‘And you’re on holiday?’”
The ways in which the titles of shows are worked into the script are a source of endless amusement and new musical Death Takes A Holiday is no exception, pointing up as it does the ridiculousness of the show’s conceit. Based on the 1924 Italian play La Morte in Vacanza, which has been adapted for the silver screen a few times, most recently in the Brad Pitt stinker Meet Joe Black, Peter Stone and Thomas Meehan’s book tells the story of what happens when Death falls head over heels for an Italian duke’s daughter and so decides to take a couple of days annual leave to follow through,
Posing as a Russian prince, he joins the aristocratic family at their Lake Garda country pile, ostensibly to learn about human emotions but truth is, there’s only one he’s that keen on. And given that the main object of his study, Grazia, is a fan of the moody gothic look – despite being engaged to someone else – there’s little doubt as to whether will be alone when he returns to the day job at the end of the weekend. It’s a curious lack of dramatic imperative for a show running over two hours, especially since there’s the potential to have a proper love triangle, instead Maury Yeston’s expansive score is left to fill the gaps. Continue reading “Review: Death Takes A Holiday, Charing Cross”
“You’ve been free, now it’s time to get married”
Just a stone’s throw away from Piccadilly Circus, the intimate Jermyn Street Theatre has quietly been building a reputation for quality productions with a focus on unknown and forgotten classics and recently scored a massive success with the stage premiere of Samuel Beckett’s All That Fall which subsequently transferred into the West End. And with blockbuster musicals like The Bodyguard and Viva Forever looming on the horizon, to follow that with a Broadway obscurity never before performed in the UK might have seemed a perverse choice but for his final production as Artistic Director of this theatre, Gene David Kirk has unearthed an absolute knock-out success in Boy Meets Boy.
Written in 1975 by Bill Solly and Donald Ward, it is set in 1936 as a pastiche of the golden screwball era of Fred and Ginger but this is a world in which there’s a same-sexual equality which not even 2012 can match. For though our Fred is Casey O’Brien, a sozzled society journalist who has managed to sleep through the 1936 abdication crisis, and our Ginger is British aristocrat Guy Rose, who has just left playboy millionaire Clarence Cutler standing at the altar, no-one bats an eyelid. This is a world where equality is just a given, a natural part of high society who are happy to gossip about everyone, gay or straight. Such a simple innovation but one that is a genuine breath of fresh air that revels in its joyous freedom in a show that is unashamedly silly, sentimental yet superlative. Continue reading “Review: Boy Meets Boy -Jermyn Street”