WEST END JOTTINGS 2020

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 11^th 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 20^th 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.