Crazy for You, Novello Theatre

Productions like Crazy for You confirm my love of musical theatre and make me remember why I dreamt for so long of making my career in this artform. The music, the dancing, the laughing, the lights... when a musical is done well, it is instantly uplifting, the smiles are contagious. This production of Crazy for You exemplifies this, it is perfection from start to finish.

Having moved from the unreliable stage at Regent's Park Open Air Theatre, the Novello Theatre is a much more suitable home for this Gershwin classic. Every aspect is adjusted to provide a completely mesmerising performance. Peter McKintosh has done a magnificent job with the set and costume design. The outfits are to die for: glitzy and glamorous and super fun. The numerous costume changes make the show a real spectacle and the clever evolving set provides swift clean switches between the two settings: New York City and Deadrock, Nevada. Music is provided by a brilliant band, led by Stephen Ridley on the keyboard in the pit.

The choreography by movement genius Stephen Mears is jaw-droppingly good; it is impossible to see this show and not be amazed by the fancy footwork, stunning routines, magnetic ensemble work, and sharp comic innuendo. The talent and stamina the choreographer and performers must possess to do these steps justice is a marvel in itself, but to sing and act too is incredible. Not a toe out of place, not a tap out of time, the energy, pace and togetherness make the moves in Crazy for You quite frankly astonishing; the main group of dancing girls must be highly commended on their sublime performance.

It is an all star cast, carefully cast and well rehearsed - they run a tight ship. The leads, Sean Palmer as Bobby and Clare Foster as Polly are your typical triple threat performers: singing, dancing and acting, excelling at all three disciplines. Sean Palmer is charming and blessed with smouldering good looks, he oozes charisma and works beautifully with his onstage sweetheart, Polly. I was amazed throughout by his naturalness and ability to balance the serious and comic needs of the role, I particularly loved his drunken duet with Bela Zangler (David Burt) which set the audience off in hysterics! Clare Foster is fabulously feisty as Polly the country girl desperate to save her father’s theatre, she sings and dances with energy and character. I was delighted to hear her sing my favourite song, ‘Someone to Watch Over Me’, a song I have been singing myself for many years, it was wonderful to see it performed in its intended context.

When friends say to me "what is the one show you recommend in London that has it all?" My current answer will be Crazy for You. This classic Gershwin musical has been off the London stage for far too long; this joyful production is unmissable. I believe there is a serious lack of vintage musicals on nowadays - this production illustrates what makes a classic. Crazy for You has an endless list of hit songs, a great narrative and the opportunity for lots of great dancing - in fact I think it has just become my new favourite musical.

Crazy for You continues until 28 July 2012, book here.

Betty Blue Eyes at The Novello Theatre

The critics are having a great time cracking the porcine punchlines for new musical ‘Betty Blue Eyes’, which stars a gorgeous furry animatronic pig. This is Cameron Mackintosh’s first new musical venture in a decade, and with a whopping budget of £2.5 million, I was expecting something magical.

Betty Blue Eyes is set in a Yorkshire town and is based around a plot to “pignap” an animal illegally raised by businessmen who hope to serve her up at a special party to celebrate the marriage of Princess Elizabeth and Prince Philip. It is a witty adaptation of 1984 film ‘A Private Function,’ a bizarre and unlikely subject for a musical, but one that works surprisingly well. Thanks to talented writers, Ron Cowen and Daniel Lipman, the original story is kept intact with some hilarious additions.

It is no secret that I appreciate an enthusiastic feel-good production, but even I am a little tired of dreamworld musicals that envelop you in absurd utopian escapism. Betty Blue Eyes delights through a more realistic narrative; an ordinary couple and the struggles of frugal 1940s Britain, amidst ration hell.

The characters are endearing and here we see an impressively strong cast. The lead couple are both naturally brilliant on stage; Sarah Lancashire as social climbing Joyce Chilvers has a superbly strong voice and charming presence, her kind-hearted husband, Gilbert is played by Reece Shearsmith who pulls at the heartstrings with his optimism and has fantastic comic timing.

The villainous meat inspector was rather a caricature and reminded me of the dastardly baddies from children's literature. He is a strange character who has a penchant for painting; every confiscated piece of meat is passionately brushed with bright green paint. Though Adrian Scarborough was suitably vile, I found the role a little odd in comparison with the rest of the cast, and it occasionally broke my belief in the situation.

The adorable pig, Betty, is cooed at on every entrance, shipped from Australia specially, and with three understudies, she is quite the diva, flashing beautiful blue eyes and fluttering her eyelashes at every opportunity. Kylie Minogue’s voice has a fleeting role at the curtain call, though apparently it is not Miss Minogue that provides the creature’s funny farting and burping noises!

The music and movement is exceptional. Songs composed by George Stiles and Anthony Drewe complement the narrative perfectly, catchy tunes with sharp funny lyrics and just the right sprinkling of sentiment. Highlights are ‘Magic Fingers’ and ‘Nobody,’ a showbiz number sung by Mrs Chilvers who dreams of higher social status. Stephen Mears’ choreography is snappy, which is particularly evident towards the end of the show when the chorus take part in a spectacularly complex routine.

It is not often a new musical succeeds; shows like Wicked are certainly in the minority... but with our own royal wedding just around the corner hopefully the British public will go and see Betty Blue Eyes even if just for the sake of a happy coincidence.

Betty Blue Eyes continues until 22 October, book here.

Robert Lindsay in Onassis at The Novello Theatre

It is two years since Onassis made its debut at The Chichester Festival Theatre under the former title of Aristo. The play, written by Martin Sherman is a kind of biography that obsesses rather too much on far-fetched conspiracy theories, and has obvious and frequent allusions to Greek tragedy.

I did not think much of the play, but am surprised to see the host of one star reviews it has provoked. Despite the material, how so many critics can deem Robert Lindsay’s performance as only worthy of one star is beyond me, as I think he is utterly fabulous as the egocentric lead. I went to school with Lindsay’s daughter, who is now also in the theatre world. I always enjoy watching him perform and feel he has a real ease on stage. As Onassis he is utterly surprising, I couldn’t quite believe it was him. He commands the stage and charms all he touches, how he makes such a brute seem appealing is a miracle. I was particularly impressed by his authentic sounding Greek accent that isn't matched by any of the Greek characters.

Other than Lindsay there is little else to be excited about. I found Tom Austen, who plays Onassis’ moaning son, to be unbearably soppy. Unfortunately his accent is so confused it distracted me from actually watching his performance. Jackie Kennedy is played by Lydia Leonard who seemed fed up throughout and just isn’t a particularly engaging character. The muse Maria Callas is taken on by Anna Francolini who looks almost identical to the famous opera singer. I enjoyed her diva presence and her frantically aggressive interactions with Robert Lindsay.

Sherman’s play comes complete with Greek Chorus who mope about in the background for most of the performance. The two musicians Ben Grove and Graeme Taylor play Ilona Sekacz’s lilting music beautifully on their guitars but there is just a little bit too much of it, and it became boring, especially when the wailing women in the ensemble join in. The set, by Katrina Lindsay, is quite appealing and has a marine slickness about it, with a glistening pool of water at the front that the actors seem to have fun playing about with. Onassis the play isn’t worth seeing, but Robert Lindsay's rendition of the man is.

Onassis continues until 5 February, 2011. Book here.