“Lina. She can’t act, she can’t sing, she can’t dance. A triple threat” drawls Christian Edwards’ Cosmo Brown in this revival of the Gene Kelly classic.
The entire cast, however, pose the more traditional theatrical ‘triple threat’ in that they excel in all areas. I’d even go as far as to call it a ‘quadruple threat’ as they act, sing and dance whilst playing their musical instruments. It’s an incredible feat and – with a small but perfectly-formed cast of 12 – such an innovative way to bring the full sound of the score to the stage whilst not losing anything in the staging of the big numbers.
I’d be lying if I said I’ve been a lifelong fan of Singin’ In The Rain. I first saw the film last year when the Prince Charles cinema had one of their retro nights and I was dragged along by a couple of fanatics. I didn’t dislike the film – large parts were very enjoyable. But I’ve not been in a rush to rewatch by any means. However, I was intrigued by the stage show, and couldn’t wait to see how some of the more famous moments were re-enacted on stage – namely the ‘Make ’em Laugh’ sequence (Cosmo Brown was my favourite character in the film) and, obviously, wondering how they would stage the title song.
From the moment the orchestra struck up the opening notes, I knew I was in for a treat. Having live music onstage rather than sat in the pit makes such a difference to the acoustics – and this, combined with elegant staging, immediately transported us back to late 1920s Hollywood, the silent film world and birth of the talkies, where the show is set.
It’s a pacey show, with the entire ensemble constantly rotating between musician, daner or acting duties – first sitting at the back of the stage with their instruments, then being actively involved in scene dialogue, or even combining playing of instruments and singing/dancing around the stage. With this regard, it makes it difficult to pick anyone out for extra applause as it’s clearly a highly talented and hardworking unit. However there are some fabulously noteworthy aspects of the show that do deserve recognition.
Matthew Croke and Eleanor Brown as Don Lockwood and Kathy Seldon combine to produce a highly likeable couple. It was very easy to warm to Croke’s performance of Lockwood, very charming and with smooth vocals to add to the mix. Brown’s portrayal of Miss Seldon was equally masterful, with enough attitude at the beginning, before showing a softer and more fun side. Her vocal performance was my favourite of the evening and I look forward to seeing her again in the future.
Croke also had chance to show a fine comic streak when he combined with Christian Edwards, whose energy in the role of Vaudevillian star Cosmo Brown keeps the show moving along at pace. I’ve been fortunate enough to see Edwards perform in a few roles now and his flair for the comedic is second to none. I don’t know how much he works at that or whether it just comes naturally, but it’s impressive either way. I’ve seen plenty of comic moments delivered by actors who don’t quite have the timing, so it’s a gift when such a great role as Cosmo Brown is performed by someone who gets it. I won’t spoil the moments for potential viewers by listing my favourite comic moments, but let’s just start by me advising you to pay attention to “Make ’em Laugh” as so much goes on there and it’s an absolute riot. The scenes with Don and Cosmo are generally wonderful – especially the montage at the start showcasing their career as a double act and the “Moses Supposes” piece, highlighting a strong partnership in tune with one another.
Special mention too to Sarah Vezmar as Lina Lamont. It can’t be easy to be cast to portray an unlikeable character as Lina undoubtedly is, especially when also asked to perform a musical number in the style of someone who cannot sing. But despite the nasal New York accent, she delivered a fabulously deadpan comic turn.
The tech team have done a fantastic job with the show too, the combination of projected film and live stage action works so well, especially when dealing with the world of silent film. And the design of the “rain area” was perfectly orchestrated – enough room for Matthew Croke to move around in, and plenty of water for him to splash around!
There are no weak moments in this tightly-knit production, and again applause to the entire ensemble for constantly being onstage in various guises. This is not a show where people get a lot of downtime in between scenes, but they all looked like they were having the time of their lives, dancing and singing in the rain.
From someone who was never overly mad on the film, consider me a convert to the story. I’d really like to see this show again during the run, it’s just realistically a question of whether I’ll be back in Manchester at any time during the Bolton dates. Here’s hoping!
Singin’ In The Rain is running at the Salisbury Playhouse until Saturday 28th May, before heading North to the Octagon Theatre in Bolton from Friday 3rd to Saturday 25th June, before finishing the run in Newcastle-under-Lyme’s New Vic Theatre from Thursday 30th June to Saturday 16th July.