On
the northeast tip of North America, on an island called Newfoundland, there's
an airport.
It used to be one of the biggest airports in the world, and next to it is a
town called Gander.
Welcome to the rock if you come from away,
You'll probably understand about half of what we say.
They say no man's an island but an island makes a man,
Especially when one comes from one like Newfoundland.
Welcome to the Rock
And so begins an
impressive new musical Come From Away
playing at the Phoenix Theatre. It tells the true story of the 38 planes which
were diverted en route from their destination in American airspace to the small
Canadian town of Gander, population 10,000, during the tragic events of 9/11 in
2001. In all more than 6,500 strangers found themselves stranded for days in
this backwater. It would have been a hell-ish sojourn were it not for the
generosity and kindness of the townsfolk who gave up their lives to looking
after the souls who sought refuge as the world mourned. Irene Sankoff and David
Hein who are responsible for the book, music and lyrics of the show have
crafted something pretty special from these historic events. Rather than being
a show that is over sentimental and grief stricken, the passengers are given
such love and warmth from the locals whilst some wait to find out if their
loved ones have survived the tragedy, that it becomes a joyous affair. An
homage to the strength of the human spirit in all its forms. Running throughout the show are catchy Celtic
folk melodies as the large Irish community pitch into battle, offering whisky
and a dance to keep away the realisation of what might be to come. The eight
strong band lead by Alan Berry rise to the occasion magnificently, be it ballad
or bounce. The set is pretty basic with just tables and chairs littered about
the stage, but these are used to creative affect by director Christopher Ashley
so that the action rarely remains static. Rachel Tucker leads the big voices as
pilot Beverley, her powerful ballad “Me and the Sky” allows her strong belt to
be heard in full. West End stalwart Clive Carter is the harassed Mayor Claude,
trying desperately to work out how to best host the influx of thousands at
almost no notice. Helen Hobson and
Robert Hands make the most of their characters who find themselves attracted to
each other despite the gravity of the situation. David Thaxton as Kevin and
Brandon Lee Sears as his partner... er, Kevin again, have some light hearted
moments being the only gays in the village – or so they think. But really the
entire cast are just wonderful in this ensemble show. They all play multiple
characters in the piece, living with the fear of not knowing the fate of loved
ones weighs heavily on them all. What really sells this show is the message that
out of darkness comes light. The locals of Gander show such selfless
hospitality to everyone that has found themselves there on that horrendous day and
several subsequent days that this is an uplifting almost spiritual experience. The
events of 11th September 2001 are a testament to the worst of
humanity, but in this story of the people of Gander and the comfort and overwhelming
support they gave to international travellers from around the world, it
reflects the best too. Sensational.
The National Theatre
hosts an altogether different look at the human condition courtesy of Roy
Williams and Clint Dyer’s hard hitting one man play Death Of England. The one
man is Michael Fletcher, a thirty something Essex wide boy. He has charm in
abundance and this is matched pound for pound by anger. But the real pivot of
the piece is Michael’s father Alan. A florist with a pitch on the market, whose
racist philosophies Michael has grown up with. He constantly refers to his son
as “Boy” in the way insecure men unconsciously belittle. Michael’s best friend
is Delroy, whose West Indian mother is a fearsome matriarch who is never afraid
to speak her mind. Then there is Michael’s mouthy sister Carly, and his
emotionally distant mother. All these characters are interpreted by Michael
during the play. Williams and Dyer show us the ugly truth about racism and
being black writers, they have doubtless had many an insight themselves. That
we feel we have met all these characters lies in the brilliance of Rafe Spall. He
commands the stage from his first dishevelled entrance. Producing props from
the boxes around the stage as if offering exhibits to his testimony. The
turning point for Michael is when his father has a coronary in the pub whilst
watching England lose a qualifying match against Croatia. With his mother and
sister turning on him, he succumbs to drugs and alcohol leading to a spectacular
outburst at the funeral. Only when an Asian visitor brings surprise information
about his father’s activities does Michael take the bait and solve the mystery
of his Dad’s true character. The stage is in the shape of a St. George Cross
which only accentuates the misplaced nationalism of Michael’s father. There is
a coup de theatre when the crematorium suddenly appears, complete with flames
to symbolise the hell that is about to unfold. In many ways this play
is about the grey in us all. That little part of us that however honourable we
want to be, gives in to darkness from time to time. What Michael finds out
about his Dad rocks his world even more. Whether bantering with the audience or
collapsing with grief at the sound of his father’s voice from the grave (well a
tape machine actually) Spall takes us on his journey of testosterone filled
fury like a man possessed. He swaggers, he preens, he challenges. With Brexit
having divided the nation like few polls before it, the ugly truth of our
national conscience is laid bare in this 100 minute assassination of the bloke
culture and nationalism at its worst. That we all recognise people we know in
Michael is perhaps the biggest tragedy of this play. Rafe Spall shines brighter
than he has ever done. A masterclass of theatre perfectionism.
