CLOSE UP – THE TWIGGY MUSICAL at the Menier Chocolate Factory

★★★

“We do also feel light footed and energised such is the fun factor of the production, which boasts an impressive line-up of performers”

The overriding feeling coming out of the theatre having just witnessed “Close-Up: The Twiggy Musical” is of wanting to find the nearest police station to report a missing person. There was once an award-winning author, playwright, comedian, satirist, social commentator, observationist – with an astute and sharp mind. His name is credited in the programme as the writer, but there appears to be little trace of Ben Elton’s involvement, except for a sweeping pastiche of his trademark style here and there. We wonder if he passed the task onto a lazy sixth-former. And then we wonder how the book would have made it through the first week of rehearsals without being questioned by the director… oh hang on – Elton is the director.

Maybe ‘overriding feeling’ is a bit harsh. We do also feel light footed and energised such is the fun factor of the production, which boasts an impressive line-up of performers. It is quite a whirlwind tour of the back story of one Lesley Hornby with a few stopovers at certain landmarks on the way. Much of Twiggy’s life story is already known, but here the chain of events rewinds further still – to her parents meeting in the thirties, surviving the London Blitz and some choice moments of Twiggy’s childhood and schooldays. A retrospective, predominantly narrated by Elena Skye who personifies the iconic image we have of Twiggy, even though the character is reminiscing from today’s perspective.

We witness the professional and the personal. Her serendipitous discovery and rise to fame as a teenage model, her ill-fated relationship with the controlling and self-aggrandising boyfriend/manager, Justin de Villeneuve. Her parent’s support throughout her career, her mother’s depression. Her success on stage and screen, her shadowy moments locked in marriage to the alcoholic screen-star, Michael Whitney. The facts are fascinating and revealing. Many well-known areas are covered but there are insights into the dark corners too, all illuminated by the strong supporting cast and ensemble. Justin de Villeneuve is given a particularly hard time, which Matt Corner takes on with a cheeky, mocking self-deprecation. Darren Day’s self-destructive Whitney has moments of poignancy, which are manifested most strongly in song. The two stand outs are Hannah-Jane Fox and Steven Serlin as Nell and Norman Hornby respectively – Twiggy’s mum and dad.

“Elena Skye certainly knows how to put a song across, and the ensemble numbers are striking”

There is far too much unnecessary cross referencing of the ‘then and now’. Yes, we all know it was ‘different times’ then. The only refreshing twist on this conceit is when the father quips: ‘The show must go on. That’s what they say. Well, at least they did back then’. In that short remark we get a glimpse of the subtle insight that Elton is capable of, with what is a real and relevant indictment of the changing attitudes and their current effects on the theatre industry. But overall, Elton is thrusting over simplified lessons on socio-economic history at us, while glibly exploring issues such as alcoholism or post-natal depression. There is a positively surreal song and dance routine while Nell is receiving electroconvulsive treatment. And then suddenly we find ourselves in a fifties style episode of ‘Grange Hill’.

Despite racing through the song list like an extended medley of hits, there are moments where poignancy can show itself through the musical refrains. Elena Skye certainly knows how to put a song across, and the ensemble numbers are striking. The repertoire is pretty suitable on the whole, with only a few numbers showing the bruises from the shoehorn Elton is so keen on using. Some key cultural moments are glossed over while some are given too much airtime. And two and a half hours in we are suddenly offered a rapid ‘summing up’. Followed by an upbeat song and dance number.

The show does indeed end on a high that is greeted with a standing ovation. They say, ‘don’t kick someone when you’re down’. There is much to fault in this musical but, hey – the show can handle all the flak. It’s a sure-fire hit. And why not? It’s a brilliantly executed five-star show; with top-notch production values, wonderful performances, and a juke-box full of fabulous music. Just a preposterous one-star book.

