Tag Archives: Jonathan Evans

STILETTO

★★★★

Charing Cross Theatre

STILETTO

Charing Cross Theatre

★★★★

“a luscious musical that intrigues and teases with, rather than pulls, our heartstring”

The first thing you notice about the new musical, “Stiletto”, is the opulence of Ceci Calf’s set. Dimly lit in the pre-show, it depicts not so much a Venetian palazzo but something more subterranean. You almost expect ripples of light, cast from the canal waters, to dapple from above. It is moody, portentous and atmospheric. The musical itself follows suit. Consistently soul-stirring, grandiose and lush, it looks and sounds exceptional. A balcony circles the stage behind its proscenium arch, like a minstrel’s gallery. In the shadows we can make out the silhouettes of the fifteen-piece orchestra. A cast of seventeen grace the stage, yet Chris Baldock’s musical staging never makes it appear crowded. From the opening dramatic bars of music, we know we are in for something grand. There is a danger that the show might take itself too seriously. A feeling, however, which soon dissipates under David Gilmore’s pacey and fresh direction.

We are in Venice in the early part of the eighteenth century. Marco Borroni (Jack Chambers) is on the cusp of stardom. He is a ‘castrato’, which means he was castrated before puberty to preserve his soprano voice. Apparently, the process not only keeps the vocals skills intact, but it also in no way diminishes his pleasure-giving prowess – as his siren-like patron, the Contessa Azurra (Kelly Hampson), seductively points out. Meanwhile Marco meets feisty Gioia (Jewelle Hutchinson), a slave’s daughter, in the market square. His lust is turned into sheer wonder when he hears her sing, and he vows to sweep her up from the gutter into his own impending rise to fame and fortune. Of course, there are snags. In this case an accidental death, an ensuing scapegoat bound for the hangman’s noose (i.e. Gioia – that’s no spoiler by the way), a corrupt judicial system, and the predictable battle between good and bad – the underdog and the powerful. Tim Luscombe’s book follows a formulaic narrative, but there is a quirkiness and modernism to the dialogue, much of which swings effortlessly in time to the musical preludes.

The plot may be a touch thin, but Matthew Wilder’s score is as ripe and succulent as they come. Wilder generously gives each major character a solo moment in the spotlight, but he also allows the full ensemble to shine throughout. This could almost be a sung-through musical and often has that feel – the underscore subtly echoing the songs. Simon Nathan’s orchestrations highlight the variations; from a quiet harp-accompanied ballad through to the full pageantry of sweeping ensemble numbers. There are many musical highlights and just as many performance highlights. Chambers, as Marco, has a natural flair, mixing innocence with passion, carnality with self-righteousness. And a voice to match – particularly when standing alone, closing the first act with a gorgeously delivered ‘The Wanting’, or lamenting the tragic figure of his tutor Faustino (a rich-toned Greg Barnett). Jennie Jacobs stands in as a masked mezzo soprano whenever Marco is called upon to demonstrate the ‘castrato’ voice. Kelly Hampson’s Contessa Azurra is a force to be reckoned with, standing up to her corrupt yet camp husband, Pietro (a wonderful Douglas Hansell). Hampson’s solo number, ‘Amore Mio’ has a bond-theme quality, but with more interesting time signatures and shifts in tone.

There are surprises, too. When Connor Wood, as the mute Niccolo, finds his voice at a crucial moment in the story we are quite taken aback by his singing voice during ‘No Words’; and Sam Barrett’s down-trodden Luigi blossoms as he turns saviour and vocal raconteur extraordinaire with his solo number ‘Go Along’. But the one to watch out for is Jewelle Hutchinson, stealing the show whenever she walks on stage as Gioia. Spirited and ballsy (ironic given her paramour’s deficiency in that department), Hutchinson lets Gioia’s vulnerability cut through as well. And all the while her rich, wide-ranged vocals pierce our hearts.

The performances bring a heightened energy to the stage that befits the setting and the storyline. Cementing the sense of period are Anna Kelsey’s glorious and flamboyant costumes. Passion is the key word for this show. And drama. Sometimes melodrama slips in which, if you’re not paying attention, can hide the flaws in the narrative. It does feel as though a trick or two is missed, and certain themes are underexplored while the finale comes a little too quickly and too forced. That frustration aside, this is a luscious musical that intrigues and teases with, rather than pulls, our heartstrings. Full of light and shade, musically as well as visually, it might not penetrate quite as deeply or cleanly as a stiletto, but it certainly gets under your skin.



