“a journey into truth, emotions, reinvention, celebrity and human spirit”
A new musical that stormed the VAULT Festival back in March 2020 about a sporting pioneer who may have embellished the truth has blossomed into a fully-fledged show that more than proves its worth at Charing Cross Theatre.
Writers Freya Catrin Smith and Jack Williams explore the life of shameless self-publicist Annie Londonderry, who allegedly became the first woman to cycle solo around the world in 1895, in the captivating and lively “RIDE.”
If the original small-scale production was a beautifully crafted cross-stitch which made the most of one of the Vaults caverns, this revamped and expanded version is a well-embroidered tapestry in which every thread is perfectly placed in a brilliantly used larger space.
Born of Latvian Jewish background Annie Cohen Kopchovsky emigrated with her family to America in 1874/5 but refused to be determined by her past. History (or should that really be her story?) suggests that she wanted to write for a New York newspaper but was approached by two businessmen with a wager of $20,000 that no woman could travel around the world by bicycle in 15 months.
Despite the hype and sensationalism, it’s clear that Annie was a great saleswoman and raconteur, changing her surname to get sponsorship from a spring water company and telling increasingly tall stories during her journey which enthralled the crowds.
“RIDE” is a well-crafted musical about a fighter and storyteller with a timeless message of liberation and achievement, never afraid to present Annie’s less than admirable qualities, yet itself unashamedly being creative with a story about someone who had such a casual relationship with the truth.
At its heart is a story of a New Woman eager for change in society. Scrutinising her claims amidst so much showmanship and self-promotion is part of the fun of this indefatigable show, which tells the tale as honestly as it is able given that it is largely selling the reality of a fake American dream.
There are more songs and a longer running time, yet even now the show seems to be pedalling furiously to be something bigger. Still, with Amy Jane Cook’s design the stage is opened up to allow a journey into imagination and the performances are suitably larger than life.
The setting is a newspaper office where an enthusiastic Annie persuades reluctant and sceptical secretary Martha to help recount her deeds. It is a two-hander where both performers triumph, balancing and playing off each other with care and skill.
As Annie, Liv Andrusier has an egocentric Barnum-like presence, though showing off herself and her accomplishments rather than a collection of circus acts, walking a tightrope between truth and fiction as she agitates and elaborates. She roars her way through the lively numbers – the title song remains a fierce showstopper, one of the best new songs in a contemporary musical; she is bold and brazen as she recounts her truth (“Everybody Loves a Lie” is a paean to the art of humbug) yet grasps the vulnerable as she recalls her family and background in the face of loneliness, anti-Semitism, insults and struggles as a feisty woman in a man’s world.
Yuki Sutton’s Martha is a gem, the timid and dubious assistant becoming a mistress of fabrication, not only taking over the story but also elaborating upon it, becoming a commanding presence in her own right.
While the characters begin as opposites, each suspicious of the other, they gradually learn from and believe in each other, with their contrasts keeping each other on track. And Andrusier and Sutton perform soaring duets that set the stage on fire with vivacious harmony and intensity.
Director Sarah Meadows captures the sense of façade without losing sight of the personal stories, however hard the facts may be to grasp. There is colour, light and shadow in a production that never once glows dull.
The small band excites the moment they play their first note. Led by energetic conductor Sam Young on keys, with Frankie South on guitar and Alex Maxted on percussion, the musicians show understanding of and enthusiasm for every cracking musical number, all of which are memorable and of the highest quality.
Originally produced by Bottle Cap Theatre it is no surprise that the show was snapped up by Deus Ex Machina Productions, who surely recognised the show’s beating heart of liberation from trauma and expectations, courage in adversity and the embrace of change and progression.
Smith and Williams write with depth and quality and it’s hard to believe that the near-perfect smaller show has been developed into something even better. They must be contenders for one of the best writing partnerships out there and with “RIDE” they have created a work of fresh energy, and unbelievable fun.
Magically profound and stunningly creative this might just be one of the best musicals this year, a journey into truth, emotions, reinvention, celebrity and human spirit.
“This is not sophisticated comedy, and doesn’t pretend to be, but it is skilful theatre”
The Adventure of Isaac Saddlesore and the Witches of Drenn is a comedy caper in the style of a Sherlock Holmes mystery. Written by Callum Hale, who also gives a terrific turn as the blustering Aussie anti-hero Sir Maxwell Gropefund, it follows the private detective, Isaac Saddlesore, and his long-suffering companion Dr George Hotbuns as they seek to uncover the true cause of the curse which seemingly lies over the Gropefund family. The publicity promised an evening of ‘bad puns, single entendre and daft names aplenty’, and did not disappoint. What was a treat to discover however, was the professionalism of this young company, in evidence at every turn.
This is not sophisticated comedy, and doesn’t pretend to be, but it is skilful theatre. The Micawber Theatre Company run a tight ship and it was a pleasure to watch a piece of original comedy that was truly funny, pacy and well-rehearsed. Hale’s writing ably parodied the conventions set in place by Conan Doyle, with some frolicsome meta-theatrical touches pleasing to a 21st century palate. The cast worked extremely well as an ensemble, and there was some terrific multi-role work on display from Alice Osmanski and Sam Young in particular. Their ability to move between roles at high speed in the fast and furious denouement was delicious, and gave a shot of comedy aderenaline to the capacity crowd at the Hen & Chickens.
Lewis Allcock and Roger Parkins were well cast as the crime-fighting duo, though Saddlesore was the only role which seemed a trifle underwritten. Parkins gave a performance of tremendous brio, which occasionally overshadowed that of his capricious friend, owing to the quality of the material. Much was made of Saddlesore’s cocaine addiction, but the detective’s lines (pun entirely intended) didn’t always give Allcock what he needed. The comic business between the two was terrific throughout however, with the perfectly performed high speed chase a particular highlight.
The fact that a high speed chase was even possible in this tiny space is credit to Amy Wicks’ superb and inventive direction. The physical comedy was slickly choreographed and the space transformed with creative flair throughout. Dylan Allcock’s atmospheric and frequently hilarious musicianship also played an important part in the success of this energetic and entertaining production. The Micawber Theatre Company simply fizzes with talent and deserves every success.