From the darker
recesses of Essex to the Cockney charm of Peckham’s favourite sons. It might
seem to some like an odd match but Only
Fools & Horses The Musical
delivers a ray or two of sunshine at the Haymarket Theatre. Writer John
Sullivan had started the project before his death, then his son Jim had roped
in Fast Show legend Paul Whitehouse
to help realise his Dad’s ideas for the show. Telling the story of Del’s first
meeting with Raquel, along with a few other memorable moments for the Nags Head
regulars, this is the complete antidote to Death
Of England. Recreating characters who are now living legends and national
treasures is a thankless task. But luckily Tom Bennett with his quick talking,
ducking and diving, Del Boy and Ryan Hutton, blessed with a naturally gormless
air as Rodney are accepted pretty much from the first song. They are joined by
Paul Whitehouse himself as Grandad, a character who only appeared in 22 of the
64 episodes but here is the dominant third in Nelson Mandela house. The set
designer Liz Ascroft works wonders realising the grotty flat and the Nags Head,
giving us a potted Peckham. Even the iconic three wheeled van makes an
appearance. Musically the show is lightweight. Naturally we get the theme tune
“Hookie Street” along with a cockney knees up pastiche “Where Have All The Cockneys
Gone”. Del’s dating agency exploits are accentuated with “A Bit Of A Sort” a
patter number about his preferred type of lady. It is fitting that Chas Hodges
of cockney party group Chas & Dave fame has co-written several of the
songs. Thankfully we get “Margate” thrown in as a treat, the hit 1980s song
that became the theme to the Trotter’s Jolly Boys Outing. With an impressive
ensemble cast (Jeff Nicholson’s Boycie and Dianne Pilkington’s sweet voiced
Raquel need a shout out as does Oscar Conlon-Morrey as the dating agent) this
is a certain crowd pleaser. Director Caroline Jay Ranger keeps the tone of the
show in line with the television series, the audience greet the characters like
the second coming. And first sight of the old sea dog Uncle Albert fair brings
the house down. Initially sceptical that a musical based on such untouchable
material was a good idea, I have been won over by both the cheeky chappy charm
of Del Boy and his mates and the loving touch given to the show by Whitehouse
and Sullivan Jnr which pays genuine respect to its source material. In short
it’s cushtie! (But don’t lean on that bar...)
If the previous two
productions have reflected essentially British characters, then a truly global
phenomenon is holding court at the Aldwych. Anna Mae Bullock might not be a
name familiar to many, but her professional name leaves no doubters – Tina Turner.
What is essentially a juke box musical has been lifted to greater heights by
director Phyllida Lloyd, the woman at the helm of the Mamma Mia! success story on stage and film. Born into a poor
working family who moved to Nutbush, Tennessee, she was farmed out to her
grandparents. She began singing in the church choir where her loud voice was
soon noticed. The musical starts us on the journey from the God fearing cotton
picking negro community to Anna Mae’s first steps into the music business after
meeting Ike Turner. As we all know now that relationship became abusive with
her newly named Tina Turner suffering violent retaliations from Ike’s wrath. Once
again elements of racism touch the story, as if 1950s America will ever be rid
of that tarnished image. But Tina’s voice wouldn’t be silenced inside or
outside the studio. Phil Spector spotted her unique voice early on and invited Tina
to record with his famous Wall Of Sound, the song he co-wrote for her “River
Deep Mountain High” is now one of the most recognised recordings of the 20th
century. The current West End Tina, Aisha Jawando, captures the fire and talent
of Tina throughout the stages of her life. Her onstage sparring with Ike (a
fine performance from Cameron Bernard Jones) has the uncomfortable ring of
truth about it. Tina’s split from Ike sees her struggling to support her two
children with residences in Vegas during which time she is struggling to pay
her band and backing singers. But a talent like Tina’s isn’t made for fading
away. A lifeline appears from London, in the shape of a recording opportunity
with Sheffield pop maestros Heaven 17. Despite the fears that a new style wasn’t
going to land with the public, her resulting Private Dancer album shot to the top of the charts and the
resulting single “What’s Love Got To Do With It” also hit number one. Tina was
now in the megastar category. Her difficulties with Ike and a difficult
relationship with her mother were never fully resolved, and the musical does
its best to give us some insight into the tortured journey. But it is the songs
that most have come to hear. “Proud Mary”, “Disco Inferno”, “Nutbush City
Limits”, “We Don’t Need Another Hero”... hit after timeless hit pervades the
evening. By the time we get to the finale and the first notes of “Simply The Best”
the audience can remain silent no longer. They want to party and the production
gives them this wish. Tina – The Tina
Turner Musical undoubtedly belongs to the upper echelons of jukebox
musicals, and will be playing the Aldwych for many years to come.
Andrew Lloyd Webber’s
hit rate took a dive in the Noughties as he seemingly fell out of favour with a
new wave of musical theatre goers. It took until 2016 and an adaptation of the
movie School Of Rock to properly
bring him back in favour. To the uninitiated the story revolves around failing
rock musician Dewey Finn, who out of desperation for cash, masquerades as a
supply teacher in a posh school. There to
his surprise he discovers his pupils are talented musicans. He sets about
teaching the subdued talents the benefits of rock music and enters them for the
Battle Of The Bands competition. However his deception is discovered, but as in
all fairytales he has proved a positive influence on his pupils who flourish
under his unorthodox teaching methods and rock the competition, so all ends well. The
major selling point in this show, aside from the ridiculously catchy riffs, are
the children themselves. They act superbly and play their instruments live in a
manner that suggests they are experienced rockers. It’s glorious to watch. Sebastian
Adams-Eaton is hugely impressive with his electric guitar, Jasper Brew pounds
the keyboards like a young Rick Wakeman and Bea Ward steps up as the voice of
the School Of Rock. Just three of the twelve talented youngsters that are at
the core of the show. Among the adults Jake Sharp (the alternate Dewey for the
production) whips up a star performance of a slob who finds his own personal growth
during his time as a teacher and is the central driving force of the shows
comedic moments. He even manages to bag the stuffy principal of Horace Green Miss
Mullins, another lovely performance by Laura Tebbutt particularly in her big
solo number “Where Did The Rock Go?” Director Laurence Connor has devised a
production that hits all the right notes (literally) bringing out the strong
comedy of the movie coupled with one of Andrew Lloyd Webber’s most foot tapping
scores. (He has in fact recycled several melodic passages from his own 1978
album Variations!) With a book by Downton
Abbey’s Julian Fellowes and lyrics from Glenn Slater, this production is
just sheer fun from beginning to end. It is about to close at the Gillian Lynne
Theatre and head out on a UK tour. The school parties that were in the matinee
performance I attended absolutely loved every rule breaking moment. Andrew
Lloyd Webber has made no secret that he believes music in schools can inspire
kids and has a charity foundation to fund schemes of this kind. This looks like just the
show to ram the message home.
My final visit on this
trip sees me at the Noel Coward Theatre for another production that has seen a
more youthful audience heading to the West End. Dear Evan Hansen has been playing Broadway for a number of years
and its hugely anticipated West End opening saw a surge at the box office. It
is the brainchild of Benj Pask and Justin Paul who also have The Greatest Showman among their
credits. Together with book writer Steven Levenson, they tap into the world of
social media and the overwhelming pressure to ‘fit in’. Evan Hansen is a
teenager suffering from extreme social anxiety, feeling he is always on the
outside “waving through a window”. He is urged by his therapist to write
letters to himself 'Dear Evan Hansen,
today is going to be a good day because...' One of these letters is stolen
by bully Connor Murphy, a high school student with an increasing drug abuse. Shortly
thereafter he is found dead. Connor’s parents find the letter and assume it has
been written by Connor to his friend Evan. It is a deception that Evan plays
along with, but the lie grows and grows. Together with his nearly friend Jared (Jack
Loxton playing nerdy) they forge emails purportedly between Evan and Connor. These
are posted online by the well meaning needy school ‘acquaintance’ Alana (Nicole
Raquel Dennis). Naturally Connor’s parents take great comfort in knowing their
troubled son had a friend whom he could confide in. However cracks start to
show as Evan becomes more and more guilt ridden and the inconsistencies in his
emails are being spotted. But out of his lies comes good, the school is raising
money to renew an orchard that he and Connor are supposed to have regularly
met, Connor’s parents are becoming closer in the knowledge that their son won’t
be forgotten. The production is blessed with a terrific star performance in Sam
Tutty as Evan. His twitching and awkwardness balanced by a genuinely strong
voice which handles the difficult musical passages easily. It is a physical
performance of great subtlety around which the show revolves and marks Tutty as
a star in the making. Lucy Anderson as Connor’s confused sister Zoe is equally
engaging, benefitting from the lies Evan tells saying her brother always wished
they were closer. Rebecca McKinnis as Heidi Hansen and Lauren Ward as Cynthia Connor
are exceptional as the Mothers who are both thrown into the maelstrom of events
started by Evan. The distinctive set by David Korins is alive with streams of
social media posts as the information is assimilated by the school. Director
Michael Grief explores the emotional impact of Evan’s actions on all those who
knew Connor, and the impact of needing to be accepted by peers. The score is
full of ear worms, particularly the Act 1 big number “You Will Be Found” which
has become the anthem of the show. The theatre needs to reflect the thoughts
and feelings of the younger generation and the fact that this show has hit home
for so many teenagers is proof that Dear
Evan Hansen is speaking in a language they understand, reflecting pressures
and anxieties that are familiar. They are a generation waiting to be found.
