RNCM Engage presents the Young Company in what has become an annual staple in the Manchester Calendar for young people since 2008, taking aspiring performers from the ages of 13 - 20 and producing a high quality and professionally created Musical on the RNCM's own theatre.
This year it was the musical Sweet Charity which graced the large main stage. This Musical Comedy, in the truest sense, has a wonderful book by the incomparable Neil Simon, and the music is by American Musical Theatre dream-team Cy Coleman (music) and Dorothy Fields (lyrics). It tells the story of Charity, a forthright and optimistic 'taxi dancer' at a seedy night club in the wrong side of New York, who is continually falling in love and dreaming, and then the Fates bring her into contact with the rather strange and pent-up Oscar Lindquist, and she finally finds true love and happiness; albeit far too momentarily.
We were greeted this evening with an open set, and a very striking and individualistic set design by PJ Mcevoy. A building side on two levels with steps on either side and sliding panels was omnipresent, and onto this blank canvas comic-strip style cartoons, pictures and writing were projected continually in brash colours. It was a very bold statement and indeed worked superbly and was highly entertaining adding greatly to the overall feel and look of the show. My only (slight) criticisms of this would be that after a while, it became very predictable, and also, the 'titles' that were given to each scene were sometimes plot-spoilers and therefore gave too much away befoe it actually happened. I am thinking particularly of phrases such as 'the first kiss', which came up on the projection long before Charity and Lindquist came anything close to this.
However, this fab 60s style was mirrored in the stunning and very authentic looking costuming and hair styles, and further in the wonderful choreography by Mariyka Bolubasz. The moves which epitomised and classified the era were all there, and with a flair for finding just the right move for just the right group to make just the right picture at just the right time, Bolubasz got the absolute best out of everyone on stage.
Director Joseph Houston had taken the comic-strip idea to heart and although the characters were stereotypical and mono-dimensional in their emotions, they never became caricatures or over the top, which takes a very experienced director to manage that delicate balance, especially when dealing with students and young people. His directing further impressed with his handling of the narrative. the story is simplistic and perhaps somewhat banal (a la comic-strip) but Houston wrought every nuance possible from it and together with an exceedingly talented cast told a story that was both entertaining and grounded.
I am not sure where they found Emma Robertson, as this is her first show with the RNCM Young Company, but I certainly hope that she decides to perform more in Manchester. A better lead role of Charity simply could not have been found. She totally embodied the role giving a completely West End worthy performance. Her two side-kicks, who are also 'dancers' at The Fandango Ballroom where she works, were no less talented. Madeleine Healey as Nicole and Annie Stedman as Helene both shone. I especially liked the sullen insolence displayed by Stedman every time she was required to look pretty and attentive when a 'gentleman' walked into the club. Absolutely capturing the whole mood of their miserable and bored life, which is brought to the fore for the song, 'Big Spender'.
Ethan Seal enjoyed his role as the gay club owner Herman, and brought much to this character. For me though, sadly, he was not menancing and dangerous enough, lacking the authority to control the 'girls' in his charge. Likewise, Charlie Middleton's interpretation of the neurotic Oscar Lindquist was bordering on pantomime. Middleton had some really lovely ideas adding greatly to his characterisation, but at times, these were allowed to linger just a little too long, making it a little self-indulgent in places. His more serious scenes though were handled with aplomb.
Smaller principal roles went to Jake Hanky, screen matinee idol Vittorio Vidal, who played his role with earnest comedy (a deliberate oxymoron); Emily Leeland as Ursula, his spurned lover, looking and performing just right; and Stacey-Marie Bertrand as the leader of a hippie cult church, Daddy Brubeck who solos in the other famous song from this Musical, 'The Rhythm Of Life'.
A very talented and large ensemble of singers /dancers completed the casting, and every single one was giving 110% this afternoon (yes, it was the matinee performance of a two-show day - and so traditionally the show that the cast 'take easy' - not here I am overjoyed to relate!).
I could not finish this review without mentioning the band. Under the diection of George Strickland, the RNCM's own Musical Theatre Ensemble were perfect. What a joy to hear this timeless music played with such passion and authenticism, whilst watching the future stars of tomorrow perform on stage!
Bravissimi tutti!
Reviewer - Matthew Dougall
on - 4/5/19
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