KISS ME KATE

KISS ME KATE

The John Wilson Orchestra at the Royal Albert Hall

BBC Proms

02.08.14

Semi-staged in name only, this was a show of West End proportions and outstanding talents. A bigger stage than My Fair Lady in 2012, and a restored version of the score, played with Wilson's trademark lush precision.

Including so many dance sequences meant that we heard loads of orchestral numbers, and saw some amazing choreography. Too Darn Hot, for instance, with Jason Pennycooke, or Tony Yazbeck's tireless “Bianca” tap routine [as Calhoun/Lucentio].

The Shrew herself was Broadway star Alexandra Silber, giving a bold, sassy performance plenty big enough to fill this vast arena. Her tamer was Ben Davis, suitably arrogant and self-regarding.

James Docherty and Michael Jibson were the “Brush Up Your Shakespeare” heavies, excellent in their menacing adoration of Miss Vanessi, with a welcome gag about “like being on the inside of a birthday cake”.

But, as ever, the biggest pit band in captivity was the real star here, with the dapper, enthusiastic Wilson relishing every note, every encore, of Porter's rich, timeless score.

KISS ME KATE

KISS ME KATE

WAODS at the Public Hall, Witham

03.11.12

It starts and ends with a dead stage – something Witham Public Hall does well – making a satisfying frame for this ingenious meshing of backstage drama and Shakespearean comedy.

In the imaginatively choreographed opening, the stage is gradually invaded by life, colour and youth for Another Opening, Another Show. We meet the characters, in the Shrew and out of it, who will keep us entertained for the next three hours; notably the actor manager, a great actor and a gentleman, [David Slater's assured Fred] and his leading lady and ertswhile wife, Miss Vanessi, cursed with the worst temper in showbiz, [Julie Codling]. Excellent performances, both dramatically and vocally, from this pairing, and very easy to believe in their past careers understudying in operetta. Superb too was Robyn Gowers' Lois – a wonderful sense of comedy in the scene where she's wooed by the chorus boys [lively, snappy choreography here], and in her clothes rail exit for Always True to You in my Fashion.

Not everyone reached these heights, it's true, but a word for the two Gangsters, Michael Mundell-Poole and George Jordan, doing their front-cloth Brush Up with a selection of showbiz hats, and Ben Huish's Paul, confidently leading the company in an energetic Too Darn Hot.
The chorus worked well together, giving a real back-stage feel to the corridor, and obviously enjoying being Shrew extras.

Nikki Mundell-Poole's production was crammed with such delights – some well-delivered Shakespeare, too – the sparring lovers separated only by a thin [and wobbly] connecting door, the picture frame, the tap routine for Bianca, the use of the Hall's architecture for Where Is The Life, the leapfrog, the destination placards.

And the cheesiness of provincial Shakespeare is gently suggested, with one number looking like a number three tour of The Gondoliers.

Susannah Edom was the Musical Director, skilfully keeping the score moving along, aided by some excellent musicians in the Public Hall pit.

Another classic favourite next spring, Oklahoma, the Rodgers and Hammerstein hit which inspired Porter to try his hand at fully integrated musical comedy ...

KISS ME KATE

KISS ME KATE
Chichester Festival Theatre
15.08.12

Trevor Nunn does Cole Porter does Shakespeare at Chichester this year. And the result is very stylish indeed, with the Pirandellian potential of the backstage drama beautifully brought out, I thought. The setting helped here – tired old 1950s wings – though the costumes, while in period, were bandbox fresh. The engraving backdrop was exquisitely echoed in hanging drapes which emerged, like so many charmed snakes, from big boxes. 

Some of the most delicious moments were those ensemble pieces [not forgetting a show-stopping tap routine] that Chichester does so well – Too Darn Hot especially, led by Jason Pennycooke's Paul. The dance arrangements by Gareth Valentine allowed the hoofers full rein, including of course Adam Garcia's charming Bill, Lucentio to Holly Dale Spencer's Bianca. 
But his was by no means the finest performance. Alex Bourne was a tuneful Fred, with just the right blend of charm and cheesiness, and Hannah Waddingham was superb as Lilli, the leading lady who almost leaves the greasepaint behind for her ambitious General [Mark Henehan]. And Hattie, Miss Vanessi's dresser, was given an outstanding performance, vocally as well as dramatically, by Wendy Mae Brown. The hoods duo of Clive Rowe and David Burt was very enjoyable, though I've seen more hilarious Brush-ups ...
This 24 carat production is over-wintering at the Old Vic – you could do worse than catch up with it there, though it probably won't match the pizazz of the Chichester thrust.