Richard Lambert Archives - thespyinthestalls.com

★★★

“The production’s saving grace is Markus Sodergren’s performance”

Revues can be hard to pull off, but Marry Me A Little feels confused and somewhat directionless.

The performance is a series of Sondheim songs, pulled from other musicals, which are knitted together to tell the story of two lonely singles.

The plot, as it is, is vague and hard to follow. It isn’t clear if the two characters are acquainted, and there is no interaction between performers. This seems a particular shame as it would’ve varied the tone and allowed a different dynamic to build. The director, Robert McWhir, has set the performance in modern day, but all that seems to entail is several moments where the characters stare at their phones, and one excellent moment where the stabbing of a microwave meal sleeve is incorporated into the rhythm of the song.

The production’s saving grace is Markus Sodergren’s performance. Both Sodergren and Shelley Rivers are strong, and it is an impressive feat to be non-stop singing for an hour. However, Sodergren is a real standout. He is passionate and funny, and while it is hard to follow why his emotions are what they are, he plays them with vigour.

David Shields’ set paints a clear picture of the apartment(s) and utilises a fairly small space in a clever and compact way. Though ideally his costumes would’ve given us more understanding of the characters. Richard Lambert’s lighting design is naturalistic, and does well to transport the audience to the inside of this apartment.

This is the first production at the new Stage Door Theatre, the first (and only) pop up pub theatre in the West End. The space is intimate and convivial, the audience is seated at individual tables and there is the option of a meal before the show. To choose this revue as a first production, setting the tone for what this theatre will be, feels like a strikingly odd choice. It will be interesting to see how the season progresses.

Pippin

The Garden Theatre

Reviewed – 17th September 2020

★★★★

“fast-paced and engaging”

These last seven months have taken a toll on the best of us, least of all this reviewer, who was beyond excited to have an energetic performance of the 1972 musical Pippin, directed by Steven Dexter, at The Garden Theatre in Vauxhall mark her return to attending live theatre. Upon taking my seat, the excitement in the air was palpable. Certainly, many in the audience will have felt the theatrical lacuna caused by lockdown restrictions. So, to begin, a thank you to all who worked towards making this show possible whilst abiding by the government’s safety guidelines.

Secondly, the show itself. Pippin follows the young prince Pippin (Ryan Anderson), son of the great leader Charlemagne (Dan Krikler), on his search for a significant and fulfilling life. Along the way, Pippin must contend with his self-obsessed stepbrother Lewis (Harry Francis) and his power-hungry stepmother Fastrada (Joanne Clifton) who have their eyes on the throne. Pippin must also navigate a mysterious fourth wall-breaking chorus led by the aptly named Leading Player (Tsemaye Bob-Egbe) whose motives are questionable to say the least. When Pippin meets the widow farm-owner Catherine (Tanisha-Mae Brown) and finds purpose in a simpler life, Pippin must confront what really makes him happy and whether his pursuit of ‘the extraordinary’ is really so wonderful at all.

The cast have great chemistry and work effortlessly together. Anderson’s range is phenomenal. He is as convincing when playing a son desperate to impress his nonchalant father as he is as an anguished young man torn between two drastically different life paths in his final scene. Clifton is also particularly strong in her role as Pippin’s grandmother Berthe, performing a lively and hilarious rendition of the song ‘No Time At All’ in which the audience were encouraged to sing along.

Psychedelic wall hangings and plants surround the courtyard that acts as the stage (David Shields). The stage itself is for the large part empty, excluding a bench and a set of boxes that are periodically set down to act as seating or dance apparatus. Incense burns throughout the performance and the cast are decked out in hippy garb, tying the ‘peace and love’ theme together nicely. Props are cleverly hidden amongst the foliage, the best of which is a tambourine which has a dual purpose of crown and instrument.

The performance space is surrounded by a plethora of different lighting. Fairy lights – both gold and blue – intermingle amongst the greenery and trellises while bulbed lights and a disco ball hang above centre stage. The lights are well-timed to flash and change colours to reflect the mood on stage.

The songs (Michael Bradley) are well performed and accompanied by dynamic choreography (Nick Winston). Krikler gives a standout performance of ‘War is a Science’ and the dancing is particularly strong during ‘On the Right Track’ performed by Anderson and Bob-Egbe. Brown provides good backing vocals before stepping into her own in the role of Catherine and the song ‘Kind of Woman’.

Pippin is a fast-paced and engaging musical, especially in its latter half, and the cast and crew should be proud of their spirited performance. Music and laughter abound, Pippin finds new meaning in these strange times, when we all have been forced to reflect on the simple pleasures of life and consider what truly makes us happy.

MARRY ME A LITTLE at the Stage Door Theatre

★★★

“The production’s saving grace is Markus Sodergren’s performance”

MARRY ME A LITTLE at the Stage Door Theatre

Reviewed on 1st March

by Auriol Reddaway

Photography by Peter Davies

Top shows reviewed in February 2024:

MARRY ME A LITTLE

MARRY ME A LITTLE

The Garden Theatre

Reviewed – 17th September 2020

★★★★

“fast-paced and engaging”

Reviewed by Flora Doble

Photography by Bonnie Britain Photography

Pippin

The Garden Theatre until 11th October

Last ten shows reviewed by Flora: