Singin’ in the Rain review: It’ll brighten up a damp night

Singin’ in the Rain review: It’ll brighten up a wet evening


n the significant dance figures, this stage adaptation touches the joyful exuberance of Gene Kelly’s elegant 1952 movie musical about the advent of the talkies in Hollywood. The exactly choreographed slapstick of Make ‘Em Chuckle, the great modernism of the “Gotta Dance” Broadway ballet, and the splashy solo title quantity – gloriously reprised by the entire forged at the curtain phone – all raise the heart. The latter routine also completely moistens the front five rows.

Adam Cooper, whose job has darted in all kinds of directions given that he started out out at the Royal Ballet, is a loose-limbed, expressive dancer who shares Kelly’s easy masculinity if not his innate allure. He’s a respectable singer and actor far too, but absolutely nothing thrilling. Jonathan Church’s generation, at first mounted at Chichester Competition Theatre, generally appears to be biding its time until Cooper’s toes start out tapping once more. It’s an pleasing night that both satirises and celebrates showbiz, but fairly gradual and stagey.

Don Lockwood (Cooper) loathes his vain, dimwitted silent-movie co-star Lina Lamont (Faye Tozer), someday member of Steps, and really amusing, whose abrasive ‘toidy-toid street’ Brooklyn accent will not do the job in the new world of the talkies. A chance experience with wannabe actress Kathy Selden (Charlotte Gooch, sophisticated and polished) prospects to romance, self-awareness for arrogant Don, and a sophisticated plot to dub Lina. Throughout, Don’s pal Cosmo Brown (ex-Strictly dancer Kevin Clifton) is there, mugging furiously and generally performing like a 3rd wheel.

In the film, composed by the great Betty Comden and Adolph Green and co-directed by Kelly and Stanley Donen, these daft plotlines and madcap relationships are gold. They never shine very as brightly on phase. Don’s intense flirtation does not search all that enjoyable in a write-up-#MeToo environment, for a person factor, and the romance does not absolutely convince. Some of the gentler quantities, like Blessed Star, get dropped.

Clifton is dazzling when in movement but tends to deliver a single-liners with the subtlety of a cricket bat to the head. Gooch is wonderful, but would make you realise how inadequate the section of Kathy is. The significant revelation is Tozer, who retains the stage with the appreciate music What is Mistaken With Him, in which just about every notice is completely wrong. Now that is talent. She someway helps make the monstrous Lina likeable. She also seems to be like Joan Crawford in the filmed black-and-white scenes.

So kudos to her, to choreographer Andrew Wright for reimagining people incredible routines so thrillingly, to the ensemble’s whirling limbs and to Church for receiving this sort of a mammoth job back on observe immediately after several setbacks. I desired to like this adaptation of the “musical for persons who never like musicals” extra than I did. Potentially it suffers by comparison, possessing opened the night time soon after the stunning Something Goes at the Barbican. I will say that Singin’ in the Rain completely brightened up a damp evening.

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