Aspects of Love

Southwark Playhouse

Reviewed – 10th January 2019

★★★★

“The performances marvellously capture all the aspects of love that the libretto tries to convey”

Andrew Lloyd Webber’s “Aspects of Love” was met with a mixed reception when first written and produced in the eighties, and it is indeed one of his more curious affairs. Its own meandering inception and evolution seems to match the rather convoluted plot, based on the autobiography of David Garnett, Virginia Woolf’s nephew. Originally mooted as a film for which Webber and Tim Rice were to contribute some songs, it morphed into an unrealised collaborative cabaret with Trevor Nunn at the helm, before lyricists Don Black and Charles Hart came on board to help steer the vessel in some sort of definite direction. Sandwiched between “Phantom of the Opera” and “Sunset Boulevard” it probably suffered from a lack of focus and some have said it lost its way.

Katie Lipson has untangled the rigging in this revival, first produced last summer at the Hope Mill Theatre in Manchester, and put it well and truly back on track; also showing us that there is more to this musical than the hit song, “Love Changes Everything”. For there are some truly striking melodies which, by stripping the accompaniment back to just two pianos and percussion, are now allowed to shine through the otherwise lumbering sung-through dialogue.

The story begins with the character of Alex (Felix Mosse) who is looking back over his life. It then flashes back to 1947 when he fell in love with Rose Vibert (Kelly Price), the star of a touring acting company. The young Alex convinces the older actress to spend two weeks with him at his Uncle George’s unoccupied estate. When Uncle George (Jerome Pradon) returns unexpectantly and finds himself attracted to Rose, the complications begin. Complications not just for the characters within the story though; but for the producers too. The trick now is how to keep the audience engaged as the characters canoodle their way through the doodling plot, occasionally thrown off kilter by sudden shifts in time.

But Lipson has the Midas Touch when it comes to musical theatre and has once again assembled an impressively strong cast. The performances marvellously capture all the aspects of love that the libretto tries to convey. Jonathan O’Boyle’s confident direction allows the detail to be seen through the myriad scene and time changes. And if you don’t really care for the plot you certainly care about the characters.

Despite the heavy-handed feel of the piano accompaniment (which some tweaking on the sound desk could quickly cure) the vocal performances are beautiful and searingly moving. Mosse’s intimate yet unsentimental rendition of ‘Love Changes Everything’ is a delightful detour from the original, but the highlights of the show include Price’s heart rending ‘Anything But Lonely’ and Pradon’s understated opening to the Ivor Novello tinged ‘The First Man You Remember’.

But beyond this central love triangle is where the interest really lies. Madalena Alberto, as the free-loving Giulietta is compellingly watchable; Eleanor Walsh, as the fifteen-year-old Jenny, gives an assuredly mature performance that eschews the uncomfortable Lolita-style caricature that is often associated with the role. And Minal Patel, as actor manager Marcel, softly steals the smaller stage time he is allowed with his velvet voice.

It is a tricky show that explores perhaps too many variations on the theme of love. But it seems that this intelligent cast has picked one aspect, made it their own, and let it shine. Like the diamond in the mire, this clear-cut production lets the emotion glisten.

Reviewed by Jonathan Evans

Photography by Pamela Raith

Aspects of Love

Southwark Playhouse until 9th February

Last ten shows reviewed at this venue:

The Country Wife | ★★★ | April 2018

Why is the Sky Blue? | ★★★★★ | May 2018

The Sweet Science of Bruising | ★★★★ | October 2018

The Trench | ★★★ | October 2018

Seussical The Musical | ★★★★ | November 2018

The Funeral Director | ★★★★★ | November 2018

The Night Before Christmas | ★★★ | November 2018

Click here to see more of our latest reviews on thespyinthestalls.com

★★★★

“This production is funny and touching, with a delightful simplicity”

This is a charming production, based on JM Barrie’s original text, and occasionally updated with contemporary references. Peter Pan is a story that many of us have grown up with. We wait for Captain Hook’s villainy, clap to save Tinkerbell, and look on in wonder as Peter flies. This production manages to create the atmosphere of those childhood encounters with the story, without the full on nature of pantomime, or the facilities of a large West End theatre.

Several of the cast play multiple roles. Alfie Webster plays two pirates and a dog, and Harveen Mann successfully managing to convince with her five characters! We are aware that it’s the same actor, and that’s part of the joke, particularly when she transforms from Jukes to Cecco. There are plenty of laughs to be had and some outstanding performances, particularly from Nickcolia King-N’Da as Peter Pan and Alexander Vlahos as Hook. King N’Da’s Peter is an innocent, cocky and immensely likeable boy. It’s a lovely moment when he first flies in, peddling through the air with a huge grin. He is a kid we could meet on the streets of Finsbury Park, ballsy, joyful, vulnerable and stubborn, but with added magic. His encounters with Hook are nicely done, and Hook’s use of a leaf blower as a weapon is inspired. Vlahos is a different kind of Hook. He is full of himself, overconfident, and hilariously terrified of the crocodile. He struts and preens with more than a little camp thrown in, ably and enthusiastically aided by Smee, played by Natalie Grady, who also plays Mrs Darling.

The two Darling boys are convincing as kids, Adam Buchanan plays Michael as a very believable little boy with a giant teddy, and Jason Kajdi is John, his older brother. Rosemary Boyle plays Wendy, and beautifully portrays the difficulties of a young girl becoming a woman. She is attracted to Peter, very much wanting a kiss. Wanting him to be her ‘husband’ rather than her ‘son.’ But, of course, he doesn’t get it. She finds it hard to be a mother to the lost boys too. I’ve never understood Wendy so well before, and it adds another level to the emotional strata of the story.

This production is funny and touching, with a delightful simplicity. In a space such as the Park Two Hundred it is good to see such a well designed and flexible set. Gregor Donnelly has done a great job with it, allowing the cast to easily transform the space from the Darling’s home to Neverland, to a pirate ship and back. When the sound and lighting, by Adrienne Quartly and Nic Farman are added, the stage is set for magic to happen. The only thing that I didn’t like was the puppet of Nana, the dog. In contrast to the naturalistic, yet fantastical feeing of the rest of the production, Nana looked like an autumnal sea monster that, despite Alfie Webster’s able puppetry, failed to convince. Jonathan O’Boyle’s direction is assured, and he has enabled his actors to shine and enjoy themselves hugely in this lovely show.

Reviewed by Katre

Photography by Chris Gardner

Southwark Playhouse

Reviewed – 10th January 2019

★★★★

“The performances marvellously capture all the aspects of love that the libretto tries to convey”

It is a tricky show that explores perhaps too many variations on the theme of love. But it seems that this intelligent cast has picked one aspect, made it their own, and let it shine. Like the diamond in the mire, this clear-cut production lets the emotion glisten.

Reviewed by Jonathan Evans

Photography by Pamela Raith

Aspects of Love

Southwark Playhouse until 9th February

Last ten shows reviewed at this venue:

Park Theatre

Reviewed – 11th December 2018

★★★★

“This production is funny and touching, with a delightful simplicity”

Reviewed by Katre

Photography by Chris Gardner

Peter Pan

Park Theatre until 5th January

Previously reviewed at this venue: