Tag Archives: Stuart Morley

The Twiggy Musical

Close Up – The Twiggy Musical

★★★

Menier Chocolate Factory

CLOSE UP – THE TWIGGY MUSICAL at the Menier Chocolate Factory

★★★

The Twiggy Musical

“We do also feel light footed and energised such is the fun factor of the production, which boasts an impressive line-up of performers”

The overriding feeling coming out of the theatre having just witnessed “Close-Up: The Twiggy Musical” is of wanting to find the nearest police station to report a missing person. There was once an award-winning author, playwright, comedian, satirist, social commentator, observationist – with an astute and sharp mind. His name is credited in the programme as the writer, but there appears to be little trace of Ben Elton’s involvement, except for a sweeping pastiche of his trademark style here and there. We wonder if he passed the task onto a lazy sixth-former. And then we wonder how the book would have made it through the first week of rehearsals without being questioned by the director… oh hang on – Elton is the director.

Maybe ‘overriding feeling’ is a bit harsh. We do also feel light footed and energised such is the fun factor of the production, which boasts an impressive line-up of performers. It is quite a whirlwind tour of the back story of one Lesley Hornby with a few stopovers at certain landmarks on the way. Much of Twiggy’s life story is already known, but here the chain of events rewinds further still – to her parents meeting in the thirties, surviving the London Blitz and some choice moments of Twiggy’s childhood and schooldays. A retrospective, predominantly narrated by Elena Skye who personifies the iconic image we have of Twiggy, even though the character is reminiscing from today’s perspective.

We witness the professional and the personal. Her serendipitous discovery and rise to fame as a teenage model, her ill-fated relationship with the controlling and self-aggrandising boyfriend/manager, Justin de Villeneuve. Her parent’s support throughout her career, her mother’s depression. Her success on stage and screen, her shadowy moments locked in marriage to the alcoholic screen-star, Michael Whitney. The facts are fascinating and revealing. Many well-known areas are covered but there are insights into the dark corners too, all illuminated by the strong supporting cast and ensemble. Justin de Villeneuve is given a particularly hard time, which Matt Corner takes on with a cheeky, mocking self-deprecation. Darren Day’s self-destructive Whitney has moments of poignancy, which are manifested most strongly in song. The two stand outs are Hannah-Jane Fox and Steven Serlin as Nell and Norman Hornby respectively – Twiggy’s mum and dad.

“Elena Skye certainly knows how to put a song across, and the ensemble numbers are striking”

There is far too much unnecessary cross referencing of the ‘then and now’. Yes, we all know it was ‘different times’ then. The only refreshing twist on this conceit is when the father quips: ‘The show must go on. That’s what they say. Well, at least they did back then’. In that short remark we get a glimpse of the subtle insight that Elton is capable of, with what is a real and relevant indictment of the changing attitudes and their current effects on the theatre industry. But overall, Elton is thrusting over simplified lessons on socio-economic history at us, while glibly exploring issues such as alcoholism or post-natal depression. There is a positively surreal song and dance routine while Nell is receiving electroconvulsive treatment. And then suddenly we find ourselves in a fifties style episode of ‘Grange Hill’.

Despite racing through the song list like an extended medley of hits, there are moments where poignancy can show itself through the musical refrains. Elena Skye certainly knows how to put a song across, and the ensemble numbers are striking. The repertoire is pretty suitable on the whole, with only a few numbers showing the bruises from the shoehorn Elton is so keen on using. Some key cultural moments are glossed over while some are given too much airtime. And two and a half hours in we are suddenly offered a rapid ‘summing up’. Followed by an upbeat song and dance number.

The show does indeed end on a high that is greeted with a standing ovation. They say, ‘don’t kick someone when you’re down’. There is much to fault in this musical but, hey – the show can handle all the flak. It’s a sure-fire hit. And why not? It’s a brilliantly executed five-star show; with top-notch production values, wonderful performances, and a juke-box full of fabulous music. Just a preposterous one-star book.


CLOSE UP – THE TWIGGY MUSICAL at the Menier Chocolate Factory

Reviewed on 28th September 2023

by Jonathan Evans

Photography by Manuel Harlan


 

 

Previously reviewed at this venue:

The Third Man | ★★★ | June 2023
The Sex Party | ★★★★ | November 2022
Legacy | ★★★★★ | March 2022
Habeas Corpus | ★★★ | December 2021
Brian and Roger | ★★★★★ | November 2021

Close Up

Close Up

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How To Succeed In Business Without Really Trying

★★★★★

Southwark Playhouse

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

★★★★★

How to Succeed

“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.

 

Reviewed on 16th May 2023

by Jonathan Evans

Photography by Pamela Raith

 

 

Previously reviewed at this venue:

 

Strike! | ★★★★★ | April 2023
The Tragedy Of Macbeth | ★★★★ | March 2023
Smoke | ★★ | February 2023
The Walworth Farce | ★★★ | February 2023
Hamlet | ★★★ | January 2023
Who’s Holiday! | ★★★ | December 2022
Doctor Faustus | ★★★★★ | September 2022
The Prince | ★★★ | September 2022
Tasting Notes | ★★ | July 2022
Evelyn | ★★★ | June 2022

 

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