million-dollar-quartet | Theatre Breaks

Theatre reviews for The Wizard of Oz, Million Dollar Quartet, Great Expectations, And the Rain Falls Down. See also previous Wizard of Oz Review

This article titled “The Wizard of Oz; Million Dollar Quartet; Great Expectations; And the Rain Falls Down – review” was written by Kate Kellaway, for The Observer on Sunday 6th March 2011 00.04 UTC We’re off to see the Wizard, and whether he is wonderful or not is going to depend partly on Andrew Lloyd Webber and Tim Rice’s reworking of Frank Baum’s book and of the classic 1939 movie. Danielle Hope, auditioned on the BBC’s talent show Over the Rainbow, is also making her debut as Dorothy. And, at the Palladium on the first night, the buzz is unmistakable. But we start by dropping in on a humble Kansas chicken farm where there is nothing more eventful to report than a broken incubator. No wonder Dorothy wants to leave home. This is also where we first clap eyes on the charming Toto, a white Cairn terrier, who deserves a review to himself (I hope there were treats offstage). Toto survives the yellow brick road, a circular treadmill, and is only occasionally understudied – when the going gets tough – by a stuffed toy Danielle Hope’s Dorothy deserves offstage treats, too – for her marvellous performance. If there is a problem, it is with the script. So many of her lines are plaintive, and the unvarying tone of high-pitched petitioning becomes an irritant. But, as a singer, she is perfect. Her voice has warmth, delicacy and power. She starts with the decent, if also-ran, new number “Nobody Understands Me” but we do not have to wait long for ‘”Over the Rainbow” which she offers in a centred, direct, affecting way. It is wonderful to watch her tilt her face upwards, allowing her voice to take off – as if letting out the string of a kite. Michael Crawford has cast himself as her protector. In his benign incarnation as Professor Marvel (the Wizard’s earthly alter-ego), he is encountered outside his caravan about to eat a sausage (which is nicked by Toto). He shows Dorothy magic lantern slides and sings “The Wonders of the World” (by far the best of the new numbers) about pyramids, the Eiffel tower, humpback whales… And he reminds us that he is a bit of a wonder himself, engagingly good at conversing his way through a song. Pots of gold, at the end of the rainbow, must have paid for Robert Jones’s spectacular sets, offset by Jon Driscoll’s virtuoso special effects. A fantastic cyclone transports Dorothy out of Kansas. An airborne cow, random masonry and Dorothy’s house – like a disintegrating matchbox – are hurled into the void. This effect is such a tour de force that Oz seems Toy Townish on arrival, a comedown – in every sense. But the emerald city brings a return to form: a green light district with art deco details, tipsy angles and the Wizard’s alarming residence. The good witch (Emily Tierney) is good – a magical air hostess. The bad witch (Hannah Waddingham) is bad (in a good way). Her “Red Shoes Blues” (another new song) is witty, full-blooded and magnificently performed. As the scarecrow, Paul Keating is poignant, merry and a natural at collapsing. Edward Baker-Duly’s tin man is excellent too, with rusty voice and echoing chest. David Ganly’s cowardly lion, in caramel catsuit and 60s mane, is sweetly camp, coming out with the line: “I’m proud to be a friend of Dorothy’s.” And Jeremy Sams’s direction is undaunted throughout. This show knows where it is going, as surely as if Dorothy had satnav to guide her home. Million Dollar Quartet focuses on 4 December 1956, when Johnny Cash, Jerry Lee Lewis, Elvis Presley and Carl Perkins were together at Sun Records, Memphis, Tennessee. This creates an opportunistic excuse for an almost non-stop performance of their hits. This jukebox musical plays so safe it ought to be dangerous, but a fresh cast, directed with pizzazz, by Eric Schaeffer, saves it. Ben Goddard, as Jerry Lee Lewis, is a sensation: manically musical. Michael Malarkey has an admirable stab at Elvis (an impossible undertaking). Robert Britton Lyons (the only cast member imported from the US) convinces as Carl Perkins. And Derek Hagen exactly catches Johnny Cash’s brooding quality. The “story” is held together by record producer/narrator Sam Phillips (a capable Bill Ward). I took one of my teenage sons along. He has had no experience of blue suede shoes, great balls of fire or of hound dogs – at least, not musically speaking. “The music was great,” he said. Tanika Gupta’s intrepid idea is to transpose Dickens’s Great Expectations into 1861 India. Sensibly, she keeps Memsahib Havisham (Lynn Farleigh) recognisable: an ancient bride-in-waiting but also daughter of an East India company trader. Pip (Tariq Jordan) is a likable lad who leaps out of the guava trees of his childhood into a challenging Calcutta adulthood as a nouveau riche English gentleman. Colin Richmond’s design attractively suggests an India of sunlight, silk and calico. But keep your expectations modest too: for all its promise, the surgery on the novel has been violent. Its staccato dialogue rings false. And, oddly enough, the abbreviations do not rescue the show from its longueurs. And the Rain Falls Down is conceived by talented theatre company Fevered Sleep (directed by David Harradine) and aimed at three- to four-year-olds. There is a cloud, like a bathmat, on the floor. Other clouds are pinned on a washing line. The show is, in case you couldn’t guess, about rain. It is beautifully simple and intermittently torrential. Two actors get drenched. The woman (Karina Garnett) adores it. The man (Carl Patrick) is a more cautious anorak-wearer. There is much umbrella innovation: little ones are equipped with see-through brollies and invited to splash about. Eventually there will be an umbrella rainbow. The audience, at the show I attended, split into land-lubbers and water babies. Several landlubbers were crying heartily not wanting to go over – let alone under – the rainbow.

The Wizard of Oz stars Danielle Hope and Michael Crawford.

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