It’s always a pleasure to sit amidst an appreciative audience enjoying an uncomplicated fun night of theatre and that was certainly my experience at the Peacock this week where a touring production of the beloved movie musical ended its travels with a London run.But it does include 80s pop classics Let’s Hear it for the Boy, Waiting For a Girl Like You, Holding Out for a Hero, and the title song. It’s about as sophisticated as bubble gum but it does take a cursory shot at character development and guess what? It turns out that everyone has a heart of gold and loves a good boogey. It’s the dance and the catchy songs that are infectious and even the audience are coached to their feet for foot loosening by the end.
Producers Selladoor are becoming adept at turning out musicals for the UK touring market. In order to make any kind of economic sense, costs have to be kept to an absolute minimum which means a predominantly cheep young cast (in this case they double as the band too) and a set small enough to fit into minimal transportation that can work on a variety of stage sizes. This formula, when applied to a popular title with the addition of a few celebrities can just about make business sense.
The challenge is that this can all tend to look cheap and shoddy especially when you stick it in a West End Theatre in competition with first class musicals with lavish staging. It’s also a mission to find performers who can play instruments to a necessary standard and sing, and act. At least one skill is usually compromised. This is where the magic comes in.
The magicians turning straw to gold in this case are sometime colleagues of mine, director Racky Plews, Designer Sara Perks and Casting Director Debbie O’Brien.
Plews and Perks actually make an asset of the low by budget by creating a junk yard look to the scenery, using the musician’s almost like a snooping Greek chorus and ensuring that it all feels as fun and uplifting as a school play where everyone’s giving a 100% and having a great time.
Debbie O’Brien fulfilled a tough casting brief by turning up some extremely engaging new talent, especially Joshua Dowen as the bad-boy hero who certainly looks the part but matches good looks with some formidable singing and dancing.
Pop star Gareth Gates is the headline star and it’s a fascinating performance. His voice is clearly damaged so he’s not the main guy as you might expect but a nice but dim side kick. Gates succeeds in making an impression as Willard by pushing at the boundaries of the role and taking him into “special needs” territory. He’s certainly adorably vulnerable but the lightness of his voice prevents the song Mamma Says, which I’ve seen stop the show in other productions, from having quite the impact it should. You may be pleased to hear there’s a number where they rip his clothes off to his and everyone’s delight.
Elsewhere Reuvon Gershon brings a tragic nobility to the control freak, preacher, Hannah Price is as blonde and peppy a love interest as you could wish with a great belt voice, Lindsay Goodhand makes a fantastic job of a wide range of cameo characters and celebrity, Maureen Nolan is in some scenes.
The waiting room after death resembles a doctor’s reception room in Alex Berry’s design – Joe Price’s flickering lighting design showcases it as a bit rundown and in need of some TLC. It fits the current public sector in many ways, as those that enter prepare themselves for their interview to determine where to go on to. Upstairs or downstairs are the choices that receptionist Eve (Emma Dennis-Edwards) gives the new patients/ applicants. Dennis-Edwards is ballsy and blunt, a stereotypical administrator who is more concerned with what to have for lunch than the fate of the people that pass through the doors.