“From the prologue to the epilogue the atmosphere is quite electric.”
Most of us live in the real universe most of the time. For over thirty years now, Quentin Tarantino has led us intermittently into the ‘realer than real’ universe. There are similarities, and connections to real-life sources but everything is “more”. Exaggerated, graphic, stylised, violent. The unreal becomes reality, and vice versa. Most of us have dipped – or dived – into (at varying depths) the Tarantino Cinematic Universe and emerged with the soundtrack still swimming around our heads. The films make us listen to the music in a different way. “Tarantino Live” takes the songs and brings them to life once more in a stunning, genre-defying, mash-up, immersive rock musical.
Woven into this bold, full-throated rock concert is the iconic Tarantino dialogue. It doesn’t matter in the slightest whether you’re a die-hard fan, or completely unfamiliar with the films; what unfolds before your eyes, and ears, will make you look at theatre in a different way. Most of the music stems from the era of vinyl but the structure of the show is built around the modern concept of the playlist. Split into chapters rather than scenes there is no chronological logic. The points of view, close ups, wide angles, jump cuts and crossfades are scattered around the studio like gunfire. The action takes place on the stage as well as around us and amongst us. It is relentless but we can’t get enough.
It’s full title, “Tarantino Live: Fox Force Five & The Tyranny of Evil Men”, loosely sums up the concept. The ‘Fox Force Five’ comprise a group of superwomen made up of five of Tarantino’s most iconic female characters as they take on the ‘Tyranny of Evil Men’ in a battle of revenge. The concept gets swept aside, however, by the sheer power and skill of the vocal performances. To single anyone out would be merely to reel off the entire cast list, just as to attempt to match the actors with the characters would be like trying to follow a chaotic medley of accelerated rolling credits. It is possible, but my word count advises against it. Needless to say, the talent on display is so much more than a triple threat. The lines between orchestra and cast, lead and ensemble, actor, singer, dancer, musician are blurred.
The disciplines are brought together seamlessly, the show having evolved over the last decade. ‘For The Record’, led by adapter and director Anderson Davis with associate director and choreographer Sumie Maeda, launched the show at The Bourbon Room, a small bar on Hollywood Boulevard in Los Angeles in 2010. Immediately a ‘must see’ cabaret show, it was awarded the seal of approval from Tarantino himself, and along the way has been adapted in response to each new addition to Tarantino’s canon of work.
From the prologue to the epilogue the atmosphere is quite electric. It is simultaneously like a roller coaster ride but also not. It’s not Hollywood, nor film, nor musical theatre, nor rock gig. Yet it is all of those. It throws in the air different scenes from different movies, but when they land there is a kind of beginning and middle and end. But even if it doesn’t make sense – from the prologue to the epilogue we are transfixed. Motionless while our heads spin. And we could go on the journey again and again. It is a must, whether you’re a Tarantino geek or if you’ve never seen a Tarantino film in your life. At least you’ll be familiar with the (thirty-plus) classic songs. But not in this context.
Unlike anything you’ll come across in London at the moment, “Tarantino Live” is, in a nutshell, theatre with attitude.
THE GREAT BRITISH BAKE OFF MUSICAL at the Noël Coward Theatre
★★★
“Showstoppers, foot-tappers and ballads are seasoned with lyrics that, although overall are delightfully clever and witty, should also come with allergy warnings”
The Great British Bake Off has risen to heights of success from its humble beginnings. An idea inspired by country fete baking competitions. The stakes were never going to be high; consequently, the proposal was rejected by all the major broadcasters for years. So, hats off to Anna Beattie, co-founder of ‘Love Productions’ for persevering. By 2020, the eleventh series received the largest audience for a TV series ever seen on Channel Four in thirty-five years. With such a fan base, the spin off, “The Great British Bake Off Musical”, can be generously served up in the West End with pre-cooked taste appeal.
As with all reality TV, the appeal is the human element. It is the personalities and their sometimes interlocking stories that we tune in for. Jake Brunger and Pippa Cleary, the team behind the book, music and lyrics, have taken this premise as the main ingredient for their musical. A baker’s dozen characters mingle in the festooned marquee, held together by a tenuous and treacly love story. A marble cake’s mix of light and dark sponge. Pure indulgence, and escapism.
What ends up on our plates has the feel of a recipe-book revue, or song cycle. Showstoppers, foot-tappers and ballads are seasoned with lyrics that, although overall are delightfully clever and witty, should also come with allergy warnings. There is no doubt, however, that the musical numbers are a treat. There are no unfamiliar flavours, but they showcase the vast array of vocal talent on stage, most of whom have their own big solo.
Presiding over the proceedings are the presenters Jim (Scott Paige) and Kim (Zoe Birkett), with judges Phil and Pam: John Owen-Jones as a thinly disguised Paul Hollywood while Haydn Gwynne, as Pam, is a sassy mix of Mary Berry and Prue Leith. The contestants plough through the rounds of the competition, dishing up their back stories, establishing allies and rivals, voicing dreams and venting insecurities. Whether through song or dialogue they are pushed for time, so the scenarios and revelations are underdone, and half baked. Syrian student Hassan (Aharon Rayner) and Italian fashionista Francesca (Cat Sandison) bond over a shared feeling of not fitting in. Izzy (Grace Mouat) is ‘in it to win it’ until she gives way under the sheer weight of platitudes in the script. Claire Moore, however, is delightfully saucy as Babs the hungry (and not just for cake) granny, eliciting cheers from the crowd with her stand out number, ‘Bab’s Lament’. Moore is the leader of the double entendre – no mean feat as the whole company is grappling for a piece of the pie. At times ‘Carry On Baking’ threatens to usurp the show’s title.
Die-hard fans of the television series are well catered for, with mini-dramas pinched from the series to fill the gaps in a story as thin as spun sugar. Sliced fingers, melted ice cream and slapping strudels. And speculation about off camera romance; recreated here in the form of widow Ben (Damian Humbley) blending with self-effacing Gemma (Charlotte Wakefield) from Blackpool. A predictable path to a cloying conclusion, yet we are charmed by Wakefield’s winning presence, shedding Gemma’s humility to rise triumphant in her solo numbers.
It’s all in the presentation. It’s the icing on the cake that matters. “The Great British Bake Off Musical” is a ready-made recipe for success. The converted will guarantee that. And why not? Ultimately the force, commitment and musicality of the performers prevent it from sinking in the middle.
