Enter Mama Rose, holding her dog and pushing her dearest Baby June into
the spotlight of a children’s talent show, accompanied by a not-so-dear Baby
Louise. Chichester Festival Theatre’s revival of the Broadway classic,
reestablishes the fierce and witty musical for a new audience who are more than
bawled over just by catching a glimpse of this outstanding production.
This is definitely a musical that would not work without a sharp, gutsy
and talented leading lady. Imelda Staunton undeniably fills everything needed
for Mama Rose and more; her presence commands the stage (quite literally in
some moments) and even in areas of silence the audience is gripped on everything
she does. Her voice conquers the show-stopping music that the score and lyrics
by Stephen Sondheim and Jule Styne have to offer, and having previously seen
her in ‘Sweeney Todd’ at the Adelphi Theatre I could notice the astonishing
difference in her voice. In the first act ‘Some People’ shows off Staunton’s
character while the second act offers ‘Everything’s Coming Up Rose’s’ showing
her characters realisation, bringing her madness even closer to the surface,
and the isolation her actions have caused.
While Imelda Staunton undoubtedly carries the show, that’s not to say
that some of the other outstanding elements should go unnoticed. Lara Pulver
beautifully portrays the innocence of a young, overlooked and humble Louise
making her transformation into the confident, striking Gypsy Rose Lee even more
jaw dropping. As casting goes, every part was perfectly matched to the
performer; from Dan Burton’s Tulsa, that showed off Stephen Mear’s consistently
spectacular choreography, all the way to the energetic, kicking and flipping
Baby June, played the gifted Georgia Pemberton. Perhaps the only part that
seemed not quite right was Kevin Whately as Herbie, who didn’t seem at ease
with the idea of a musical but luckily got away with being the comforting,
likeable agent in the family.
The detailed set designed by Anthony Ward, clearly showed the contrast
between the glistening glamour of show business and the simplicity of the lives
this showbiz family lived. Combined with Jonathan Kent’s direction, who’s use
of lighting to show the progression of age during a single number completely
blew me away, this creative team has made a production that they should be
proud of and everyone should have the opportunity of witnessing.
Fingers crossed for a West End Transfer, as this magnificent, stimulating
musical should be able glisten in the spotlight.
Ends 8th November 2014.
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