(seen at the afternoon performance on 24th November 2024)
The best things about these one-off concert events is getting to hear again live shows which are unlikely to be commercially viable West End runners, sung by all-star casts equally unlikely to commit to a West End run.
One of the most glamourous and funniest musicals of the previous decade, it enjoyed a decent run at London’s Savoy Theatre, but is squarely in the “not revivable like that” zone.
The first half of Yazbek and Lane’s show is packed solid with witty lines, sly back-references, fun tunes and a promising story. The second falls slowly apart, saved by a backflip triple of a twist ending but evaporating a little too much of the goodwill it had been previously generating.
Luckily, director Rupert Hands manages to navigate his cast through. He trusts their combined experience and stagecraft to float over the boggier quicksand of the later scenes, and aids them with a few inspired updates... what is said about Trump’s father is a hoot.
For Hadley Fraser, it is very literally a “snap” (of the fingers) to conduct Lawrence Jameson’s elaborate deceptions. A Poundland James Bond figure armed with exploding accents and a vast library of tall tales about his origins, his attempt to make a fortune on the French Riviera by conning the gullible wealthy who flock there steals the show.
If Fraser is Poundland, Ramin Karimloo as Freddy Benson is the 99p store. A crass American lowlife content to swindle twenty rather than twenty thousand bucks, he makes an unlikely apprentice for Jameson. Karimloo epitomises the spirit of the show, matching Fraser in the adlibs and bringing the house down calling for “Christine” – Colgate, not Daae.
Yes, the pair target heiress Christine Colgate (Carl Mercedes Dyer), building laughs alongside unlikely romances. Colgate may be the least experienced on paper, but she has an infectious vocal, convincing us of her wonder that “the fries are French” before bamboozling effortlessly our boys.
In the sub-plots, local corrupt Police Chief Andre Thibault allows Cameron Blakely a rich accent in which to elicit belly laughs in “Allo Allo” fashion as well as seduce wealthy Muriel Eubanks. Janie Dee gets one of the best songs and gives it full value in “Hello Dolly” (late of this venue) parody style asking “What Was a Woman To Do?”
Also not missing out on a single laugh, Sheffield council estate alcoholic Alex Young is a standout hit as Jolene Oakes, the ‘one that would not go away’... until the brilliant “Ruprecht” routine gives Young, Fraser and Karimloo an unforgettable trio comedy number.
We are lucky to have Adam Hoskins as our Musical Supervisor once again. As usual not resisting a little role in the show, he keeps the orchestra in order when they cannot resist their own giggles at the action.
Mountview’s Choir provide a youthful backing vocal, and as with “Sideshow” at this theatre, Toby Chevis ensures we can hear everything in balance. Dan Creasey’s lighting allows a couple of special moments, particularly with a hugely effective cross lit sequence.
A chance to reconnect with a gleefully clever friend, we have proof that the best way to get the most out of a situation is to “Give Them What They Want.” And they did.
4 stars.