Review – Kiss Me, Kate, Crucible Theatre, Sheffield, 5th January 2019

Kiss Me, KateEvery New Year, Mrs Chrisparkle and I treat Lord and Lady Prosecco to a post-Christmas outing: a weekend in Sheffield (bear with me) to stay at the lovely Mercure Hotel, have some scrummy meals and to see both the Crucible’s Christmas musical AND the Lyceum panto – and we’ve not had a duff experience yet. Over the last couple of years, we’ve taken to seeing the panto in the evening – the weight of a few extra wines and a more end-of-term atmosphere always helps. Which left us this matinee with the prospect of seeing Cole Porter’s fantastic, and now grammatically correct, Kiss Me, Kate.

edward-baker-duly-and-the-company-of-kiss-me-kate.This was one of the Dowager Mrs C’s favourite musicals and I was brought up on a diet of Always True to You Darling in my Fashion and From This Moment On; not a bad way to be brought up, to be honest. But this is only the third time I’ve seen it; once in 1987 at the Old Vic with the redoubtable Nichola McAuliffe, and at Chichester in 2012 where Hannah Waddingham attempted to rule the roost over Alex Bourne. That London production was great; the Chichester one a little disappointing. But I’m going to throw my hat into the ring and say that this new production at Sheffield by Paul Foster tops them both.

edward-baker-duly-and-rebecca-lock-as-fred-and-lillI’m sure you know the story – a touring production of The Taming of the Shrew is the vehicle for an on-and-off love story between the two leads, Fred Graham (playing Petruchio, also the producer of the show) and Miss Lilli Vanessi (playing Katherine, the star attraction). Lilli senses that their romance is back on track (they are already divorced at the beginning of the show) but when she discovers that the flowers she received from Fred were actually meant for cabaret starlet Lois (playing Bianca), she gets into a Katherine-type rage and takes it out on him on stage. He, being not entirely a true gentleman, gives as good as he gets, and she spends most of the rest of the show unable to sit down because – well, because, gentle reader, he gave her a damn good spanking. It happens in Shakespeare, so why the hell not here. Only one way to tame a shrew; women respect it. (That was a joke, by the way.)

dafydd-emyr-as-harrison-howell-and-rebecca-lock-as-lilli-vanessi.Lilli’s plans to abandon the rest of the run are brought to an abrupt halt by the persuasions of two gangsters who (erroneously, as it happens) need the show to be a success so that Fred can pay his dues to their Mr. Big. Her new beau Harrison Howell arrives to take her away – but, will she find true love with him, or with Fred? If you don’t know the answer to that by now, you never will.

dex-lee-centre-and-the-company-of-kiss-me-kate.It’s true; in the current climate, some aspects of this show have dated to become ever so slightly worrying. The physical animosity between Fred and Lilli does border on domestic violence (even though it’s played entirely for laughs) and the subjugation of women’s will to men’s is still as clear as it was in Shakespeare’s day – you have to feel a cringe coming on when Katherine/Lilli sings I Am Ashamed that Women are So Simple. But this is distinctly a period piece, with no attempts (quite right, I think) to update it to the 21st century. Porter’s showtunes are still as 1940s jazz as they can be; the gangsters are still the same Chicago thickos they always were. Porter’s brilliant lyrics anchor the show in his own era; when one of the funniest lines in any of the songs is “he may have hair upon his chest, but, sister so has Lassie”, there’s just no point trying to update it. Provided there are audience members who remember Lassie, the joke works.

layton-williams-and-the-company-of-kiss-me-kate.We’ve been used over the years at Sheffield to seeing the big choreography routines by Alistair David, who made such a mark in shows like My Fair Lady and Show Boat. For this show, the choreography is by Matt Flint, and I have to say I’ve not come across his work before. But he’s terrific! His style is much more intimate and involved; he sets up scenes with so many varied things happening in different parts of the stage all at the same time, then brings them all together for a big impact. The second Act opens with his fantastic staging of Too Darn Hot, led with immaculate artistry and precision by Layton Williams as Paul; it’s one of those classic dance sequences when you know you’re seeing something special and you never want it to end. As an aside, our performance was captioned – a great innovation, imho – and it was fascinating to read the lyrics to Too Darn Hot (as well all the other songs) – it’s easy to overlook just exactly what this song is all about!

cindy-belliot-and-layton-williams.Elsewhere, the show is peppered with memorable moments, mainly involving the big numbers. Paul Foster has concentrated most of his efforts into getting the maximum entertainment out of the songs, so there is no attempt to shorten any of Cole Porter’s mammoth efforts. I guess a downside to that is that if you don’t like the songs much (then why are you here?) you probably won’t enjoy it much. The show opens with (fittingly) Another Op’nin’ Another Show, at first fronted by Lilli’s dresser Hattie (a beautiful, warm-hearted performance by Cindy Belliot) but then it opens out to a wide-ranging musical examination of all the cast and crew arriving at this new theatre, with all the tensions and excitements that can contain – and it’s an exciting and exhilarating start.

