THE FROGS

Southwark Playhouse Borough

★★★

“Dan Buckley’s Dionysos and Kevin McHale’s Xanthias make a wonderful double act”

“The Frogs” – the musical ‘freely’ adapted by Stephen Sondheim and Burt Shevelove from the ancient Greek comedy by Aristophanes – opens with a paradox. The time is the present and the place is Ancient Greece. This tells us that the writers have given themselves license to tweak (to put it politely) the original for a modern audience. The central premise, however, needs little updating: Aristophanes used his play – at a time of crisis – as a biting satire of politics and religion, bemoaning the corruption inherent in society’s leaders and calling for the rejection of the status quo. Two-and-a-half-thousand years on we can pretty much still relate to that. What the writers have done is sprinkle it with contemporary references, added a fair dose of Sondheim’s inimitable music and lyrics and, with the help of Nathan Lane (‘even more freely’ adapted) dished up a couple of hours of mind-bogglingly, zany and funny – but inconsistent – musical theatre.

The title is a touch misleading. Yes, there are frogs. Frogs that populate the River Styx (of course!) and close Act One with a droll and incisive choral number; but beyond that they barely make an appearance. What “The Frogs” focuses on is the epic journey of Dionysos and his slave Xanthias into the Underworld and back in a bid to put the world to rights. Dionysos believes only art can save civilisation but contemporary dramatists aren’t up to scratch, so he decides ‘to go to Hell and back’ (this particular joke is milked for all its worth) to bring George Bernard Shaw back from the dead. He finds Shakespeare down there, constantly at loggerheads with Shaw. The two of them end up fighting it out in a linguistic dual, competing to see which one Dionysos will choose to accompany him back to the land of the living.

The journey is a bit of a meandering rollercoaster. Or rather log-flume, or water-chute. Although mercifully no water tanks have been employed to create a realistic representation of the Styx. Instead, Samuel Biondolillo’s evocative lighting, and Libby Todd’s clever breakaway set depict the worlds we travel through. Dan Buckley’s Dionysos and Kevin McHale’s Xanthias make a wonderful double act. They don’t break the fourth wall, they just take it for granted there isn’t one – which makes their on-stage chemistry and affectionate rivalry as master and slave, even more of a delight to be immersed in. They draw us into the story with ease, and we are willing accomplices. Joaquin Pedro Valdes is having great fun as the ab-flexing Herakles. Carl Patrick’s boatman Charon ups the fun stakes, veering dangerously close to indulgent, but Georgie Rankcom’s strong directorial hand keeps the cast firmly in check, possibly with the exception of Victoria Scone, as Pluto, who brings her Drag Race persona crashing onto the stage with the confidence of a fully-fledged Goddess. (Scone plays Pluto only until 31st May, after which a rota of other performers takes a week each).

The comedy’s sharpness is honed during the later stages of the show, when Bart Lambert’s Shakespeare and Martha Pothen’s Bernard Shaw tackle each other with words like drunkards brawling with bottles. Lambert’s and Pothen’s comic timing and grasp of their respective character’s linguistic styles is extraordinary and the humour, whilst more subtle, becomes increasingly satisfying the more it ditches its pantomime pizzazz.

More of a play with music than a musical, “The Frogs” is full of anachronisms and topical updates that bring the message closer to a contemporary audience. Even closer than the musical’s 1970s premiere, with references to influencers and Andrew Lloyd Webber’s ‘Bad Cinderella’ – among many others. This does add to the already heady mix of styles that can be a bit alienating, and the pointed political commentary (‘you get the leader you deserve’ for example) is a touch blunt and predictable. But there is no denying the sheer sense of fun, anarchy and silliness. Definitely worth hopping along to.

THE FROGS

Southwark Playhouse Borough

Reviewed on 27th May 2025

by Jonathan Evans

Photography by Pamela Raith

Last ten shows reviewed at Southwark Playhouse venues:

THE FROGS

HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING at the Southwark Playhouse

★★★★★

“a highly intelligent musical that lampoons modern ideas of success and ambition”

Just over sixty years ago the musical satire, “How to Succeed in Business Without Really Trying” took Broadway by storm, winning eight Tony Awards and the Pulitzer Prize for best drama. Based on Shepherd Mead’s semi-autobiographical, humorous novel of the same name, it charts the rapid rise of J. Pierrepont Finch up the corporate ladder as he pursues his American Dream. It is inevitable that the office politics and gender assumptions are going to struggle to stand the test of time, but Georgie Rankcom’s exuberant and dynamic staging dismisses any reservations we might have with sheer razzmatazz and inventive risk-taking in the personnel department.

