“The production values are up there with the best”
On its release in 1935, the Fred Astaire and Ginger Rogers film of “Top Hat” was recognised for its flaws but generally it was received positively. The New York Times praised the film’s musical numbers, but criticized the storyline, describing it as “a little on the thin side”. In retrospect it was described as a “glamorous and enthralling depression-era diversion”. When the musical adaptation had its world premiere a decade ago, little, if anything, had been done to thicken out the story but six more songs by Irving Berlin were added to the eight that were featured in the film. Initially playing out of town it made its home at the Aldwych Theatre for the next year and a half.
The revival at the Mill at Sonning sees it scaled down; but only in terms of the intimacy of its playing space. The production values are up there with the best, and the feel-good spectacularity (yes, that is a word) is enhanced by being so up close to the action. Nearly a century on from the golden-age of musicals, we can still feel the glow that warms our hearts when we most need it. A “glamorous and enthralling depression-era diversion” has never been more apt a description.
Let’s get the one and only gripe out of the way. “A little on the thin side” is putting it politely. Good, that’s out of the way. The story is based on a singular comedy of error, and spun thinner, but director Jonathan O’Boyle has worked on it with an alchemist’s skill to create theatrical gold. The story follows Broadway star Jerry Travers (Jonny Labey) who arrives in London for his West End stage debut, and then promptly falls for socialite Dale Tremont (Billie-Kay). But being a screwball comedy, things do not go to plan of course. Tremont mistakes Travers for producer Horace Hardwick (Paul Kemble) – a married man – and is therefore horrified at his advances. The themes and wisecracks are pushing their sell by date, but there is nothing that can be done about that, so we are left to face the music and dance.
From the opening bar of the overture to the closing bar of the finale we are enchanted. Jonny Labey is in his element, letting his natural energy and joy wash over us in glorious waves of smooth charisma. Billie-Kay’s cool Dale Tremont counterbalances nicely, gradually warming to Travers’ irresistible charm while never letting herself boil over. Kemble gives a glorious portrayal of put-upon producer Hardwick, matched by Julia J Nagle’s crisp, classy and cool Madge – the wife who pulls the shots. A terrific ensemble fills out the space with West End pizzazz, and the smaller roles are beefed up with real comic flair: Brendan Cull is a constant delight as Bates – Hardwick’s eccentric valet. And Andy Rees hilariously hams it up as Dale’s personal dresser, Beddini.
Everyone is a triple-threat and with Ashley Nottingham’s creative, sharp, synchronistic choreography everyone shares the spotlight. Even the scene changes are choreographed into the action. Natalie Titchener’s costumes seem spun from the golden-age itself, while Jason Denvir’s ingeniously crafted Art Deco set transports us, by sheer sleight of hand, to each location – keeping up to speed with the costume changes.
Many of Irving Berlin’s best-known numbers are given the all-star treatment here. Arranged by Musical Director Francis Goodhand it is hard to believe that he is accompanied by just two other band members (Joe Atkin-Reeves on reeds and woodwind and Callum White on drums and percussion).
Ultimately, though, the show belongs to Labey. The original film was a vehicle for Fred Astaire and Labey comfortably steps into his shoes. His infectious and delightful (often cheeky) grin follows us all the way home. We also cannot shake off the froth and the feelgood factor. Entertainment dances with absurdity and it is the perfect combination. Throw in dinner as well, and the stunning setting of the Mill, you certainly feel like you’re puttin’ on the Ritz.
“songs are bold and brassy, but with moments of pathos and humour”
A Broadway hit from 1959 (book by Jay Thompson, Dean Fuller and Marshall Barer), Once Upon a Mattress is a musical comedy based on Hans Christian Andersen’s The Princess and the Pea. Or rather, it takes the essence of that story and has a whole lot of fun elaborating it.
It’s the year 1428 and Prince Dauntless (Theo Toksvig-Stewart) wants to be married, but his domineering, utterly insufferable mother – Queen Aggravain, brilliantly brought to life by Julia Faulkner – wants to keep him for herself, believing no other woman will ever be good enough for her precious son. Perfectly adequate princesses are unfairly rejected for failing the queen’s impossible tests in a pattern that seems destined to repeat itself forever. But when the 13th contender arrives, everything changes.
Beth Burrows is stunning as the sassy, irreverent Princess Winnifred the Woebegone – an exotic creature from the marshlands. Not only is she incredibly animated and full of energy, but she also has perfect comic timing and makes every moment count. There’s a real sparkle in her performance that makes her very compelling to watch.
Steve Watts as King Sextimus has the challenging role of having to communicate only with hand gestures and facial expressions, owing to being under a spell that prevents him from speaking. Given that, it’s remarkable how well he articulates emotion and communicates so lucidly with both the cast and audience.
A six-piece band led by Jessica Douglas provides a lively and often ambitious musical accompaniment that’s punchy and precise. Mary Rodgers’ songs (with lyrics by Marshall Barer) are bold and brassy, but with moments of pathos and humour. They are clever, too – see ‘The Minstrel, the Jester and I’, which plays with the notion of the king being mute by leaving spaces at the end of certain lines in place of the rhyming lyric you expect to hear.
Giulia Scrimieri’s simple yet fluidly effective set features a couple of platforms for dancing on, and screens that can be wheeled around. Colourful and inventive medieval costumes also add to the sense of vibrancy.
There are plenty of laughs, but the plot is sufficiently well constructed that there are several interwoven strands to be followed through. One thread isn’t quite tied up: we see the minstrel charm the wizard into revealing the secret test for the princess, but then Winnifred appears to pass it without any assistance. Being a ‘real’ princess she’s sensitive enough that a single pea beneath 20 mattresses prevents her sleeping, and the minstrel’s plan for her to cheat is bafflingly not referred to again. However, this little mystery in no way impairs the enjoyment of a continually rewarding experience.
Another major plus point is the way that each character, from the jester to the minstrel narrator, is given their own moment of focus. This even-handed character development keeps your interest throughout while helping the show build to a hugely satisfying resolution.
Ably directed by Mark Giesser, Alces Productions’ Once Upon a Mattress is a funny and joyful production of this rarely seen gem.
