With direction from Michael Burgen, musical direction from Bryan Hodgson, and choreography by Matt Kazan, this version of Loserville sparkles with enthusiastic effervescence, combining familiar comic stereotypes with excellent ensemble singing and dancing, and giving some excellent performers a chance to shine, all the while emphasising the inherent gifts provided by book, score and lyrics.
Ruby Wax is a transatlantic treasure. So it was terribly exciting to hear of her brand new one woman show, Sane New World, playing for a limited run at the St. James Theatre. But there was a spark missing tonight. Ruby, vibrant as ever, with her quick wit, and honest opinions of her own neuroses, unfortunately gave us less of a journey-filled one woman show, and more of a neuroscience lecture, with jokes.
Ria Jones is the real deal, a generous performer of true skill and intelligence. She has that impressive ability to summon up a mood, an atmosphere, with a simple turn of the head or a bittersweet smile. If you want to have good fun, enjoy some superb musicianship, and remind yourself of a time when Broadway tunes routinely became a part of the fabric of life, this is an opportunity not to be let pass you by.
It is a slight, but quite beautiful, play, perfectly suited to the intimate grandeur of the space, and quite intoxicating, so perfectly judged is everything about it. . The gifted Sam Crane takes on the acting burden of Farinelli , but when it comes time to sing, he is either joined onstage or replaced there by Purefoy, costumed precisely to match Crane. Purefoy has a strong, rich and agile counter-tenor. He is a delight to hear.
The vision that Fall and Ronder and their team have for Dara is as grand and awesome as the Taj Mahal itself. Lindsay’s wonderful set uses the full length, breadth and height of the Lytleton’s vast space. A series of beautifully patterned screens is employed, moving in constantly changing configurations across and above the stage, giving a truly exotic sense to proceedings. The kaleidoscope of activity, images and designs is visually intoxicating.
The tale of Yarico has a potency and universality that makes it almost perfect subject matter for treatment as a musical or opera. What makes the entire experience worth seeing and savouring is the terrific central turn from Liberty Buckland as Yarico. Buckland has a wonderful voice, full of colour and expression, and she knows precisely how to use it to best effect. Alex Spinney has an excellent, assured voice, light and agile, and he certainly has no difficulty playing the attractive leading man.
Brad Fraser’s play, Kill Me Now, is an eye-opener. It approaches difficult, taboo even, topics with unerring candour. As the inaptly named Sturdy family face up to the overwhelming vicissitudes of life, with as much grace, tension, sympathy and anger as can be expected for a small family, each blow seems horrific but inevitable, and a workable solution to joint woes more impossible to fashion. But the love and humour which lacerates and laces them together permits a solution which is both tender and devastating.
Christopher Luscombe’s very funny version of the Beatrice/Benedick show complete with magnificent, period set (Simon Highlett), some fabulous costumes, Nigel Hess’ delightful music and Jenny Arnold’s joyful movement. Setting the play in the post-World War 1 period works nicely; the sense of changing times is entirely appropriate. It’s a gentle but frisky time and you can almost hear the approach of the flappers.
