Tag Archives: Tim Luscombe

STILETTO

★★★★

Charing Cross Theatre

STILETTO

Charing Cross Theatre

★★★★

“a luscious musical that intrigues and teases with, rather than pulls, our heartstring”

The first thing you notice about the new musical, “Stiletto”, is the opulence of Ceci Calf’s set. Dimly lit in the pre-show, it depicts not so much a Venetian palazzo but something more subterranean. You almost expect ripples of light, cast from the canal waters, to dapple from above. It is moody, portentous and atmospheric. The musical itself follows suit. Consistently soul-stirring, grandiose and lush, it looks and sounds exceptional. A balcony circles the stage behind its proscenium arch, like a minstrel’s gallery. In the shadows we can make out the silhouettes of the fifteen-piece orchestra. A cast of seventeen grace the stage, yet Chris Baldock’s musical staging never makes it appear crowded. From the opening dramatic bars of music, we know we are in for something grand. There is a danger that the show might take itself too seriously. A feeling, however, which soon dissipates under David Gilmore’s pacey and fresh direction.

We are in Venice in the early part of the eighteenth century. Marco Borroni (Jack Chambers) is on the cusp of stardom. He is a ‘castrato’, which means he was castrated before puberty to preserve his soprano voice. Apparently, the process not only keeps the vocals skills intact, but it also in no way diminishes his pleasure-giving prowess – as his siren-like patron, the Contessa Azurra (Kelly Hampson), seductively points out. Meanwhile Marco meets feisty Gioia (Jewelle Hutchinson), a slave’s daughter, in the market square. His lust is turned into sheer wonder when he hears her sing, and he vows to sweep her up from the gutter into his own impending rise to fame and fortune. Of course, there are snags. In this case an accidental death, an ensuing scapegoat bound for the hangman’s noose (i.e. Gioia – that’s no spoiler by the way), a corrupt judicial system, and the predictable battle between good and bad – the underdog and the powerful. Tim Luscombe’s book follows a formulaic narrative, but there is a quirkiness and modernism to the dialogue, much of which swings effortlessly in time to the musical preludes.

The plot may be a touch thin, but Matthew Wilder’s score is as ripe and succulent as they come. Wilder generously gives each major character a solo moment in the spotlight, but he also allows the full ensemble to shine throughout. This could almost be a sung-through musical and often has that feel – the underscore subtly echoing the songs. Simon Nathan’s orchestrations highlight the variations; from a quiet harp-accompanied ballad through to the full pageantry of sweeping ensemble numbers. There are many musical highlights and just as many performance highlights. Chambers, as Marco, has a natural flair, mixing innocence with passion, carnality with self-righteousness. And a voice to match – particularly when standing alone, closing the first act with a gorgeously delivered ‘The Wanting’, or lamenting the tragic figure of his tutor Faustino (a rich-toned Greg Barnett). Jennie Jacobs stands in as a masked mezzo soprano whenever Marco is called upon to demonstrate the ‘castrato’ voice. Kelly Hampson’s Contessa Azurra is a force to be reckoned with, standing up to her corrupt yet camp husband, Pietro (a wonderful Douglas Hansell). Hampson’s solo number, ‘Amore Mio’ has a bond-theme quality, but with more interesting time signatures and shifts in tone.

There are surprises, too. When Connor Wood, as the mute Niccolo, finds his voice at a crucial moment in the story we are quite taken aback by his singing voice during ‘No Words’; and Sam Barrett’s down-trodden Luigi blossoms as he turns saviour and vocal raconteur extraordinaire with his solo number ‘Go Along’. But the one to watch out for is Jewelle Hutchinson, stealing the show whenever she walks on stage as Gioia. Spirited and ballsy (ironic given her paramour’s deficiency in that department), Hutchinson lets Gioia’s vulnerability cut through as well. And all the while her rich, wide-ranged vocals pierce our hearts.

The performances bring a heightened energy to the stage that befits the setting and the storyline. Cementing the sense of period are Anna Kelsey’s glorious and flamboyant costumes. Passion is the key word for this show. And drama. Sometimes melodrama slips in which, if you’re not paying attention, can hide the flaws in the narrative. It does feel as though a trick or two is missed, and certain themes are underexplored while the finale comes a little too quickly and too forced. That frustration aside, this is a luscious musical that intrigues and teases with, rather than pulls, our heartstrings. Full of light and shade, musically as well as visually, it might not penetrate quite as deeply or cleanly as a stiletto, but it certainly gets under your skin.



STILETTO

Charing Cross Theatre

Reviewed on 31st March 2025

by Jonathan Evans

Photography by Johan Persson

 

 


 

 

 

Previously reviewed at this venue:

JACK AND THE BEANSTALK: WHAT A WHOPPER! | ★★★ | November 2024
TATTOOER | ★★★ | October 2024
ONE SMALL STEP | ★★ | October 2024
MARIE CURIE | ★★★ | June 2024
BRONCO BILLY – THE MUSICAL | ★★★ | January 2024
SLEEPING BEAUTY TAKES A PRICK! | ★★★★ | November 2023
REBECCA | ★★★★ | September 2023
GEORGE TAKEI’S ALLEGIANCE | ★★★★ | January 2023
FROM HERE TO ETERNITY | ★★★★ | November 2022
THE MILK TRAIN DOESN’T STOP HERE ANYMORE | ★★★ | October 2022

STILETTO

STILETTO

STILETTO

The Turn of the Screw – 3 Stars

Turn

The Turn of the Screw

Colchester Mercury

Reviewed – 8th March 2018

★★★

“subtle layering of shadows and downlights gave a real boost to the overall gothic and insidious feel of the play”

 

Tim Luscombe’s take on Turn of the Screw is a lesson in well considered casting and tight production values. From the outset there is a distinct sense of unease, begun with the skewed set frame and followed through into the opening scene of increasingly uncomfortable conversation between the two most prominent cast members – Carli Norris as The Governess and Annabel Smith as ‘Mrs Conray’. What follows is a twisting tale of death and mystery told to examine the concept of what it is to be truly haunted.

Carli Norris is a solid leading lady, flowing well between the nuances of a demure and well intentioned governess to the unhinged but doting companion of two apparently disturbed children.

Annabel Smith was quite perfect in jumping between the aspects of her character, which could have easily become a messy portrayal of a girl at different points of her life but her performance was absorbing and very precisely defined. She was equally irritating, masterful, childish and cruel, and instrumental in holding together the leaps of the narrative between past and present with impeccable physical cues as well as her dialogue.

Michael Hanratty, billed initially as merely ‘The Man’ also turns out a well thought performance that made uncomfortable watching if only because his convincing childishness felt decidedly squeamish from an adult player – which of course was the point a lot of the time. Maggie McCarthy tied up the cast in a somewhat stereotypical role of good-old-working-class-woman-of-certain-age that was predictable but nonetheless well delivered.

It was no surprise to see a long list of classical theatre credits after the name of Matt Leventhall, the Lighting Designer, who deserves special mention. Although there are obvious bangs and jumps and sudden lights out moments to keep the audience jumping, the more subtle layering of shadows and downlights gave a real boost to the overall gothic and insidious feel of the play throughout to the point that one felt both relieved and over exposed when it was time for the house lights to come back up.

It really is all very well done, which makes me regret having to say that I think this might be a production recommended for genre fans only. I haven’t read Turn of the Screw, nor seen any of its Hollywood outings and I’m left with the feeling that this production was brought together by a team who adore the source material but have failed to make it entirely accessible via this play alone. Nothing in the telling is unclear, however. The premise and the action and the prescribed twist are all quite plainly there but it all fell a little bit flat, taking something of a downward turn not long into the second act.

I feel I was missing something, some greater understanding of the story or perhaps more of the time that it comes from. I love a period drama, but there needs to be something fundamentally relatable to really bring all of the stiff old fashioned costumes and storm tossed country estates to life for me, and I suspect that had I read the Henry James novella I might have found it easier to immerse myself in this play. As such I’m not sure in summary if I was disappointed in the production, or disappointed in myself for not being more well prepared to enjoy it!

 

Reviewed by Jenna Barton

Photography by Robert Workman

 


The Turn of the Screw

Colchester Mercury until 10th March then touring

 

 

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