By Emma Anderson
A cannonade of flashing neon lights and the swing of lively brass music signifies the backdrop of 1920s Manhattan that plays a pretty picture to this “musical fable of broadway." But such a whirl of suave and tobacco is but a distant knell in the shadow of the sensational performances, choreography and staging of this spirited musical comedy.
Nicholas Hynter, director, brings new heights to Swerling and Burrows’s 1950 musical that is as dazzling as they come - the plot is a simple concoction of romance and illicit gambling that follows the underground crime scene of New York, accentuated by the gorgeous ladies of the Hot-Box and the ravers of the ‘Save a Soul Mission’. This immaculate production dominates Bridge Theatre’s Stage for all the right reasons with its strikingly adept cast that threatens to banish all previous incarnations.
This show is truly a testament to the importance of a stellar ensemble. From the impressive overture of ‘Fugue for Tinhorns’ to the final bows we are continuously delighted by Arlene Phillips’s unforgettable choreography which channels traditional Broadway grandeur. What’s more, the opening achieves an increasing sense of exhilaration as uniformed ‘police officers’ usher Bridge Theatre’s groundlings out of the way of the stage rising from the ground.
However, the true starlet of the production is none other than Timmika Ramsey’s ‘Miss Adelaide’, her interpretation of the traditional outspoken and stubborn role is transformed into a sassy, boisterous, unapologetic woman with great agency; her opening of the second act with ‘Take back your mink’ reinforces her position as the commander of the stage, she is all the woman every spectator dreams to be poured into a voluptuous, bedazzled costume as she charms and seduces ensemble and unsuspecting audience member alike. Not only this but Gina Beck’s ‘Sarah Brown’ cuts the sweet but sharp silhouette of a mission-woman, with her mezzo-sopranic tones that reminds one of Julie Andrews. It goes without saying that the women of the main cast and the pink-wigs of the ensemble steal the show.
Nonetheless it should be said that although Owain Arthur brings a certain red-faced sliminess to ‘Nathan Detroit’, he undoubtedly plays a loveable rogue who rightly worships his fiancé ; and despite George Ioannides lacking a certain swagger in the role of the suave romantic hero - ‘Sky Materson’ - there is an undeniable tenderness in his performance of ‘I’ve never been in love before’. Jonathan Andrew Hume, ‘Nicely-Nicely Johnson’, and Ryan Pidgen, ‘Benny Southstreet’, originally appear as simple comedic foils to boisterous Detroit in ‘Oldest Established’ but Johnathan Andrew Hume absolutely robs all other characters of their limelight with his show-stopper ‘Sit Down, You’re Rocking the Boat’ that, despite its two written-in encores, received screams and shouts for more from the standing crowd.
In addition, the gorgeous costume and set design by Bunny Christie coupled with the placement of the band above the stage confirms this production as a must-see for all. It is thrilling to see this infamous musical performed with such zest and imagination as Hynter did and for that it is one of the most exhilarating, exuberant and ostentatious shows in all of London Town.
5 Stars.
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