★★★★★

“The air is thick with the exhilaration that flows from the cast and ensemble”

“We’ve got magic to do, just for you… We’ve got miracle plays to play. We’ve got parts to perform – hearts to warm… as we go along our way”. Barely into the opening number, as the London Musical Theatre Orchestra reaches its crescendo and the ArtsEd Choir swells in beautiful unison, we know that these bold promises in the libretto will be fulfilled. Already our hearts are warmed. We are in for a magical ride. The fiftieth anniversary concert of “Pippin” at Theatre Royal, Drury Lane is nothing short of a miracle. The realisation comes with a shower of golden confetti falling over the auditorium as we look around expecting to see Simon Cowell wildly banging his Golden Buzzer.

It boasts a star-studded cast, led by… well – the ‘Leading Player’. Alex Newell commands the stage, their presence demolishing the fourth wall while their soaring vocals bring down the roof. For a moment we are in pure Motown territory. But we cover much more varied ground in this show-within-a-show musical that leads its protagonist on a rich journey in pursuit of fulfilment and purpose; of an illusory ‘American Dream’.

Jonathan O’Boyle has brought this fifty-year-old musical right into the present day, not just giving its over simplified social commentary a twenty-first century relevance, but also laying bare the inherent comedy within Roger O. Hirson’s book. The dialogue elicits just as many laughs as the songs prompt ovations. Tucked away are moments of philosophical satire that Voltaire would have been proud of. But let’s stay away from analysis and focus on the spectacle, for that is what this revival is all about. While the cast bring something new and fresh to the table, the authenticity is left intact. Joanna Goodwin’s choreography is modern yet full of timeless moments of pure Fosse, while Simon Nathan’s sumptuous orchestrations are simultaneously contemporary and traditional. Orchestra and choir are the set, a gorgeously visual and aural backdrop with Jamie Platt’s lighting pinpointing the action and locations with emotional accuracy. Not to mention Adam Fisher’s crystal-clear sound that highlights every nuance of the score.

Above all, though, this show belongs to the performers. Jac Yarrow seizes the title role with ease and charm. In fine voice throughout, his comic timing also comes to the fore as he relaxes into the part. By the time he meets his love interest in Act Two, the humour soars almost as high as his falsetto. Lucie Jones, as the widow Catherine who eventually captures Pippin’s heart, is simply hilarious. The more the fourth wall breaks down, the more she milks it for comic effect, yet she touches our hearts when she steals a solo number. Zizi Strallen, as wicked stepmother Fastrada, takes sassiness to new levels, all high kicks and splits, and spellbinding dancing. Patricia Hodge plays the grandmother with a knowing wink – raunchy yet wise, grounded yet with a lust for life. She’s no singer but she sure has the mojo.

For a musical, the characters have a surprising number of dimensions, which the performers draw out with unabashed joy. Cedric Neal’s King Charlemagne is a gloriously comic tyrant, always poking fun at his own personality. The air is thick with the exhilaration that flows from the cast and ensemble. They all seem to be making fun of the show while celebrating it at the same time. And, boy, is it a celebration? Stephen Schwartz’ music and lyrics may not be high art, but the faultless singing ekes out emotions and meaning that past productions have sometimes failed to unearth. And at the helm is Alex Newell. Although not quite in charge of their insubordinate players who eventually rebel against the script, Newell is definitely in charge of this show. The power of their voice leaves no argument.

The billing of the show is inaccurate. “Pippin” is, in truth, fifty-two years old this year. So, it’s not strictly its 50th anniversary concert. But who cares? It’s not really a concert either. It is far more than that. It is an extravaganza.

CRUEL INTENTIONS at The Other Palace

★★★★

“an evening of unadulterated fun and escapism, with a fabulous soundtrack delivered with passion, right up to its climax”

With a core cast of eight triple-threats, bolstered by an equally talented ensemble, “Cruel Intentions: The ‘90s Musical” bursts onto the stage at The Other Palace in a glorious blaze of fun and virtuosity. However cruel the protagonists may be, the true intentions of this talented troupe are to entertain and send us home with our heads full of ‘poptastic’ tunes and a smile as wide as the Cheshire Cat’s. Ay, there’s the rub – the toxic treachery is let off too lightly. Based on the 1999 teen romantic drama, in turn based on the eighteenth-century French morality tale ‘Les Liaisons Dangereuses’, the wages of sin are just a token penalty. Yet to their credit, Jordan Ross, Lindsey Rosin and Roger Kumble – the creators of this memorable musical – inject some of the behaviour of the characters with a modern-day sensibility to redress the balance.

