Tag Archives: Stephen Sondheim

MARRY ME A LITTLE

★★★

Stage Door Theatre

MARRY ME A LITTLE at the Stage Door Theatre

★★★

“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.


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:

HADESTOWN | ★★★★★ | Lyric Theatre | February 2024
HILLS OF CALIFORNIA | ★★★★★ | Harold Pinter Theatre | February 2024
JEFFREY BERNARD IS UNWELL | ★★★★★ | The Coach & Horses | February 2024
LUCY AND FRIENDS | ★★★★★ | Soho Theatre | February 2024
NELKEN | ★★★★★ | Sadler’s Wells Theatre | February 2024
SELF-RAISING | ★★★★★ | Soho Theatre | February 2024
STANDING AT THE SKY’S EDGE | ★★★★★ | Gillian Lynne Theatre | February 2024
THE BIG LIFE | ★★★★★ | Theatre Royal Stratford East | February 2024
WHEN YOU PASS OVER MY TOMB | ★★★★★ | Arcola Theatre | February 2024

MARRY ME A LITTLE

MARRY ME A LITTLE

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Gypsy

★★★★★

The Mill at Sonning

GYPSY at The Mill at Sonning

★★★★★

Gypsy

“Rebecca Thornhill is quite remarkable as Rose, establishing her personality as the pushy, determined, possessive matriarch”

 

Billed as ‘A Musical Fable’ (although the pedants among us would describe it as a parable), “Gypsy” camouflages its many moral messages in a sheer razzamatazz account of the real-life Gypsy Rose Lee; the highest paid striptease artist of her time. Supposedly born sometime around 1910, the date has always been unclear due to her mother, Rose, constantly re-inventing her daughters’ ages to satisfy her own needs and the fluctuating child labour laws. It is Rose herself who ultimately occupies the central theme of what has been described as one of the ‘greatest American musicals’. Then again, it is hard to go wrong with composer Jule Styne, lyricist Stephen Sondheim and writer Arthur Laurents.

Joseph Pitcher’s production is one of The Mill at Sonning’s boldest projects to date which, it is safe to say, doesn’t put a foot wrong either. From the outset we are thrust into the precarious, decadent and exciting Vaudeville world of the 1920s. The overture – worthy of a night out in itself – spills onto and beyond the stage, musicians mingling with cast and audience, characters appearing from suitcases, and a colourful hint of the kaleidoscopic range of Natalie Titchener’s outstanding costumes.

The show displays the contrasting atmospheres of the world depicted. The highs, the lows, the glamour and the shabbiness. Sisters Louise and June are growing up in this world under the formidable shadow of Rose. The ultimate ‘showbusiness mother’, she pushes her daughters into the spotlight and into her own failed dreams with disastrous effects. The more vivacious June is pushed away, while the shy Louise longs for a normal life, eventually eclipsing her mother. Ultimately, she finds her own success in the world she sought to escape, transforming into ‘Gypsy Rose Lee’. Although it is her memoirs that inform the story, it is the mother’s voice that tells it and steals the show.

Rebecca Thornhill is quite remarkable as Rose, establishing her personality as the pushy, determined, possessive matriarch. But far from grotesque. She does monstrous things but is not a monster, and Thornhill perfectly understands that dichotomy. The comedic twinkle is matched by a sincere vulnerability that pulls the character away from cartoon brashness and, amazingly, we end up really rooting for her. If “Everything’s Coming Up Roses” is a showstopping climax to the first act, just wait for her rendition of “Rosie’s Turn” in Act Two.

Evelyn Hoskins, as Louise, wears the timid awkwardness like a mantle to protect herself. When forced to shed this (and, of course, more) her wide eyed abidance is quite moving, tipped by a heart-rending moment when she gazes back at her younger self. The transformation is complete, and uplifting, as she picks up the familiar motif number “Let Me Entertain You”. It’s a fascinating journey. Lost on the way, thanks to the antics of Rose, are sister June (an impressive Marina Tavolieri) and Daniel Crowder’s big-hearted agent Herbie. Crowder skilfully steps through the eggshells Rose has laid, dispelling humour and joy and ultimately heartbreak as the armour of his illusions are shattered.

This fine company brings out the best of Styne’s score and Sondheim’s inimitable lyrics, with choreography and production values to equal any West End or Broadway revival. It is a story of contradictions and contrasts. There is a darkness that is lightened by the witty libretto and sumptuous score, and a hardness that is softened by emotionally charged performances and the slick staging. There are lessons to be learned from the ‘fable’, but it never slips into platitude.

Rose tells her daughters to “leave them begging for more – then don’t give it to them”. This production certainly leaves us wanting more, but gives it to us too. In bucketloads. “Let Me Entertain You” it proclaims. Just try stopping them! A stylish, superbly crafted show that is also steeped in sympathy for the main characters. Since its original Broadway production in 1959, producers have toyed with the ending, often leaving it open as to whether there is reconciliation. This one? Well – just go and find out for yourself.

 

Reviewed on 1st June 2023

by Jonathan Evans

Photography by Andreas Lambis

 

 

Previously reviewed at this venue:

 

Barefoot in the Park | ★★★★ | July 2022
Top Hat | ★★★★ | November 2022

 

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