REVIEW | Crazy For You, Gillian Lynne Theatre
Charlie Stemp and cast. Photo credit Johan Persson★ ★ ★ ★ ★
Reviewer - Penny
*Disclaimer: Gifted tickets in return for an honest review
Based on George and Ira Gershwin’s 1930 musical Girl Crazy, and incorporating other classic songs from the brothers’ catalogue, Crazy For You was billed as “the new Gershwin musical” when it opened in 1992, some 56 years after George’s death at the far too young age of 39. The original Broadway and London productions won the Tony and Olivier Awards for Best New Musical. This latest revival is a transfer from the Chichester Festival Theatre which has a well-deserved reputation for high quality productions.
This is the third time that the show has run in the West End. Its plot is straight out of the golden age of musicals – junior banker Bobby Child just wants to dance on stage, but instead is sent by his wealthy mother to a small town called Deadrock in Nevada to foreclose on its theatre. Once there he is charmed by the locals, particularly feisty postmistress Polly Baker, and in an attempt to save the day and get the girl, he disguises himself as Broadway impresario Bela Zangler and calls on his theatre friends to come to town and put on a show. Dancing ensues. Along with mistaken identity, quirky tourists, plenty of romance, and arguably some of the best show tunes ever written.
As soon as the 16 piece orchestra starts to play the overture, it’s clear that this is going to be something special. This sound is glorious, setting the tone for a production that is absolutely pitch perfect in every way.
Calling Crazy for You a “dance show” does a major disserve to Ken Ludwig’s script, which is full of laugh out loud comedy one liners but also packs an emotional punch as we see the jaded residents of Deadrock rediscover their zest for life. But it is the dancing that elevates this show to greatness, each number feels like it is helping to tell the story rather than being there just for the sake of showcasing some fancy moves. This is down to the formidable work of Director and Choreographer Susan Stroman, who won multiple awards for her choreography of the original production. Iconic moments from that production are included, but every number feels fresh and so exciting. Act One finishes with “I’ve Got Rhythm”, a 12-minute song and dance number that builds and builds, ending in a well deserved standing ovation. It is one of the best act one finales I have ever seen. Stroman’s love and understanding of the show absolutely shines through and she has tailored her choreography to suit the talents of her cast and present them in the best way possible.
And what a cast it is! Everybody on the stage has a clear character, from the ensemble to the romantic leads. Whilst delivering the precise and intricate choreography, it never feels like we are watching a faceless chorus line, everyone is an individual with their own back story.
Supporting characters are well developed and all given their time in the spotlight. Quirky English tourists the Fodors, played by Sam Harrison and Rina Fatania, have the audience in stitches with their comic timing and seeming oblivion to the chaos unfolding around them. Billy’s New York fiancée Irene Roth, Natalie Kassanga, comes into her own with a showstopping seduction number. And Duncan Smith charms everyone as Polly’s father, with a twinkle in his eye that belies the sadness in his heart.
In the casting of leading characters Bobby and Polly, Stroman has struck gold.
Playing Bobby Child is Charlie Stemp in what surely will be a career-defining role. Here he makes the transition from the loveable but simple souls of Arthur Kipps (Half a Sixpence) and Bert (Mary Poppins) to bona fide leading man, but losing none of the boyish charm that audiences have loved in those previous roles. His performance is flawless, combining the comic talent of a modern-day Norman Wisdom with the song and dance skills of Gene Kelly. But, despite these comparisons, this performance is 100% Charlie Stemp. He owns the stage in his solo dance numbers, and whether the style is ballet, ballroom or tap, he is utterly mesmerising to watch. He’s also adept at physical comedy with prat-falls and reactions that never fail to bring the house down. But as well as these high-energy antics, Stemp is also able to hold the audience in the palm of his hand with a heartfelt solo song that doesn’t rely on any tricks or acrobatics, just on beautiful vocals and thoughtful delivery.
With such a star turn to play opposite, it would be easy for the character of Polly to be a little lost. However, Carly Anderson injects huge personality into the role, displaying her own impressive dance skills as well as a powerful singing voice that injects plenty of emotion into her solo numbers. She has a very strong presence, standing out amongst the colourful characters with whom she shares the stage, and tells Polly’s story in a way that gives the character real depth and heart.
Although he has fairly limited stage time, Tom Edden makes the most of every moment in the role of Bela Zangler. He is charismatic, charming and very funny. His scene and duet with Bobby’s impersonation of Zangler is a highlight of the show – physical comedy at its absolute best.
As well as a range of outstanding performances, the show is also technically brilliant. Beowulf Borrit has designed an epic set, taking us from cavernous New York theatres to a run-down desert town in Nevada with effortless transitions. This is perfectly complemented by Ken Billington’s lighting design, which can go from creating a dazzling sunset to herald the arrival in Deadrock of the dancers to picking out an intimate moment of sudden awareness by focusing a spotlight on one of the principals. The sound balance is spot on so not a line is missed. Costumes by William Ivey Long are suitably fabulous.
Crazy For You is a perfect night out for theatre lovers. It is a winning combination of excellent script, stunning songs, technical brilliance, flawless direction and jaw-droppingly outstanding performances. If you have somebody in your life who doesn’t like musicals, this is the show that will change their mind. It is a complete and utter joy from start to finish.
Who could ask for anything more?
At Gillian Lynne Theatre until 20 January 2024.
