Fifteen years ago, Trevor Nunn, the then Artistic Director of the National Theatre, was condemned for mounting productions of popular musicals such as Oklahoma!, Anything Goes and My Fair Lady. But, he protested, the National Theatre is for all people - why should not we who fund the National Theatre and like musicals, not see the best musicals there?Especially when the royalties from the theatre's West End transfers swell the coffers of our publicly-funded theatre programme. This lead to subsequent West End productions of the National’s high revenue earners, War Horse and The Curious Incident of The Dog in the Night-Time.
Last year, Our Ladies of Perpetual Succour was mounted by the National Theatre of Scotland and later presented at the Dorfman Theatre. It was a life in the day of a bunch Scottish school girls, portrayed as story-telling theatre by six actresses and accompanied by a three girl band. It was immaculately created and performed and I admired it so much that I followed it to Melbourne before it returned here to the West End earlier this year. It struck a chord.
Barber Shop Chronicles by the Nigerian-born, UK-based poet, designer and playwright, Inua Ellams, is also at the Dorfman Theatre and is also a commission. It is not (as I mistakenly thought, being late to the party), a day in the life of The King Singers or The Comedian Harmonists, but rather a story-telling spotlight brilliantly shining on a bunch of barbers from London, Kampala, Lagos, Accra, Johannesburg and Harare (complete with topical references to Mugabe). It is terrifically well done by twelve singing and dancing actors. It, too, struck a chord.
As always, when everyone does their best work, you have to commend the producers (the National Theatre and Fuel), the director (Bijan Sheibanii), and the extensive creative team. They do not put a foot or lung wrong. There are some great vocal arrangements by Music Director Michael Henry, and vibrant musical staging by Movement Director Aline David. All the cast are extremely strong and have moments to shine. Although inevitably, there are favourites, it would be wrong to single out any one performance as every actor has a moment to dominate the action and storyline. All step up to the plate whenever required. Like a mosaic, the individual jewels create the magnificent whole.
In one act, Barber Shop Chronicles leaps through countries and continents showing how, for African men all over the world, barber shops are more than a place to get a shave and a haircut. They’re the place to hear news, share views and talk politics, women and sport; to eavesdrop on individual problems, common obsessions and the complex legacies of the past, accompanied by some suitably naff jokes. The barber shop is the forum where men let down their guard, blow off steam, and leave looking sharp and razored. Between each scene, the all-singing, all-dancing company and Rae Smith’s design leap into action and take us around the world in a cappella song and energetic dance.
Yes, there are those who might prefer more meatier fare, but as the National Theatre says its aim is to Entertain, Challenge and Inspire, Barber Shop Chronicles does this triumphantly. And how wonderful to see an audience who might not have been to Anything Goes or Our Ladies of Perpetual Succour coming to celebrate their own National Theatre. The young audience, some of whom may not have never been to a live theatre performance, cheered Barber Shop Chronicles to the rafters.
If you are looking for an evening with some really fine actors doing some splendid work in a dazzling production, and a play that educates and entertains, Barber Shop Chronicles is to be highly recommended. Rush to the Dorfman before this production waves our National Theatre’s flag (and swells its coffers) at the Sydney Festival.
London needs something to celebrate as this particular winter of political uncertainty grinds onwards - this musical is the perfect way to lift the gloom with a reminder of decent British humanity that celebrates the individual spirit.