Chris Burgess Archives - thespyinthestalls.com

★★★

“a compelling story, and the performances and music are engaging”

This musical, structured as a true crime podcast, tells the real story of Edith Thompson’s 1922 trial for the murder of her husband, by her lover. The central question of the play is how complicit was Edith in her husband’s death, and will she be found innocent or guilty of murder.

The story is salacious, Edith is trapped in a loveless marriage, unable to divorce, despite a passionate obsession with her young lodger. Her 62 love letters, filled with intimate sexual detail are read out at the Old Bailey, and she is set upon by the prurient tabloid press.

Writer and director Chris Burgess sees this as a ‘passionate and tragic love story’ though most of the colour is found in Edith’s sexual awakening, at the hands of the handsome young Freddy. The play presents their story as a great romance, but it is maybe more intriguing as a lustful triste that enables a crime of passion.

The choice to present this story as a true crime podcast feels under explored. It is used as a device for exposition, interrupting the songs with evidence-based narration. It also firmly emphasises when the dialogue is verbatim from the court transcript or Edith’s letters. Unfortunately, this has the effect of making the imagined scenes seem straight from a soap opera. The characters are thinly fleshed out, with nothing more than their circumstances presented. Edith is not explored enough to be unique, or especially interesting, beyond her raunchy fantasies.

All of the actors’ performances are rich and complex and it’s a shame they’re trapped in this ungainly format. Each performer sits on a stool behind a music stand. The Writer narrates and the others jump into centre stage to perform moments from the narrative. There are dance numbers, by movement director Robbie O’Reilly, which have a jazzy ‘Chicago’ feel and are too few and far between.

Daisy Snelson is mischievous and sensual as Edith. Her voice is incredible and her songs enchanting. The tragedy of her life is lacking a little, but through no fault of Snelson. Dominic Sullivan as Freddy is flirty and fun, and his passion is clear. As he performs the fit of jealousy that leads to the murder, he shows an impressive range and depth of emotion. When not actively performing though, he fidgets and giggles, which is a pity. Alex Cosgriff and Jude St James are jovial and energetic as the chorus, presenting the British Press, the various courtroom figures, and Cosgriff as Percy, the murdered husband. Sue Kelvin is criminally underused as the narrator. When she is allowed a moment to shine, she completely steals the stage, captivating the audience with her rich singing voice and witty asides.

The music saves this production. It is performed by musical director Isaac Adni, on the piano, whose energy and focus are infectious. Chris Burgess has worked with musical arranger Steven Edis to bring this varied and exciting music to life. There’s a nod to the 1920s period, but it doesn’t feel trapped in one genre or mood. Each number, be it moving ballad, sultry solo or peppy tune, allows the strength of the singers to shine.

It is a compelling story, and the performances and music are engaging, but the format is distancing, making the whole show feel ultimately meandering.

Elton John: It’s A Little Bit Funny

Upstairs at The Gatehouse

Reviewed – 20th February 2020

★★★★

“It’s poignant, entertaining, exciting and, often, ‘it’s a little bit funny’”

For the best part of fifteen years Elton John had made Vegas his second home until he gave it a memorable farewell last September with a spectacular and emotional three-hour retrospective gig. It’s part of his ongoing ‘Farewell Yellow Brick Road’, booking until next year, after which he will retire. Or so he says, Frank Sinatra’s farewell tour lasted twenty years. Leaving Las Vegas must have been a wrench. His ‘Red Piano’ residency ran for five years and the later ‘The Million Dollar Piano’ for seven years.

Imagine you are a devoted fan of Elton’s, growing up with his songs and learning to play the piano by listening over and over to the music. He is the reason you chose your perilous career as a musical performer. You’re doing okay at it. In fact, more than okay. You’ve got theatre, television and concert, recording and writing credits to your name, and you’ve now landed a job in a touring musical which, on its North American Tour, takes in some dates in Vegas right next door to Caesars Palace where Elton is playing. On a rare night off you’re hanging out late one night, doodling away at a piano in a hotel foyer, when Elton John walks in and joins in, starts chatting, buys you a cocktail, takes you gambling …

This is not imagination, but fact, for Martin Kaye, pianist, singer, songwriter and all-round showman. Well – almost. It is the whole truth – except the last bit might be made up. But it was a real possibility. Martin and Elton’s paths could so easily have crossed. And if they had… well, that is the show: “Elton John – It’s A Little Bit Funny”. It tells the tale of that night in Vegas. A night of confessions, anecdotes, jokes and songs.

Anybody expecting a ‘tribute act’ or Elton impersonator will be disappointed. Everybody else will be blown away by the musicianship of Kaye and his totally relaxed stage presence. A soft and cheeky Mancunian accent – the perfect voice for the self-deprecating one liners that trip off the tongue. Written by Chris Burgess this definitely has the feel of a collaborative labour of love. Over thirty of Elton John’s songs make up the set list. Many are extracts from which Kaye breaks away to pick up the thread of the story. It is a three-way conversation between him, the audience and Elton.

We don’t learn much more about Elton John’s colourful life than we already know, but the key facts are given a personal touch which are further emphasised in the music with their autobiographical context. Many of the old favourites are there; “Goodbye Yellow Brick Road”, “Don’t Let The Sun Go Down On Me”, Candle In The Wind”, “Rocket Man”, “Tonight” and the poignant “Someone Saved My Life Tonight; but also some lesser known ones such as “Skyline Pigeon”, “Bitter Fingers” or “Feed Me” which give a deeper insight into the man.

Backed by a tight three-piece band, with Morgan Rickman on guitar, Johnny Wells on bass and David Talisman on drums, Kaye pounds and caresses his piano. He is a truly talented pianist who has both the technique and expression to make the instrument an extension of his own personality. Some of the songs are direct replicas of the original, but many are reinterpreted. His jazz-inflected re-phrasing of “Bennie And The Jets” is a stunning opening to the show.

It closes with “Your Song” from which the show’s title gets its name. It is a song which, over the years, has become a faded wallpaper to the music world. But, like much of Elton’s repertoire, Kaye strips it down and re-pastes it with a fresh sheen. This is far from an Elton John gig. This is a Martin Kaye gig. You certainly don’t need to be a fan of Elton to appreciate this show. It’s poignant, entertaining, exciting and, often, ‘it’s a little bit funny’.

ENTERTAINING MURDER at Upstairs at the Gatehouse

★★★

“a compelling story, and the performances and music are engaging”

ENTERTAINING MURDER at Upstairs at the Gatehouse

Reviewed on 27th November 2024

by Auriol Reddaway

Previously reviewed at this venue:

ENTERTAINING MURDER

ENTERTAINING MURDER

Upstairs at The Gatehouse

Reviewed – 20th February 2020

★★★★

“It’s poignant, entertaining, exciting and, often, ‘it’s a little bit funny’”

Reviewed by Jonathan Evans

Photography by Ben Hewis

Elton John: It’s A Little Bit Funny

Upstairs at The Gatehouse until 1st March

Last ten shows reviewed at this venue: