“The second act just gets sillier. And the sillier it gets the more we enjoy it.”
There’s a joke, in the form of a flowchart, currently doing the rounds of social media about how to work out if it’s Christmas. Is it November? Yes? Then it’s not Christmas. The folks down at the Watermill Theatre have obviously missed this as they seem fully intent on delivering a sleigh-load of festive cheer into the heart of the Newbury woodlands. For them, the season has started. It’s time to forget the dark nights, and the darker state of the nation, and embrace the innocent joy that has been locked away for too long.
Annie Siddons’ “Rapunzel” has something for all the family. But Disney it ain’t. It is not quite Grimm either as it strays somewhat from the original German fairy tale. But still managing to keep the central plotlines fairly intact. We are in the rolling hills of Tuscany – not really known for its dense woodland and trumpet-playing pigs, but you have to suspend disbelief to have any chance at all of keeping up with the story. A story told with heart-warming exuberance by the half dozen actor musicians.
Mother Gothel (Miiya Alexandra) is not so much the wicked witch, but an overprotective mother with good intentions. When she becomes aware that Rapunzel (Tilly-Mae Millbrook) is on the verge of pubescence, her innate, maternal fears kick in. Of course: lock her up to protect her. “Because I love you” she reasons to her bamboozled daughter, and Rapunzel meekly takes it.
Meanwhile – on the other side of the forest the Duchess (Miiya Alexandra again) is practically kicking her two sons (Roddy Lynch’s Paulo and Loris Scarpa’s Patrizio) out of the door. Time to seek adventure. Some sort of sexual stereotyping is going on here, but it’s all so tongue in cheek you grin and bear it. Actually, you grin like the Cheshire Cat. By this time, it’s all wonderfully absurd. You almost expect Graham Chapman to burst in with his Monty Python catchphrase; “Stop that, it’s silly”.
Prince Patrizio is the sensitive, musical, mandolin-strumming one who, having misplaced his brother, hears Rapunzel singing in her tower, discovers a way to climb up… you know how it pans out. He scares her, soothes her, kisses her and, ‘Hey Presto’, this is love. Knowing asides swoop over the kids’ heads to be lapped up by the adults’ more knowledgeable (debatable) and experienced (doubtful) minds.
The script dates back to 2006, when Kneehigh put their inimitable stamp on it. This company respect and replicate the spirit. A few topical references have been added – political, of course – relating to taxes, inflation, chancellors, recession and so forth. “Thank God we’re in a fairy tale and not real life”. The fourth wall, already crumbling now gets pulverised, mainly thanks to the wonderfully hilarious Emma Barclay with her wry delivery and comic flair. The second act just gets sillier. And the sillier it gets the more we enjoy it.
Isobel Nicolson’s set adds to the magic of the evening, cleverly creating the illusion of height on the relatively small stage. The fine ensemble cast weave themselves up, down, above and beneath the rickety spiral staircase. Greenery sprouts and retreats, musical instruments appear and disappear. There’s a fair bit for the performers to think about, and occasionally it gets messy, but it’s a delightful messiness that we are glad to be tangled in.
Like the princes in the forest, you may occasionally lose your way among the anarchic mayhem that is “Rapunzel”. Even the Brothers Grimm had two alternative endings to the tale. This show twists it in another direction still. It is an enchanting show. Oh, and did I say it was silly?
“The action plays and replays in LJ’s bar – Justin Williams’ impressive centrepiece – with the six strong cast giving fine acting performances”
We are in LJ’s bar. It is 7pm on Monday 14th (the month is unspecified). For the next two and a half hours it is 7pm on Monday 14th six times. One day is played out in the lives of the six characters, each time from their own perspective. It is a clever idea. Everything has changed and nothing has changed. There are inevitably going to be comparisons to ‘Groundhog Day’, but “Tasting Notes” owes more to Alan Ayckbourn’s ‘Norman Conquests’ trilogy. With perhaps a touch of ‘Sliding Doors’ thrown in. As we witness the action from the various mind’s eyes, the full picture is slowly revealed. Unfortunately, too slowly.
LJ (Nancy Zamit) runs the bar. She lives in the bar, invariably sleeping there overnight. She loves it, but she tires of it and there is nothing else. Not so for her staff. A waitress is never just a waitress. Maggie (Charlie Ryall – who also co-wrote the book and lyrics with composer Richard Baker) serves drinks in between going off to another soul-destroying audition. Her torch burns for her colleague Oliver (Niall Ransome). Despite the mutual attraction, Oliver is more anxious to get home to his cat (never trust a cat person!). Eszter (Wendy Morgan) spends more time cleaning up after her wayward son than she does washing the dirty glasses. George (Sam Kipling) doesn’t let little things like punctuality get in the way of his extracurricular activities. If only he would set his watch to regular customer, Joe (Stephen Hoo), who’s through the door at opening time, ready to drink away his memories.
The action plays and replays in LJ’s bar – Justin Williams’ impressive centrepiece – with the six strong cast giving fine acting performances. Ryall has an ear for dialogue, which flows naturally; the initial mundanity belying the subsequent significance and dark twists. Baker has a similar way with words, crafting some clever lyrics into the dozen or so songs that flesh out the book. But the show needs condensing rather than fattening up. However good the concept may be, rewinding half a dozen times really starts to dilute the effect, and the ideas lose their taste. We feel like we’re watching a drama game, or some serious ‘actioning’ in the rehearsal room.
The second act does drag, until the dark, unexpected twist jolts us. We wish we could have reached it much sooner, despite the welcome distraction of lesser revelations on the way. This is a work in progress; or a pitch. Except that we are being given the whole menu instead of a taste of what it could be. There is a lot left on the plate, which goes to waste. Ryall’s script is clever, but there are too many notes that cloud the overall flavour. And one questions the decision as to why it needed to be a musical (although everything seems to be a musical nowadays). Baker’s score, more of a song cycle, matches the craftmanship of his lyricism but is too easy on the ear. And the cast, despite their solid grip on the language and characterisation of the piece, invariably find the musical demands beyond their grasp. Which is surprising at a venue noted for the quality of its musical theatre.
“Tasting Notes” has shades of “Friends” or “Cheers”, although with more contrast: it can be funnier, and it certainly gets darker. But ultimately it feels like you’re being talked into having one more for the road; when you’ve already had enough.
Reviewed by Jonathan Evans
Photography by Chris Marchant
Tasting Notes
Southwark Playhouse until 27th August
Take a look at some other shows previously reviewed at this venue:
