“Drew McOnie’s musical staging is simply stunning”
Down in the back alleyways of Prohibition era New York City, where shadows lurk beneath the stark, black fire escapes, lies Fat Sam’s Speakeasy. You wouldn’t know it’s there; except that for two hours each night its doors burst open to the lucky few (hundred) who are assembled in the Alexandra Palace Theatre’s beautifully decaying auditorium. No password is needed. Just a willingness to embrace your inner child and dive headlong into a glorious world of escapism. A world of song and dance belies the average age of the performers. While we are busy recapturing our youth, they are stealing the show, grabbing grown-up talent for themselves, and making the stage their own.
Like Alan Parker’s film on which the musical is based, the mobsters and molls the bootleggers and showgirls are played by nine-to-fifteen-year-olds. An unusual idea which, on paper, shouldn’t really work. But Parker’s film did – and so does Sean Holmes’ current revival. The precocious and wild energy is harnessed by sky-high production values, slick stagecraft and some of the best choreography to be seen in a long while. Drew McOnie’s musical staging is simply stunning.
The plot might be wafer thin, but it is filled with big characters. Fat Sam’s gang are under attack from rivals led by Dandy Dan, so Sam obviously wants to fight back. Enlisting Bugsy Malone to do his dirty work is not his wisest decision. Bugsy has fallen for the singer, Blousey Brown, and all he wants to do is whisk her off to Hollywood. Much ‘splurging’ ensues, from machine guns full of custard.
Albie Snelson, as Fat Slam, sets up the story and introduces us to the characters. In fine form, Snelson breaks the fourth wall with a keen sense of comic timing and delivery. Gabriel Payne is, for the most part, comfortable with the wisecracks and cheeky charm that define Bugsy’s character. Only occasionally do we get the sense that older words are put into younger mouths. Payne’s sense of showmanship, however, is flawless. Love interest Blousey is given commanding maturity by Mia Lakha, oozing star quality when under the spotlight in her solo numbers; ‘I’m Feeling Fine’ and ‘Ordinary Fool’. The quality of the singing is beyond its years. Similarly, Jasmine Sakyiama’s sultry songstress Tallulah lights up the stage, especially when opening Act Two with her signature tune ‘My Name Is Tallulah’. With a slightly slimmer script than Fat Sam, Desmond Cole’s rival gangster, Dandy Dan, certainly pulls as many punches. And special mention must go to Aidan Oti as Fizzy – Fat Slam’s caretaker and wannabee singer. Overlooked by his boss, but definitely not by the audience who are captivated by Oti’s cheeky charming charisma. And, boy, can he move!
The marginally older ensemble brings the whole show together. Not a step was put out of place during the demanding routines and the joy that each performer brought to their role shot straight to our hearts with exhilarating accuracy. The show never dips, even during the scene changes which are choreographed into the action, seamlessly shapeshifting the locations. Designer Jon Bausor, complemented by Philip Gladwell’s lighting, are the unseen alchemists that help transform the piece into pure gold.
It isn’t music heavy. In fact, the balance of dialogue, slapstick, humour and musical numbers is pretty good. But Paul Williams’ compositions stand out. The band, led by Musical Director Connagh Tonkinson, is tucked away at floor level but fills the cavernous auditorium. Each number sounds like a hit. By the time we reach the finale the audience are quite rightly on their feet. Feet that are young and old and all ages in between. This show, that has everything, is for everyone.
“Bryan puts an impressive amount of energy into the performance … His physicality is excellent and certainly helps the audience to engage with the story”
The day before the 75th anniversary of D-Day, David William Bryan presents his one man show, In Loyal Company, at Alexandra Palace Theatre. Based on his great uncle Arthur’s experiences in World War II, Bryan’s show has already received critical acclaim from a 2018 run as part of the Edinburgh Festival Fringe and is now touring the U.K.
The stage is virtually bare, aside from a trunk that it’s later revealed contains costume elements, including various army uniforms, used throughout the show. You’d be forgiven for wondering if such a basic performance space would mean a bland show, but this most definitely isn’t the case. It’s immediately clear that David William Bryan is a talented performer. The character he has created from his great uncle’s true story is likeable from the start, which makes us all the more invested in his journey and how it’ll turn out. From an awkward night at a dance to his capture by the Japanese army, a lot of detail about the experiences of one man during World War II is packed into just over an hour.
Bryan puts an impressive amount of energy into the performance. He barely stops for the entire duration of the show, which makes sense as five years’ worth of experiences have been condensed into a relatively short space of time. His physicality is excellent and certainly helps the audience to engage with the story. A particularly memorable moment comes when the young soldier jumps from a ship into the sea to escape a missile attack. The physical elements, combined with lighting and sound, make this section believable and powerful.
One of the most wonderful things about theatre is the opportunity for performers to bring people’s real experiences to life. In Loyal Company does this in a way that is emotive and respectful, as well as humorous at times. It may be the story of just one individual, but this show shines a light on the sacrifices made by so many during one of the most trying times in history. Long may similar stories be presented in our theatres.
Reviewed by Emily K Neal
Photography courtesy David William Bryan Productions