STILETTO

Charing Cross Theatre

Reviewed on 31st March 2025

by Jonathan Evans

Photography by Johan Persson

 

 


 

 

 

Previously reviewed at this venue:

JACK AND THE BEANSTALK: WHAT A WHOPPER! | ★★★ | November 2024
TATTOOER | ★★★ | October 2024
ONE SMALL STEP | ★★ | October 2024
MARIE CURIE | ★★★ | June 2024
BRONCO BILLY – THE MUSICAL | ★★★ | January 2024
SLEEPING BEAUTY TAKES A PRICK! | ★★★★ | November 2023
REBECCA | ★★★★ | September 2023
GEORGE TAKEI’S ALLEGIANCE | ★★★★ | January 2023
FROM HERE TO ETERNITY | ★★★★ | November 2022
THE MILK TRAIN DOESN’T STOP HERE ANYMORE | ★★★ | October 2022

STILETTO

STILETTO

STILETTO

SABRAGE

★★★★

Lafayette

SABRAGE

Lafayette

★★★★

“a stream of virtuosity, acrobatics, dancing, singing, burlesque, gravity-defying feats, sassiness, sexiness and humour is unleashed onto the stage”

‘Lafayette’ is a name that conjures exoticism, glamour, and a Parisienne ‘je-ne-sais-quoi’; mixed in with the ‘big-easy’ hedonism of New Orleans. But tucked away in London’s King’s Cross, Lafayette is a music venue with a difference. Established five years ago by Ben Lovett, it has always veered towards embracing a more eclectic theatricality; its traditional roots seeking out the avant-garde. Teaming up with ‘Strut and Fret’ and the Menier Chocolate Factory, it has met its match with “Sabrage”, a unique, salacious and somewhat chaotic theatre experience that bewilders and bewitches in equal measure.

We are led through an unmarked, leather-padded doorway, down a rabbit warren of corridors, and into a Speakeasy. From there – with a cocktail thrust into our hand – we are ushered into the auditorium. The air is as effervescent as the drinks. The definition of ‘Sabrage’ is the ceremonial practice of opening a champagne bottle with a sabre. And with a flourish, that action begins the show. It takes a little while, however, for the co-hosts to rise to our expectations. Spencer Novich and Remi Martin (which may or may not be his real name) are trying just a touch too hard while slipping into ‘Eurotrash’ style caricature and over-egging the audience participation. Their banter dominates. The acts are a sideshow. We want the balance redressed. Maybe there was an emergency meeting during the interval, for the second act is a different beast altogether. The pace feels as though it has been shaken up in a magnum of the finest Bollinger and a stream of virtuosity, acrobatics, dancing, singing, burlesque, gravity-defying feats, sassiness, sexiness and humour is unleashed onto the stage.

Novich’s and Martin’s talents are truly revealed, particularly Novich during an ingenious, rapid-fire and completely absurd lip-synch routine. Emma Phillips performs some quite stunning juggling acts with a set of Chinese parasols, using just her feet. But she doesn’t stop there. A solid wooden table is the next prop, to which Phillips somehow manages to give the gift of graceful flight as she spins it into the air from one foot to the other. Flynn Miller and Kimberley Bargenquast are a strikingly charismatic aerial duo whose movements through the air are precise yet hauntingly and musically erotic. Christian Nimri dances like an acrobat on his roller-skates, while Skye Ladell and Rechelle Mansour complement their own dancing artistry with fine vocal skills. All individual acts, they frequently overlap and combine into spectacular ensembles. Under Scott Maidment’s inventive direction it is sometimes hard to believe that the cast is composed of just eight performers.

The erratic nature of the show throws up many moments of downright silliness too. A trio of French maids writhe to a disco beat with dusters and aerosols. And throughout the show, plenty of flesh is shown. Even, at one point, a certain part of the (male) anatomy is transformed into a bizarre percussion instrument. Thankfully (depending on your penchant) this is more heard than seen – but our imaginations are nonetheless left underused. Oh, and if you are more than a little apprehensive about being singled out in the audience, there isn’t much escape. But by the time this show has found its feet and is in full swing, escape is far from our minds. “Sabrage” is a spectacle that draws you in. A fair bit of pruning at the outset wouldn’t go amiss. It’s an acquired taste but after the initial discomfort it goes down smoothly. A heady mix – laced with bubbles. Not quite cabaret, not quite circus, but an intoxicating blend that can’t fail to get corks popping.

 



SABRAGE

Lafayette

Reviewed on 26th March 2025

by Jonathan Evans

Photography by Matt Crockett

 

 


 

 

 

Recently reviewed by Jonathan:

THE LIGHTNING THIEF | ★★★ | THE OTHER PALACE | March 2025
SISYPHEAN QUICK FIX  | ★★★ | RIVERSIDE STUDIOS | March 2025
DRACULA, A COMEDY OF TERRORS | ★★★★ | MENIER CHOCOLATE FACTORY | March 2025
CRY-BABY, THE MUSICAL | ★★★★★ | ARCOLA THEATRE | March 2025
FAR FROM THE MADDING CROWD | ★★ | THEATRE ROYAL WINDSOR | March 2025
FAREWELL MR HAFFMANN | ★★★★ | PARK THEATRE | March 2025
WHITE ROSE | ★★ | MARYLEBONE THEATRE | March 2025
DEEPSTARIA | ★★★★ | SADLER’S WELLS THEATRE | February 2025
THE MAGIC FLUTE | ★★★★ | WILTON’S MUSIC HALL | February 2025
RICHARD II | ★★★★ | BRIDGE THEATRE | February 2025
UNICORN | ★★★★ | GARRICK THEATRE | February 2025
OUTLYING ISLANDS | ★★★★ | JERMYN STREET THEATRE | February 2025

SABRAGE

SABRAGE

SABRAGE