Gender blind casting is nothing new. In fact, it has become a bit of a paradox: the choices these days are nearly always far too deliberate to have been taken ‘blindly’. Discussion aside, it might not always work. But in this case, it adds an essential twist – and much needed sympathy for the principal, self-obsessed characters. Gabrielle Friedman, as the scheming and deceiving Finch, is an endearing mix of opportunism, cynicism and self-deprecation; played with a twinkle as bright as their comic asides are subtle. We can’t fail to be on their side as Finch cheats, lies and manipulates his way to the top. Already at the top is the misanthropic, misogynist company boss, J. B. Biggley. Tracie Bennett grabs the role by the horns and wrestles it into a loveable beast of burlesque parody.

Everything works wonders. And it is refreshing to see that the book and lyrics are an unashamed joke, shared by performers and audience alike. You don’t need a manual to instruct you not to take this too seriously. Abe Burrows, Jack Weinstock and Willie Gilbert’s book is charged with shocking wit and pertinent observation, while Frank Loesser’s music and lyrics elevate the piece with a captivating score and libretto. But that’s a sure thing. The real success lies in the staging. Alexzandra Sarmiento’s choreography is as sharp as any knife used by these back-stabbing individuals.

But the acerbity is softened by vulnerability and sensitivity. Allie Daniel in particular, as Finch’s love interest, gives a stunning performance as Rosemary Pilkington, the secretary who yearns for his neglect and would just be “happy to keep his dinner warm”. Daniel embodies comic genius and vocal virtuosity in a powerhouse of a performance. Her comic timing is matched by Elliot Gooch, who deliciously struts with camp abandon as Biggley’s nepotistic nephew intent on revenge. The quality of the singing cuts across the board, each voice given their moment in Loesser’s uplifting score which allows the characterisation to shine through. Grace Kanyamibwa comes into her own during the number ‘Brotherhood of Man’; an uplifting mix of scat and gospel. Nobody steals the limelight as solos merge into duets, into rousing company ensembles. Bennett’s finely tuned, gravelly tones blend lushly in ‘Love from a Heart of Gold’ with the operatic cadences of Annie Aitken, Biggley’s mis-appointed mistress and secretary. Verity Power, Milo McCarthy, Danny Lane, Taylor Bradshaw all stand out, and fall back in line again in what is probably one of the most generous and joyous companies on the London stage.

This is a highly intelligent musical that lampoons modern ideas of success and ambition, and not so modern ideas of a women’s place in the workforce, and old-school mentality. It does so with affection, not for the culprits but for the victims. ‘A Secretary Is Not a Toy’ is simultaneously behind, and ahead, of its time in this production. The aching duet ‘Rosemary’ is timeless, and beautiful. And the humour of the piece is brought out in ‘Coffee Break’, ‘Been a Long Day’ and ‘Paris Original’.

Finch may have used a how-to manual to reach success. Alas, in reality there is no handbook available to create a successful musical. But clearly this company doesn’t need one. The success of this show is pretty much guaranteed. Anyone can see that – without really trying.

THE FROGS

Southwark Playhouse Borough

★★★

“Dan Buckley’s Dionysos and Kevin McHale’s Xanthias make a wonderful double act”

THE FROGS

Southwark Playhouse Borough

Reviewed on 27th May 2025

by Jonathan Evans

Photography by Pamela Raith

Last ten shows reviewed at Southwark Playhouse venues:

THE FROGS

THE FROGS

THE FROGS

HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING at the Southwark Playhouse

★★★★★

“a highly intelligent musical that lampoons modern ideas of success and ambition”

Finch may have used a how-to manual to reach success. Alas, in reality there is no handbook available to create a successful musical. But clearly this company doesn’t need one. The success of this show is pretty much guaranteed. Anyone can see that – without really trying.

Reviewed on 16th May 2023

by Jonathan Evans

Photography by Pamela Raith

Previously reviewed at this venue:

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