REVIEW | Rebecca, Charing Cross Theatre
★ ★ ★
Reviewer - Penny
*Disclaimer: Gifted tickets in return for an honest review
There has been a lot of excitement about the arrival in London of the musical based on Daphne du Maurier’s classic gothic novel. Written by Michael Kunze and Sylvester Levay, it premiered in Vienna in 2006 and over the years has developed a cult following. Although it has been staged in 12 countries and eight languages, this new production is the English language premiere.
The story centres on the second Mrs de Winter, credited in this production only as “I”, a naïve young woman who, after a very brief courtship, marries the handsome widower Maxim de Winter and moves with him into his sprawling mansion Manderley, a house still dominated by the presence of his first wife, the titular Rebecca, who drowned a year ago. Struggling to adapt to her new home and status, our heroine makes an instant enemy of head housekeeper Mrs Danvers, whose loyalty to her former mistress borders on obsession. Manderley is home to dark secrets and tragedy and as the action unfolds there is a growing sense of doom and a hint of a supernatural element overshadowing what should be a happy time for the newlyweds. If you have not read the novel, I advise you to avoid reading the Director’s programme notes until after the performance, as they give away a major plot point.
Daphne du Maurier’s novel is beautifully written, her descriptive passages are detailed and poetic, and she expertly builds tension and suspense. It’s a piece of writing that deserves a rich and lyrical adaptation as a musical, and Sylvester Levay’s score and orchestrations easily do it justice. The sense that the first Mrs de Winter still “haunts” Manderley is a constant theme which is effectively achieved with the song ‘Rebecca’, led by Mrs Danvers, that recurs throughout the show, making her presence felt. This production has an 18 piece orchestra, under the musical direction of Robert Scott, and it is a treat to hear the dramatic melodies soaring from the cast and musicians. Unfortunately the book and lyrics are less successful – a lot of the story is sung through and whilst there were no problems with diction from the cast, a lot of the lyrics were very banal, possibly lost in the translation from German to English, but not up to the standard demanded by the source material.
The house of Manderley itself should feel like a character in its own right and this is where the production did not work for me. The set, by Nicky Shaw, did not give any sense of the grandeur and imposing presence of the de Winter home, the design was grim and austere. We are told that Rebecca had exquisite taste but it was not evident in her home. The more successful part of the set was the staircase which dominates it, allowing for some dramatic entrances and exits from the sinister Mrs Danvers. The show’s other main location, a Monte Carlo hotel, had none of the glamour and opulence I expected, giving the impression of a shabby, run down establishment rather than a luxurious destination. Transitions between scenes were not always smooth, with action taking place in front of curtains whilst noisy scene changes were carried out behind. Rather subdued lighting and a lot of use of dry ice and smoke meant that it was often difficult to see what was happening on stage.
Such an epic score and story deserved a much more epic set, but the small Charing Cross Theatre unfortunately did not allow for this. The space in the theatre has previously allowed for some brilliantly creative staging, but this time it fell a little short. The relatively small stage area meant that a lot of entrances and exits were done through the audience, which became a bit repetitive and distracting.
The three principal characters were all excellently cast. As “I”, Lauren Jones struck the perfect balance between vulnerability and stoicism. Jones has a flawless singing voice, mixing a pure soprano tone with great power and she has a fantastic ability to tell her story through song. The role of Maxim is taken by Richard Carson, who gives us all the brooding despair of the tragic widower, with another exceptional vocal performance that manages to show his emotional turmoil without completely losing control, an integral part of this troubled but rather repressed character. Together, Jones and Carson blend beautifully and although the character story for “I” deviated slightly from the original novel, I liked the character development this afforded her as she grew in confidence.
The stand out performance for me came from Kara Lane as Mrs Danvers. She oozes menace in a cold and chilling portrayal, giving the character an icy stillness that contrasted well with I’s nervous fidgeting and clumsiness. Her singing was a highlight of the show, from her powerful performance of ‘Invincible’, which sounded like a contender for the next Bond theme, to some stratospheric top notes.
The supporting characters were less successful for me, the direction made some of them feel very OTT and hammy, and the inclusion of a couple of comedy numbers jarred with the overall sense of menace that the show presented. An exception to this was the relatively small part of simple soul Ben, played by David Breeds, whose plaintive cries of ‘She’s Gone’ helped build the sense of supernatural suspense. The small ensemble provided some excellent harmonies and the choreography was simple but eye catching.
Rebecca has arrived in London with a lot to live up to. Lovers of the novel and long-term fans of the musical will all have great expectations. This production doesn’t quite meet them – there’s a bit of a disconnect with the outstanding score and the rather mundane staging. But there is still plenty to enjoy, not least in the principal performances, which produce a few breathtaking moments.
Rebecca runs at the Charing Cross Theatre until 18 November.