‘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”
“I think, I think…”
Jerry Herman’s The Grand Tour flopped on Broadway which explains a little of why it has taken 36 years for it to make its premiere in Europe. Another reason is the strange tone of Michael Stewart and Mark Bramble’s book, based on a play by SN Behrman, which plots an odd couple roadtrip and ensuing love triangle against the Nazi occupation of France in 1940. Polish compatriots Jewish intellectual SL Jacobowsky and Catholic aristocrat Colonel Stjerbinsky reluctantly join forces in Paris to make their escape, picking up the Colonel’s French lover Marianne on the way, and ending up in all sorts of jolly japes and adventures which are more Boy’s Own than Wilfred Owen.
Director Thom Southerland has great form with musical revivals though and aspects of his work here are superb. Phil Lindley’s approach to designing this show should be studied by all aspiring designers as an inspired way of dealing with the intimacy of a space such as the Finborough. His European map-featuring set unfolds multipally like the pages of a pop-up book to take us from the front seat of a car to the heights of a high-wire, the stillness of a church and the bracing winds of a harbour amongst many other locations, and it does so with real elegance. I’d only question why Belgium appears to have been erased from the map and given how much Saint-Nazaire is referred to in the show, whether that might have been added too. Continue reading “Review: The Grand Tour, Finborough”