joel-montague-and-delroy-atkinson-as-the-gangsters-in-kiss-me-kate.Other highlights include Amy Ellen Richardson’s Lois/Bianca teasing routine with the three suitors for Tom Dick or Harry – one of these, Dex Lee, plays Bill/Lucentio and I always admire his brilliant, acrobatic dancing; Rebecca Lock (a brilliant Katherine/Lilli with a stunning voice) throwing herself around in fits of fury during I Hate Men; Edward Baker-Duly (also brilliant as Fred/Petruchio – I loved his ham, and then even hammier, vocal performance as the stagey actor) ripping through the memories of all those women in Where is the Life that Late I Led; Amy Ellen Richardson’s funny and flirtatious performance of Always True To You Darling in my Fashion; and the simple but oh so effective staging of Brush Up Your Shakespeare by Delroy Atkinson and Joel Montague as the two theatrical gangsters, occupying the spotlights – Mr Atkinson in particular gave a brilliantly expressive physically comic performance. I also appreciated the fact that, for much of the performance, James McKeon’s orchestra was hidden at the back of the set, but for the songs that belonged to Taming of the Shrew, it was on view – a very nice touch, I thought.

amy-ellen-richardson-as-lois-lane-in-kiss-me-kate.The only thing that slightly disappointed me was the staging of one of my favourite songs from the show, From This Moment On. It’s a difficult one. The song was never written for Kiss Me Kate; Porter wrote it for another show from which it was dropped at the last minute, but it was obviously too good to waste, and Cole Porter was an expert musical recycler. From This Moment On appears in the film version of Kiss Me Kate, where it works perfectly as a number between Bianca and her three suitors; but the dramatic usefulness of that has already been taken by Tom Dick or Harry. So nowadays the custom is to have it sung by Harrison Howell and Lilli before he sweeps her away to the magicless life of a military wife – or not. Structurally, it makes perfect sense to have it there; but in practice the characters are too old and the situation too cynical (ouch! Sorry!) for the song to work properly. It’s a young person’s song – a starting out in life song – filled with genuinely great expectations, and I’d prefer to give the song back to Lois and Bill. In characterisation and acting, Dafydd Emyr made an imposing Howell, but, for me, it just didn’t work.

simon-oskarsson-and-the-company-of-kiss-me-kate.But this is one small quibble in an otherwise excellent show that thrilled us all, and we continued to talk about it later that evening and all through the next. One of those productions to savour and recall with happiness for years to come. It’s on until Saturday 12th January. Would be a crime to miss it!

Production photos by Manuel Harlan

Review – Kiss Me Kate, Festival Theatre, Chichester, 21st July 2012

Kiss Me KateStill on our annual Chichester visit, we survived dinner and made our way back to the theatre with the amassing throngs of people wanting a good night out. Trevor Nunn directing a new version of Kiss Me Kate? Obviously a prospect just too delicious to resist, so it was with eager anticipation that we took our Saturday night seats at the packed Festival Theatre on what must have been the first beautiful summer’s evening we’ve had this year.

Hannah WaddinghamThe set is satisfyingly designed by Robert Jones and features a nice proscenium arch stuck at a jaunty angle, cleverly suggestive of a traditional show portrayed in a wacky way. The backstage scenes look suitably unglamorous; and the scene changes that take place within the “Taming of the Shrew” show are realised by unfurling flimsy fabric backdrop sheets out of a travelling trunk, which is a clever and appropriate idea, and would indeed be very useful for the Venice, Verona, Cremona, Parma, Mantua, Padua tour; although in reality they do come across a little tawdry to look at.

Alex Bourne Of all the old Hollywood versions of stage musicals Kiss Me Kate is one of my top favourites. In this Chichester production I found it very hard not to compare the performers with others we’ve seen in the roles before. Comparisons are odious, but I’m afraid I wouldn’t be honest if I didn’t come up with a little odiousness in this review. The last time we saw Kiss Me Kate was at the Savoy Theatre in 1988 with Nichola McAuliffe playing Lilli/Katharine. It was a crowning glory of a performance and she has been a particular favourite of Mrs Chrisparkle ever since. Ms McAuliffe’s “I Hate Men” is as strong a reference point as Dame Edith Evans’ “A Handbag?” So any future Lilli/Katharine has a big task ahead of her in Mrs C’s eyes.

