GYPSY

GYPSY

Little Theatre Company at the Palace Theatre, Southend

09.11.2017

Stripper and author Gypsy Rose Lee was a close contemporary of Westcliff’s historic theatre. Like her, it’s witnessed the death of Variety. So it’s particularly fitting that it should house this superlative production of the show, and get its moment in the spotlight, substituting in the audition scene for T T Grantzinger’s Palace Theatre in New York.

As all fans of the musical theatre will know, there’s been a high-profile, starry revival of this, so expectations must have been high as Essex awaited this production, by Darren Harper for the Little Theatre Company.

Exceeded many times over, I would suggest, with a show that feels professional in every department, from the polished sound of the pit band, conducted by Clare Penfold, to the glossy programme, edited by Gemma Carracher and designed by Bradley Green.

It’s not really about the stripper, of course, but her determined “stage mother” Madame Rose. This force of nature is played by Stephanie Wilson; a marathon performance that never misses a beat. The numbers are impeccably sung; everything is immaculately judged – pinching Pop’s long-service plaque, picking up juvenile talent on the road, willing her daughters on from the wings, upbeat at the end of Act One, broken and defeated at the end of Act Two. We feel for her throughout her journey, so I was relieved she got the relatively happy ending which was also used in Chichester.

This was an extraordinary tour-de-force by an experienced musical theatre performer at the height of her powers. But it was by no means the only outstanding turn.

Alice Fillary, in her first appearance with LTC, is a superbly subtle Louise, evolving from the lumpen “Plug” to the slinky star of burlesque. The shy smile as she retrieves the glove she dropped is the turning point, perhaps. Her duet with “Dainty” June [Eleanor Softly] – If Momma was Married, some of Sondheim’s best lyrics here – is beautifully played.

As the generous, forgiving Herbie, Ian Benson brought a gentle charm and a pleasingly warm vocal tone. A lovely triple from Paul Allwright, including a bemused “have an egg roll” Mr Goldstone and Rose’s father.

Laura Witherall’s choreography includes some fabulously cheesy routines – the Broadway Chorus Boys – and it is good to see a fine dancer [Chris Higginson] in the role of Tulsa, the boy who elopes with Baby June. His sequence with Louise – All I Need is the Girl – is very movingly done.

The casting is strong all the way down the billing to Chowsie the dog. It would be impossible to name-check everyone, but unforgivable to omit the children – Holly Hall, with her Shirley Temple smile, was Baby June when I saw the show – or the raddled strippers – Lianne Larthe doubling Electra and the cynical Miss Crachitt in the traditional fashion.

Only my second experience of Little Theatre Company, I think, and my last “professional” visit to the dear old Palace. Wonderfully memorable on both counts, I’m delighted to report.

INTO THE WOODS

INTO THE WOODS

Little Theatre Company

at the Palace Theatre, Westcliff

15.10.15

for Sardines

Photo: © GP Photography

“Children will listen,” sings the Witch in the finale of Sondheim's twisted fairy-tale. And, at the Thursday matinée, the stalls are full of listening children, drawn by the Disney movie perhaps.

Their attention is skilfully held by an accomplished company; the production looks and sounds impressively professional.

The set starts out as a triptych on trucks, disappearing to reveal a deep wood – cut cloths and two-dimensional trees that look very at home on these hundred-year-old boards. But it's left to sound and lighting to create most of the magic – the Giantess's demise, the Witch's transformation. The scene in Granny's cottage is appealingly if underwhelmingly done in shadow-play.

Sondheim's tricky score makes huge demands on the singers – without exception they rise to the challenge, and manage to make rounded characters from the story-book figures.

Sarah Pettican is a superb Witch, with and without her hooked nose and chin; she has great presence and a real understanding of the idiom. The two Princes – straight out of Viennese operetta – are a constant delight, too, guying the dialogue just enough, and relishing the Agony. Chris Lidgard is suitor to Rapunzel [Hannah Allwright]; Louisa Strachan's excellent Cinderella is wooed by Simon Bristoe, who also makes the most of the big, bad, sexy Wolf.

The boy Jack - “sunny but vague” - is played by Tobias Smith; his mother a lovely warm characterization from Carla Cater. Sally Lightfoot juggles three roles, including an endearing Granny and a formidable, if faceless, Giantess. And an outstanding Little Red Ridinghood – though not especially “pink and plump” - from Rebecca Perry-Gamble.

The Baker and his Wife – whose longing for a child is the motor for the convoluted plot – are played to perfection by Jamie Redgate and Victoria Tewes – her “Moments in the Woods” is one of many musical highlights.

The genial, suited Narrator, and the melodramatic Mystery Man in beard and tatters, are, maybe meaningfully, doubled by Julian Cottee.

In part two – an ironical happy-ever-after – the story is less Disney, more Grimm. There's infidelity, forgiveness, a morass of moral issues. The Baker's Wife's lusty romps behind a handy tree providing much-needed light relief for the Upper Juniors in the audience.

But some of the best operatic moments are kept for this second act: the “Your Fault” quintet and the “No One Is Alone” quartet both impeccably done.

Rachael Plunkett is Musical Director, with Clare Penfold conducting a fine pit orchestra.

So much to enjoy in Dave Lobley's carefully crafted production of a piece that seems to offer more every time I see it. The bird mobile on the end of a fishing rod, with a careless stage hand on the other end, the country dancing at the close, the Uglies in their undies, the radio-controlled Hen, the Cow on wheels. And there must be a mention for the splendid programme booklet, with excellently atmospheric photographs by Jeff Hooker.