'Lend me a Tenor' at The Geilgud Theatre

I am still not really sure what to make of ‘Lend me a Tenor’, the vintage farcical musical that has just opened in London’s West End. I went to the press night last week with an old school friend, both of us tired and sweaty after a long day’s work... we arrived to discover an audience dressed entirely in black tie - not a few eccentric oddballs - but everyone in ball gowns and bow ties. It was totally perplexing.

This audience, which I felt very un-part of, clapped at every opportunity, so much so that I began to feel I was amongst an enthusiastic cult group. The whole production is super camp and kitsch, but needs to be to make the humour work. The action is set at the Cleveland Opera House in 1934, and a production of Verdi’s Otello is in full swing. Tito Morelli, the star of the show fails to arrive on time for the rehearsal jeopardising the evening’s performance, sending the crew and cast into a panicked frenzy. Morelli eventually appears but is unable to perform after falling into a pill-induced deep sleep. The narrative only really gets going when the substitute tenor gets into costume, and the real tenor awakes, also in the Otello outfit, both claiming to be the genuine Tito Morelli.

It is a fun show, but unfortunately Brad Carroll’s music just isn’t good enough to keep the action interesting. Every song sounds the same, and even this reworked melody isn’t very memorable. One aria stood out however - the witty parody sung by stroppy singer Diana (the company’s Desdemona), an impressive collage of the most familiar opera divas: Tosca, Mimi and Carmen amongst others. Sophie-Louise Dann was zesty as Diana and gave a tremendous performance in this song particularly, throwing herself into the funny impersonations and still managing to sound in tune.

The audience loved it when Matthew Kelly strode on as the stressed company manager, Henry Saunders. Better known as a TV presentator, Kelly overdid it here, scowling and shouting so much it began to give me a headache. The unlikely hero, Max Garber is played by a very competent Damian Humbley. I thought he really excelled on the night, holding the cast together with a balanced and powerful performance.

The highlight for me in ‘Lend me a Tenor’ was the tap dancing waiters. Fast paced routines that were well executed by Nick Butcher and Ryan Pidgen on the night. I wished there was more dancing as it added another dimension to the otherwise rather samey show.

Lend me a Tenor continues until 19 November 2011.

The Umbrellas of Cherbourg at The Geilgud Theatre

Based on the 1964 Jacques Demy classic film, ‘The Umbrellas of Cherbourg’ in a new stage version is currently showing at the Gielgud Theatre, presented by Kneehigh Company. Emma Rice’s adaptation is close to the original with the addition of a few extra characters. Essentially it is a doomed love story, but the narrative is weak, lacking any oomph or depth. A garage mechanic, Guy falls in love with young Genevieve, who works begrudgingly in her mother’s umbrella shop. They are inseparable, but when Guy is sent to fight in Algeria for two years, Genevieve must decide whether to wait for his return or to accept the marriage proposal from a rich local merchant.

I felt sorry for cabaret artist Meow Meow as the maitresse, she had the difficult role of pre-show warm up but even after an impressive climb through the stalls failed to get the audience going. After this cringeworthy introduction was over, she improved immensely, and later performed a stunningly dark rendition of "Sans Toi," so alluring that it became my evening's highlight.

Michael Legrand’s romantic score works triumphantly well, and the large live band drive the show. ‘I Will Wait For You’ stands out as a particularly weepie central song, an emotional lilting melody that returns again and again throughout the drama. It is a shame that much of the singing cannot match the calibre of the music, sounding rather feeble, especially when harmonising is required. Lez Brotherston’s set is fantastic, with numerous imaginative touches, and thankfully where the plot lacks interest the delightful stage design compensates.

Carly Bawden is lovely as pretty Genevieve, innocent but confident with a shining smile, Andrew Durand’s portrayal Guy looks a little pathetic beside his strident lover. I enjoyed watching Joanna Riding as the smart Madame Emery, (mother of Genevieve) and thought her both convincing and amusing. A chorus of matelots prance about in cliché striped outfits assisting the main players by physically moving them around, it is a strange concept but one that adds fluidity to the action and reveals some nicely choreographed steps.

The theatre was pitifully empty when I visited with several angry viewers leaving at half time protesting that: "this show has no story". The American couple next to me giggled rudely throughout and when leaving I overheard several groups disappointedly comment that they hadn't realised the show is a musical, completely sung from beginning to end. So sadly, it seems that this sentimental French tale is lost on us Londoners, perhaps Meow Meow was right when she joked at the start that we were a typically English audience, keeping our feelings hidden away under our bowler hats.

Continues until 1 October 2011, book here.