Holly Dale Spencer But we had high hopes for Hannah Waddingham, whom we last saw turn in a devastatingly brilliant performance in the Menier’s devastatingly brilliant A Little Night Music a few years ago. And I’m delighted to say Ms Waddingham is every bit as good in this show as you would expect her to be. She breathes charming life into that old plodder “Wunderbar”, is very tender with “So in Love”; and does all the comic business as a furious on-stage Lilli getting revenge on Fred in a genuinely funny way. For Mrs C and me, her “I Hate Men” was a little over-controlled. She really didn’t hate men as much as Nichola McAuliffe. But she makes a good shrew and is a great singer and I think definitely gave the best performance of the night.

Adam Garcia Alex Bourne plays Fred/Petruchio, and he’s very good throughout. He portrayed the arrogance of both characters very well, and also his discomfort and wheedling around Lilli when he realises the flowers have gone to the wrong actress is very funny. However, being briefly odious, he’s no Howard Keel. He has some great numbers to deliver, and I was particularly looking forward to “Where is the life that late I led” with its mixture of humour and pathos; a song that must be a complete thrill for a confident performer to smash it (in the common parlance). He really played it for laughs – which he certainly got – but musically I felt it was a slight let down.

Kevin Brewis For me, the best two set pieces came as a surprise – the two TDH numbers. I was very impressed with the whole performance of Tom Dick or Harry, which got the absolute best out of Holly Dale Spencer as nightclub singer Lois, and supported by Adam Garcia as Bill/Lucentio, Kevin Brewis as Hortensio and Samuel Holmes as Gremio. It had great lightness of touch, entertaining choreography and was thoroughly spirit-lifting. The other officially fabulous number – even more so in fact – was the second act opener Too Darn Hot, fronted by Jason Pennycooke as Fred’s dresser Paul; a terrifically well danced routine, full of life and humour, cheekiness and joie de vivre. This is the second time we’ve seen Mr Pennycooke, and I can tell you he is one talented chap.

Jason Pennycooke As Lois/Bianca, Holly Dale Spencer certainly gives a new meaning to the phrase “wide-eyed”, with, for me, her portrayal occasionally teetering on the edge of credibility. There have been some criticisms of her performance of “Always True To You In My Fashion” – a wonderful song – and I have to say I too found it disappointing. Not because she performed it badly – not at all, in many ways it was a remarkably skilful performance; but one that completely misrepresented the essential meaning of the song and its insight into Lois’ character. IMHO, this funny song should make you think that she is indeed, primarily, always true to Bill; but she might be gently naughty with someone else if it will get her a Paris Hat. This sassy Lois cavorts with the raunchiest of moves to a sleazy arrangement so that you feel all she is lacking is the pole to dance around. I’m guessing this is Trevor Nunn and Stephen Mears’ interpretation of the role, and, personally, I thought it was wrong. And yes, with apologies for my odiousness, I did think fondly of Ann Miller.

David Burt and Clive Rowe David Burt and Clive Rowe were an excellent couple of gangsters, ominously muscling in on Katharine on stage to prevent her from making a bolt for the wings, and did a great job of being over the top whilst strangely keeping it real too. The audience loved their Brush Up Your Shakespeare, which was simply staged and brought out Cole Porter’s wordplay with great clarity. I always forget that in the stage show the great “From This Moment On” is not sung by Lois and her suitors, but by Lilli and her General beau. Whilst Ms Waddingham and Mark Heenehan as the General gave a very good performance, I think the number is much better “Hollywooded” up as it is in the film. But then, the stage presentation of Too Darn Hot is probably better than the film. You pay your money, you etc, etc. The minor roles are all played with huge energy and pizzazz by a very likeable company.

Mark Heenehan The audience adored it. Many people were up on their feet at the end, which is something I don’t think I’ve seen before with the rather polite and – let’s be honest – elderly Chichester crowd. It is a very entertaining production and certainly worth seeing, with some brilliant moments and outstanding routines, which do well to make up for the lapses. I think it will enjoy a lot of success at the Old Vic.

Chichester CathedralP.S. After a comfortable night in the central, cheap but a bit Spartan Travelodge, we embarked on our usual quest to find a decent gluten-free breakfast that Mrs C would be able to enjoy. Fortunately for us, the Wetherspoons was so incredibly busy that we would have run out of car park time before we’d get served. Instead we found a little place called Spires on Crane Street. Essentially an old fashioned bakery and tea rooms, with tables outside in the welcoming sunshine. We plonked ourselves down and I went to order. It's gluten-free!A traditional English breakfast for me; then I explained to the nice lady behind the counter that one of the meals had to be gluten-free. She surprised me by suggesting gluten-free toast and gluten-free homemade bubble and squeak, along with the usual baked beans, tomato, bacon and egg. My breakfast was super; and Mrs C was in her element with a decent cooked breakfast that knocked her socks off. Well done Spires!