THE GREAT BRITISH BAKE OFF MUSICAL at the NoΓ«l Coward Theatre
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“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 βLove Productionsβ 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, βThe Great British Bake Off Musicalβ, 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 bakerβs dozen characters mingle in the festooned marquee, held together by a tenuous and treacly love story. A marble cakeβs 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 βin it to win itβ 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, βBabβs Lamentβ. Moore is the leader of the double entendre β no mean feat as the whole company is grappling for a piece of the pie. At times βCarry On Bakingβ threatens to usurp the showβs 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 Wakefieldβs winning presence, shedding Gemmaβs humility to rise triumphant in her solo numbers.
It’s all in the presentation. Itβs the icing on the cake that matters. βThe Great British Bake Off Musicalβ 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.
In 2001, writer Amanda Brown wrote about her experience as a blonde at Stanford Law School in various letters to friends which later became a novel and the box office success that was βLegally Blondeβ. The musical, with music and lyrics by Laurence OβKeefe and Nell Benjamin and book by Heather Hach, opened on Broadway in 2007 to mixed reviews. Itβs West End run, starring Sheridan Smith, won three Olivier Awards, including Best Actress in a Musical for Smith.
βSixβ alumni Courtney Bowman commands the stage as the central character, Elle. Heartbroken after being dumped by her boyfriend Warner (Alistair Toovey) for not being serious enough, she decides she can win him back by showing she can achieve the same ambitions in the legal profession as him. In a plot line that loses touch with any form of credibility, she is accepted into the law school, rises high against odds and prejudices and eventually surpasses Warner. Along the way, everybody is put in their place, including misogynist law professors, jealous perjurers, closet gays. In fact, the characters who come out on top are the underdogs. The seemingly vacuous who ultimately reveal more depth than those who mock them.
Despite being hindered by a predominantly unmemorable score, the show still wins us over with its anergy and infectious comedy. And a couple of musical delights. The wit of OβKeefe and Benjaminβs lyrics shine through in particular during βSeriousβ, βBlood in the Waterβ and βGay or Europeanβ which is surely the highlight of the night. It is miraculous how the words are sung so clearly with tongues so firmly set in the cheek. Homophobia, jingoism, and a whole host of other βismsβ are shot to the ground in a joyous few minutes of musical theatre snap, crackle and pop. Act Two opener, βWhipped Into Shapeβ showcases Ellen Kaneβs slick choreography, pushing the all singing, all dancing ensemble to the limit.
βLegally Blondeβ retains its comedy and loses none of its subversiveness in this brash and thoroughly camp production at Regents Open Air Theatre. It is a joy ride, although it does sometimes feel like youβre riding on a bus full of teenagers. Whilst there is little room for subtlety against the backbeat and spectacle, the current MT trend to introduce a Disney, cartoon-like, nasal shrillness to the delivery does grate over a couple of hours. But itβs worth it to reach the happy ending, buoyed up by the feel-good sensations that bounce the evening along.
