LA CAGE AUX FOLLES

LA CAGE AUX FOLLES

S.O.D.S. at the Palace Theatre, Westcliff

05.04.14

for Sardines Magazine

That bijou club in St Tropez is proud to present its 15^th production – more feathers, sequins and drag queens than the far right could shake a stick at.

SODS, on another coast, can boast a much longer heritage: La Cage Aux Folles is their 219^th production, and their history predates even this charming Edwardian theatre. They're back here after a period in the less atmospheric Cliffs Pavilion, and this ambitious choice is a fine way to welcome back their loyal audience.

It's a huge challenge for any non-professional company. SODS have gone for an equal-opportunities troupe of show-”girls”, four boys and five girls make up the nine Cagelles. It's a high-risk strategy, of course. Will the lads end up looking like Dick Emery against the glamorous young ladies ? Any such doubts are soon dispelled in the routines for the opening “We Are What We Are”, and the troupe are never less than impressive, whether in the statuesque stillness of the Act One finale or the colourful, incredibly athletic, Can-Can.

Lovely character work, too, notably from Suzanne Walters as Mme Dindon and Ian Gilbert milking every moment as the stage-struck butler/bonne Jacob.

The couple at the heart of this touchingly old-fashioned story of love, loyalty, family and sharing are Georges and Albin, twenty years a couple and thrown into disarray by their son, young Jean-Michel, announcing his engagement to the daughter of the bigoted Deputé Dindon [Dick Davies, who gets his own moment in drag at the end].

Declan Wright makes an excellent job of the boy, with his romantic song and dance of the old school; Hannah Dunlop is his delightful young Anne.

SODS stalwart Les Cannon is a wonderful Georges, tired and cynical sometimes, but proud of his club, his partner and his son. His handling of the sentimental songs is faultless; a strong anchor at the centre of this whirlwind world of burlesque and farce.

But most of the weight of expectation here falls on the shoulders of Mark Evans-Leigh, playing Albin, George's other half and, as Zaza, the established star turn at La Cage. Evans-Leigh is too young for the role, making something of a cradle-snatcher of poor Georges, but he does bring a superb sense of style to the showpiece numbers, as well as to the more introspective Mascara and the iconic anthem that ends Act One with him rushing out into the St Tropez street. A compelling characterization, combining boyish charm, innocence, bling and vulnerability.

David Street's polished production uses a large cast – the red-blooded chorus number for “Uncle Al” for example – and gets the most out of his dancing girls. The Dishes number was well sung, but lacked farcical fluency. But I admired the swift scene change to Chez Jacqueline, and the poignant moment after the walk-down when the gorgeous gowns go back in the skip, revealing the actor beneath.

Costumes on show here, I understand, from the original Palladium production, when Dennis Quilley played Georges.

Rachael Plunkett is the musical director, with Stuart Woolner conducting in the pit, and a sound mix [Rob Gulston] of West End quality.

GUYS AND DOLLS

GUYS AND DOLLS

S.O.D.S. at the Cliffs Pavilion

16.11.13

for Sardines magazine

The style is set by the busy Runyonland prologue: gauze, Broadway neon, and the complex choreography of the devil's own street, peopled by tourists, showgirls, gangsters, molls, matrons and of course the marching band of the Save A Soul Mission.

All moving to Frank Loesser's classic score, played by a pit band of a dozen giving the John Wilson sound a run for its money – the conductor is Stuart Woolner, and the show's Musical Director Rachael Plunkett.

In the vast arena of the Cliffs Pavilion, Suzanne Walters' production takes a broad brush approach: lines are pointed, gags are semaphored, numbers are belted, lest the back of the gallery should miss out.

But it's a slick, professional-looking show, helped by great costumes [though I've seen better kitchen showers] and a wonderful set [by Proscenium] which flies and glides into place with well-oiled precision. The streetscene, the mission hall, the sewers, the Hot Box night-club, even Havana, are all effortlessly and stylishly magicked into existence.

Most successful at bringing charm and subtlety to his character is local lad Mike Cater as Sky Masterson; he has a glorious singing voice too [I'll Know, My Time of Day], and bags of charisma.

Heather Cooper is his Sarah Brown, the mission doll who tastes forbidden fruit and Bacardi as the result of a bet, and eventually brings her Obadiah into the fold. She puts over her numbers with panache: If I Were A Bell, and Marry the Man, duetting with Miss Adelaide, Laura Hurrell outstanding in the much more rewarding role of cabaret artiste, hypochondriac and perpetual fiancée.

Her man, Nathan Detroit is played by Les Cannon, and his fellow low-lifes – evil-looking sinners to a man - are all excellently done, from Ian Benson's Nicely Nicely to Ian Scoging's Harry the Horse with his trade-mark neigh.

Plenty of opportunities seized in the cameo department too; Liz Green's myopic Agatha, for instance, or Ian Gilbert's strong, silent [and powerfully still] Big Jule. And Dick Davies makes the most of old man Arvide's moment in the spotlight, with a beautifully sung More I Cannot Wish You.

The ensembles are spectacularly choreographed by Adam Gaskin, who also plays Rusty Charlie. Luck Be A Lady, the impressive boat to heaven, the bar-room brawl and the cheesy chorines from the Hot Box in their Cabaret bustiers.

Plenty of clever touches, too, like the blink-and-you-miss-them dreams of domestic bliss.

SODS have an enviable reputation for West-End quality musicals, witness the coach-loads turning up for this well-attended matinée.

Next time out, we swap the Hot Boxers for the Cagelles, with a rare amateur outing for Jerry Herman's La Cage Aux Folles.