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Anyone Can Whistle

Anyone Can Whistle


Southwark Playhouse

Anyone Can WhistleAnyone Can Whistle

Anyone Can Whistle

Southwark Playhouse

Reviewed – 5th April 2022



“in a packed space, on a tiny runway stage, and with a very green excitable cast, Anyone Can Whistle hits all the right notes”


If a play hasn’t seen a main stage since its inception in the ‘60s, running for only twelve previews and nine performances before closing, what does that mean? And a Sondheim no less. Perhaps he was just so ahead of his time, the audience couldn’t appreciate his brilliance? Or, more likely, was it just not his best, the fly in the ointment of an otherwise flawless career?

Directed by Georgie Rankcom, Anyone Can Whistle is certainly an oddball of a musical. The plot is absurd and slightly over-complicated; the music is often stubbornly un-catchy, and crammed with lyrical mouthfuls; it just feels a bit messy for such behemoths as Sondheim and Laurents. But perhaps because the Southwark Playhouse’s production is necessarily smaller than a full west-end staging, the chaos feels magnified, almost guerrilla in energy, and you know what? It works.

Not wasting any time, the plot gets going from the first note. Greedy, corrupt mayoress Cora Hoover Hooper (Alex Young) is looking to make some quick cash, and her trusty sycophant Comptroller Schub (Danny Lane) has come up with a plan: Fake a miracle and sell tickets for the honour of seeing it.

It feels like Alex Young originated her role, she’s so perfect for it. Mincing around in a fuchsia pink fascinator and matching blazer, she’s a perfect toad, caring not a jot for her townsfolk and having a glorious time of her own. Sporting razor-sharp comic timing, she also has a spectacular voice, seemingly making very little effort to reach big rich notes after Sondheim’s trademark long breathless singing rants. Young and Lane have a really gross, potent chemistry as they plot and scheme, and in a strange twist you do find yourself almost rooting for them in the end.

The rest of the cast give off a naïve optimism, as though they’re just thrilled to be invited; indeed, for Jordan Broatch, playing J. Bowden Hapgood, the sort-of saviour of the day, this is their professional debut. On occasion I catch them grinning sweetly when the focus is elsewhere on stage, soaking it all in. For nearly any other performance this would be wildly unprofessional, but Hapgood is a doomed idealist and so it’s perfectly suiting to have someone so wide-eyed for the part.

Chrystine Symone, playing Nurse Fay Apple, the no-nonsense do-gooder, often comes across as very nervous, which she needn’t be: she has the most fantastic voice, singing honestly and without flourish in her low notes, and absolutely soaring in her top register.

Considering how little the stage is- a slender runway dividing the auditorium in two- choreographer Lisa Stevens really packs it in. I especially enjoy the little number between Hapgood and the mayoress, as they frug and bunny-hop seductively in unison.

Cory Shipp’s design reflects the cast’s unadulterated joyousness, with wild ‘70s prints and garish clashing colours. And Alex Musgrave’s lighting design takes a similar cue, making liberal use of the disco ball, along with bold washes of pink and blue.

As ever at the Southwark, the live band, led by Natalie Pound, is spot on, never missing a beat but somehow promoting that same sense of purposeful chaos. There is a slight problem with levels at the beginning, and with Sondheim being so lyric-heavy, there are moments when quieter percussion or, one supposes, much, much louder vocals would be helpful. But ultimately, it’s all a good fun mess anyhow, and the plot points make themselves known eventually.

It’s understandable that in a huge auditorium, having spent wild amounts of money on production, everyone in their black-tie best, a musical like this would feel underwhelming and confusing. But in a packed space, on a tiny runway stage, and with a very green excitable cast, Anyone Can Whistle hits all the right notes.



Reviewed by Miriam Sallon

Photography by Danny With A Camera


Anyone Can Whistle

Southwark Playhouse until 7th May


Recently reviewed at this venue:
Operation Mincemeat | ★★★★★ | August 2021
Yellowfin | ★★★★ | October 2021
Indecent Proposal | ★★ | November 2021
The Woods | ★★★ | March 2022


Click here to see our most recent reviews


Brass – 4 Stars



Union Theatre

Reviewed – 6th November 2018


“this moving piece about love and solidarity, humanises history and brings the forgotten to the foreground”


As Remembrance Sunday is coming up this weekend, with particular poignancy, as it will mark a hundred years since the armistice, Brass seems the most appropriate piece of theatre to watch this week in the capital. Originally commissioned by National Youth Music Theatre in 2014, Benjamin Till’s World War One musical now makes its professional premiere at the Union Theatre. Dramatising real life stories and people from the time, this moving piece about love and solidarity, humanises history and brings the forgotten to the foreground.

The war has been raging on France’s frontlines for a year. Alf, conductor of one of Leeds amateur brass bands, has decided it’s time for him to enlist. With not much encouragement, the rest of the band also agree to sign up, no man wanting to be left behind. After some very basic training, they are packed off across the English Channel, with spirits high, ready to fight the Krauts and become heroes. It doesn’t take long before the true horrors of war reveal themselves. The cheery days in the band seeming like a distant memory.

Back on home soil, the wives, girlfriends, and sisters of the men are left in Leeds to pick up the pieces, everyday, fearful of receiving the dreaded telegram reporting their loved one’s death. But these women aren’t sitting in wait; they bravely do their bit for the war effort, working at the Barnbow munitions factory. Through the correspondence sent between the men and women, the audience are transported back and forth between home and the ravaged front, proving the power of words in sharing love, encouragement, and reassurance.

The most refreshing part of this production is having a story that evenly tells of both men and women’s trials and tribulations during The Great War. As incomprehensibly horrific as being in the trenches must have been, seeing your friends killed right before your eyes, it is just as hard-hitting hearing about those treacherous times through the female perspective. With sensitive sophistication, Brass is a multi-faceted exploration of the devastation war brings to every member of the family.

Benjamin Till’s music ranges from haunting lamentations to raucous morale-boosting ditties, which help to bring light and shade into the show. Most songs are rather unmemorable, yet still excel at moving the story onward, offering the emotional clout needed. The power of the cast’s voices is exemplary, creating gorgeous harmonies that can be spine tingling. With just the Musical Director, Henry Brennan, on the piano, this basic set up gives space for the singing to take centre stage.

Highly moving and heartfelt, Brass compels you to reflect, and make sure that the lives lost to the war are not forgotten.


Reviewed by Phoebe Cole

Photography by Mark Senior



Union Theatre until 24th November


Previously reviewed at this venue:
Heartbreak House | ★★★★ | January 2018
Carmen 1808 | ★★★★★ | February 2018
The Cherry Orchard | ★★★★ | March 2018
Twang!! | ★★★★ | April 2018
H.R.Haitch | ★★★★ | May 2018
It’s Only Life | ★★★★ | June 2018
Around the World in Eighty Days | ★★★ | August 2018
Midnight | ★★★★★ | September 2018


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