staunton’s, who expresses her damaged character through the songs Don’t Look At Me, Too Many Mornings and Losing My Mind.

The musical is set in 1971 in a condemned theatre where former showgirls from Weismann’s Follies, a series of Ziegfeld-style musical reviews from the inter-War years, are gathering for a reunion. Attention centres on two of the women and their husbands. We discover that both couples have relationship problems which date back to their Follies days. This is cleverly told by showing us the ‘ghosts’ of their younger selves.

Other women reveal their illusions about their lives and relive their glory moments, again accompanied by their younger selves. More top class performances include those of Josephine Barstow, Dawn Hope and Tracie Bennett.

Imelda Staunton & Janie Dee in Follies reviewed by Paul Seven Lewis of One Minute Theatre Reviews — Imelda Staunton & Janie Dee in Follies. Photo Johan Persson

Janie Dee and Imelda Staunton are magnificent

Why do I say Follies is a ‘difficult’ musical? There is very little in the way of plot. The exploration of the main characters’ unhappy present relationships and past regrets is told for a substantial part of it as a series of book or character songs.

Sondheim’s music is complex and deep with emotion but, knowing that I was watching a production that runs for two hours and ten minutes without an interval, there was a moment when I wondered whether it was ever going to move along.

Just when it seemed Follies was getting nowhere, we were treated to impressive song-and-dance numbers like Who’s That Woman and a series of pastiches of pre-war Broadway musical songs, excellently choreographed by Bill Deamer. They provided some much needed fun and spectacle.

Follies comes to a climax with Loveland, a collection of Broadway parodies in which each of the main characters sings about their ‘folly’, whether of youth or maturity.

The production, directed by Dominic Cooke, does the musical proud with its 37 strong cast and 21 piece orchestra. The large Olivier stage is used well by designer Vicki Mortimer to create the crumbling theatre complete with a flickering neon sign and, when it provides the setting for the more glitzy Broadway numbers, it gives an apt visual representation of the contrast between past and present. The space is great for the song-and-dance numbers but too big for the book songs but that is the paradox of this brilliant, broken musical.

Click on this link to watch my YouTube review at One Minute Theatre Reviews or watch it below

Stephen Sondheim’s Follies runs until 3 January 2018 at the National Theatre.

A Kendall commented on my YouTube review: “The criticisms of James Goldman’s book as having little ‘plot’ are shown to be irrelevant when you have this good a production, because what it becomes is, in effect, a meditation on ageing, the death of dreams, the sense of regret, guilt and much more. That is why it draws people in so very deeply to it. And in that sense, it is to musical theatre what some of Wagner’s mature works are to opera.”

It’s a good point. Maybe we can too hung up on stories in musicals and should sometimes just enjoy the mood of the work.