CLOSE UP – THE TWIGGY MUSICAL at the Menier Chocolate Factory

Reviewed on 28th September 2023

by Jonathan Evans

Photography by Manuel Harlan

Previously reviewed at this venue:

The Third Man | ★★★ | June 2023

The Sex Party | ★★★★ | November 2022

Legacy | ★★★★★ | March 2022

Habeas Corpus | ★★★ | December 2021

Brian and Roger | ★★★★★ | November 2021

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★★★★

“Carvel is all stooping eccentricity with a touch of Reginald Perrin”

When George Bernard Shaw wrote “Pygmalion” in 1912, its West End premiere was delayed due to the leading lady’s nervous breakdown. Instead, the German translation opened in Vienna followed by the New York production where it was described as a ‘love story with brusque diffidence and a wealth of humour’. Richard Jones’ revival at the Old Vic retains the ‘wealth of humour’, has exchanged the diffidence for a bold confidence, but as for ‘love story’ – that’s gone completely out the window. There is a mechanical edge to it that, despite being well-oiled and finely tuned, partially obscures its beating heart.

It opens quite spectacularly, to the angular, staccato strains of Tony Gayle’s modernist jazz chords – perhaps a touch too modern for the already updated setting. Stewart Laing’s circuit board backdrops are a bit of a puzzle, unless you accept that this may be a clever twist on the phrase ‘Code-Switching’: the term applied to changing your voice and dialect to fit into a new social environment. Jones’ production fully takes on board the concept of Professor Henry Higgins’ social experiment, and exudes the same detachment as though we are watching a presentation through glass.

It does enable us to focus on the central, magnified performances. Led by Bertie Carvel’s Henry Higgins and Patsy Ferran’s Eliza Doolittle, they cannot be accused of shying away. Carvel is all stooping eccentricity with a touch of Reginald Perrin though less unwitting. Preoccupied and arrogant, Carvel eradicates everything that might be likeable about his character. A character that stretches the patience of those initially loyal to him. Penny Layden gives one of the more heartfelt performances as his housekeeper, Mrs Pearce, and Sylvestra Le Touzel captures the exasperation of Higgin’s mother. But we are frustrated by Carvel’s Higgins remaining so impervious to everyone and everything around him.

“The urge to update and radicalise is always going to compete with the option of playing it safe.”

Carvel’s performance would steal the show if it weren’t for Ferran’s spirited no-nonsense Eliza Doolittle. Aware from the start that she is a vehicle for the professor’s sport, she is pragmatic and steely enough to rise above it. Ferran never loses her grip on humility, however, which ultimately gives her the upper hand. Hers is the one true draught of passion that disturbs the otherwise emotionally static production.

The best illustrations of George Bernard’s Shaw satire come from the supporting roles. Times have changed since Shaw wrote his ground-breaking play. Class and social mobility are much more blurred and the way one speaks is no longer a definition of one’s status. But other observations stand out and ring true. John Marquez, as Eliza’s bin-man father who “can’t afford morals”, is a delight to watch and is a master at comic delivery.

It is a very familiar story, but ‘ay, there’s the rub’. The urge to update and radicalise is always going to compete with the option of playing it safe. This production falls somewhere between the two. Whether it’s a direct consequence or not, we are tempted to question the sincerity and authenticity. Yet it is still a hugely entertaining piece of theatre, dominated by commanding performances. Despite being a little confused as to what time period it is being set in, we are indeed reminded of the timeless nature of the play and that its appeal will never go away.

Tag Archives: Jonathan Evans

Close Up – The Twiggy Musical

★★★

Menier Chocolate Factory

CLOSE UP – THE TWIGGY MUSICAL at the Menier Chocolate Factory

★★★

“We do also feel light footed and energised such is the fun factor of the production, which boasts an impressive line-up of performers”

“Elena Skye certainly knows how to put a song across, and the ensemble numbers are striking”

CLOSE UP – THE TWIGGY MUSICAL at the Menier Chocolate Factory