Eight days without a trip to the theatre and we were
getting withdrawal symptoms, playing Patti Lupone’s Gypsy on repeat with
Bernadette Peters’ Into The Woods DVD on mute in the background. To alleviate
the cold turkey and give our neighbours a break, we took ourselves down to
Clapham to see what delights the Landor was serving up with this new production
of Rupert Holmes musicalisation of Charles Dickens’ famously unfinished final
novel.
The Landor never seems to put a foot wrong and they
manage to keep a 100% strike rate with this riotous romp. The central conceit being
that we are watching a Victorian music hall company staging the show.
There is plenty of audience participation from the moment we step into the
auditorium, but none of it cruel, simply teasing interaction with the cast, joining in
songs and choosing the outcome of the proceedings.
Overseeing the evening in the dual roles of music hall chairman
and mayor of Cloisterham, where the action occurs, is Denis Delahunt who is the
perfect mixture of sauce and gravitas and soldiers on gamely through an
unscripted 5 minute power cut.
Edwin Drood, a male impersonation by Natalie Day, is
betrothed to Rosa Budd, a tremendous Victoria Farley, who initially appears
fragile but has a steely resolve. Rosa is lusted after by Drood’s uncle John
Jasper, a powerhouse turn from Daniel Robinson, a handsome tenor with a split
personality. Jasper has a secret opium addiction fuelled by Princess Puffer, a
sensational Wendi Peters with a terrific singing voice, magnificent comic
acting and the most awesome décolletage I have ever witnessed in such close
proximity.
Throw in a pair of enigmatic twins newly arrived from Ceylon, a
bumbling vicar and a couple of grave diggers and, as Drood disappears on a stormy
Christmas Eve, we the audience get to decide whodunnit, as it was never revealed
by Dickens, who took the answer to the mystery to his grave.
With tongues placed firmly in their cheeks, the
entire cast lead us enthusiastically through the drama with witty tuneful songs and the
best choreography that I have ever seen in a fringe theatre, all credit to
director Matthew Gould. “Both Sides of the Coin” was quite simply one the best
staged numbers I have ever seen anywhere. The costumes, by Jean Grey, are great and the
simple set of blood red drapes, voile curtains and occasional monochrome
screens sets the tone perfectly. The impressive five piece band manages to sound
like an entire orchestra, how one trumpet and one clarinet transform into a whole brass
and woodwind section is beyond me.
I defy anyone not to be won over by the charms of this
infectiously funny two hours of Victorian melodrama with a winning company and production
values worthy of the West End. If you need cheering up, get thee down to what
is rapidly turning into my favourite winter venue (look out Regent’s Park, you
may have a contender come the summer).
Booking until 5 May 2012, an infectiously riotous romp - The Mystery of Edwin Drood
No comments:
Post a Comment