But such conjecture misses the point and is ill-suited to a show that thrives on not taking itself seriously. Jonathan O’Boyle’s racy and pacey production dishes out the story and the jokes in delightful, digestible bitesize scenes with brilliantly choice hit songs for punchlines. Which is where the ingenuity really shines, for it never feels like a juke-box musical. Even in the most abrupt jolt from dialogue to song, the transition is smooth, natural, uncannily appropriate, and often very, very funny.

It is a winning formula, proven by its Off-Broadway debut seven years ago which was extended three times back in 2017. Even if the London revival is somewhat emotionally disengaging, we are drawn into the protagonists’ world as we follow the sociopathic stepsiblings’ shenanigans. The charming but devilish couple place a bet. Kathryn (Rhianne-Louise McCaulsky) wagers on whether Sebastian (Daniel Bravo) can deflower their high school headmaster’s daughter, Annette (Abbie Budden). As the couple set out to destroy the innocent girl, they find themselves in a dangerous game of revenge and malice. Kathryn is equally intent on corrupting new girl Cecile (Rose Galbraith) using Sebastian as a pawn – among others including music teacher Ronald (Nickcolia King-N’Da), gay couple Blaine (Josh Barnett) and Greg (Barney Wilkinson), and Cecile’s nouveau-riche mother, Bunny Caldwell (Jess Buckby).

“Gary Lloyd’s power-driven and energised choreography is devilishly divine”

Each cast member has ample opportunity to showcase their outstanding vocal abilities as they soar through the musical numbers, giving a whole new slant on the original lyrics. It will be difficult to disassociate, now, Ace of Base’s ‘The Sign’ from Cecile’s first orgasm, or TLC’s ‘No Scrubs’ from Bunny’s innate racism. Elsewhere a real poignancy pours from Jewel’s ‘Foolish Games’, courtesy of Abbie Budden’s heartfelt portrayal of the prim Annette. Reaping the biggest applause is Rhianne-Louise McCaulsky’s Kathryn whose outstanding solos almost make you forgive her character’s maleficence. The Counting Crows ‘Colourblind’ is a gorgeous duet for Daniel Bravo and Budden, before the ensemble kicks in with spine-tingling harmonies.

There is little time to do so, but between songs the performers manage to flesh out personality onto the skeletal bones of their personas. Rose Galbraith is at once raunchy and kittenish as the ingénue Cecile, while Budden’s virginal Annette bewitches with sex appeal and sassiness despite the prim exterior. Daniel Bravo’s amoral coolness melts along the path of redemption, whereas McCaulsky remains as cold as ice: the self-confessed mistress of self-absorption. Her performance is indeed a highlight, although generously allowing the stars surrounding her to shine as bright.

There are inevitably moments of implausibility. And for all its salaciousness and profanity, the show is somehow not very shocking. There is a clean gloss that renders the scandalous a touch scandal-free. It is all about sex, but is sometimes sexless as though the intimacy directors are on overtime. But let’s not single them out – it seems the rest of the creative team are on overtime too. Gary Lloyd’s power-driven and energised choreography is devilishly divine. Chris Whybrow’s sound is crisp and perfectly balanced to pinpoint each vocal and each note from the four-piece band, led by musical director Denise Crowley.

Slick, snappy and sometimes sensational, “Cruel Intentions” pokes fun at its source material and itself. Who cares about its intentions – cruel or otherwise? The result is an evening of unadulterated fun and escapism, with a fabulous soundtrack delivered with passion, right up to its climax.

Tag Archives: Jonathan O’Boyle

PIPPIN IN CONCERT

★★★★★

Theatre Royal Drury Lane

PIPPIN IN CONCERT at the Theatre Royal Drury Lane

★★★★★

“The air is thick with the exhilaration that flows from the cast and ensemble”

PIPPIN IN CONCERT at the Theatre Royal Drury Lane

Reviewed on 29th April 2024

by Jonathan Evans

Photography by Pamela Raith

Previously reviewed at this venue:

YOUR LIE IN APRIL | ★★★★ | April 2024

WILD ABOUT YOU – A NEW MUSICAL IN CONCERT | ★★★ | March 2024

HANDEL’S MESSIAH: THE LIVE EXPERIENCE | ★★★ | December 2022

PIPPIN IN CONCERT

PIPPIN IN CONCERT

Click here to see our Recommended Shows page

CRUEL INTENTIONS

★★★★

The Other Palace

CRUEL INTENTIONS at The Other Palace

★★★★

“an evening of unadulterated fun and escapism, with a fabulous soundtrack delivered with passion, right up to its climax”

“Gary Lloyd’s power-driven and energised choreography is devilishly divine”