Producer Katy Lipson (Aria Entertainment) has a sure eye – and ear – for a hit musical. Between a summer of new musical theatre at The Other Palace, including Some Lovers, Burt Bacharach’s first for years, and the imminent autumn transfer of a sell-out immersive version of tribal rock musical Hair arriving at London’s Vaults from Manchester’s Hope Mills Theatre, comes this West End transfer of a musical that had a hugely successful first outing at Southwark Playhouse.
Welcome to Weismann’s Follies. Dmitri Weismann himself presides and the old gang of gorgeous gals are back for one last reunion in the theatre where they showed a leg and sang their hearts out between the wars, before it’s pulled down. It’s time to reminisce (cue for a song-list of glorious pastiches) and take stock of the ravages of the years – physical and emotional. So it’s equally the cue for a range of mould-breaking Sondheim numbers that excavate the regrets and neuroses eating away at the two couples centre-stage, former showgirls Sally and Phyllis and the stage-door johnnies, Buddy and Benjamin, whom they married. The genius of Sondheim and book-writer James Goldman is to intertwine and meld these two strands, building to a climax of ‘follies’ point numbers which become the expression of all that angst and heartache, one for each of the four, surprising, distinctive, appropriate and devastatingly revealing. The haunting of all the returnees by their younger selves, the girls in their gorgeous costumes and their stage door johnnies, acting out the past and observing their future, is another stroke of genius, another layer to this rich, complex show.
“Time it was, oh what a time it was” – as the lights went down, the poignant notes of what is for me one of Simon and Garfunkel’s most persistent earworms played in my head – and then echoed on stage to open a show that reminded me just how many earworms the pair gifted us.
Sam O’Hanlon and Charles Blyth work subtly together and with their stonking backing band to conjure the sound and look of Paul Simon and Art Garfunkel without slavishly aiming to be look- and sound-alikes. Their role as narrators is important too, for this is billed as the folk duo’s story. We learn how these two Jewish boys met at their Queens, NY, elementary school, appearing together in the school production of Alice in Wonderland – Paul as the White Rabbit and Art the Cheshire Cat. The animal theme continued as they made their musical debut as Tom and Jerry, before using their own rather more memorable surnames.
Charlotte Salomon produced an extraordinary series of autobiographical gouaches with texts. She overlaid them on transparent paper or wrote straight onto her paintings to provide dialogue, comments and even suggestions of musical accompaniments. Salomon provides a unique account of Jewish family life in Germany, and later France, spanning the troubled years from before World War I until the height of World War II, when she created work in the South of France, before her deportation to Auschwitz in 1943, aged just 26.
“All gone to look for America” sang Simon and Garfunkel in 1968. In 1974 oral historian and broadcaster Studs Terkel found America by conducting a series of free-form interviews with so-called ‘ordinary’ people – from labourers to teachers – about their working lives. Uninterrupted by their interviewer, they spoke freely about the meaning they found in their work – and its part in the meaning of their lives. The resulting book is a bestseller still.
Kenny Wax is an eclectic producer, responsible for the spectacular award-winning Top Hat, Hollywood musical turned West End show; enchanting children’s shows, including Olivier- nominated Room on the Broom; and now Fellini’s 1954 film La Strada. All are musical adaptations, reimagined with originality and sensitivity, each by the right team for the job.
Ah, Jewish guilt! It propels so many of us. Like our childhoods, it’s a rich seam to mine and Tony Kushner draws on both to fashion this magnificent musical evocation of a time of social change in America he observed first-hand as a small boy. He gives us the microcosm: how change, against the backdrop of Kennedy’s assassination and the civil rights movement, affects a Jewish family in the Deep South.
New Yorkers Abe Burrows (Borowitz), Willie Gilbert (Gomberg) and Jack Weinstock did not invent the title of their 1961 musical satire on big business. It’s actually based on this best-selling lampoon of contemporary office life in 1950s USA, disguised as a self-improvement handbook. Clutching the book he consults on every step of the corporate ladder he climbs from window cleaner to chairman of the board, their anti-hero J Pierrepont Finch really lives up to the book’s subtitle, “The dastard’s guide to fame and fortune”. Burrows had worked with Frank Loesser on Guys and Dolls and the marriage of witty, amoral book with jaunty music and slick lyrics ensured the show’s award-winning success.
A lone figure limps into the light on a bare stage. Wounded in action, GI Adam Hochberg, confides his life, loves, hopes and fears and takes the audience back to newly-liberated Paris, 1945. David Seadon Young’s sardonic, worldly-wise American Jew in Paris is the first surprise in a show that adds depth to the light-as-air story of the much-loved film – without losing any of its charm and vitality.
What better way to open The Other Palace (formerly St James Theatre) than with a wild party? Michael John LaChiusa’s musical takes on Joseph Moncure March’s 1920s poem and paints an unglamorous picture of the dissolute decade with a cast of unsympathetic and pitiless characters. Guys and Dolls it ain’t!