Chichester’s 2022 production of Gershwin’s reimagined work stars in the West End summer season with a lavish montage directed by musical theatre icon Susan Stroman. Guillermo Nazara shares his views on the piece, to let us know if this stomping show is stepping on beat.
There’s been so much hype about this show it might seem pointless to write another review about it. But the thing is that you’ve already clicked and increased my views – so joke’s on you. Have a nice day. Okay – fair, star rating at the bottom… Well, alright! Let’s get on with it. Jesus! You’re gonna drive me… mad – didn’t see that twist coming, did you? Anyway, this year’s summer scene seems to have developed a taste for the old-fashioned glitz of Broadway’s golden era – at least, in pretense.
As 42nd Street taps its way out of the Sadler’s Wells to extend its lane across the UK, Crazy for You arrives to the West End after its critically acclaimed run at last year’s Chichester Festival. The excitement is, to some level, understandable. It features opulent staging, intense dance sections and a lavish score penned by the two geniuses who topped the Great White Way through the dazzle (and later gloom) of early 20th-century New York. But the comparisons are also unavoidable.
Directed and choreographed by Susan Stroman (the show’s unseen star in her own right), the production goes up and down when it comes to its overall enticement. Some of the numbers feature incredible movements combined with excellent, sometimes highly imaginative visuals. But some others, particularly in the beginning, fail to impress – lacking the allure and vibrancy that’s supposed to deluge in a musical of this type. The problem may stem from some incorrect pacing at some moments, with some renditions being too short or feeling rushed into their applause beat. In addition, the book (written by Ken Ludwig) doesn’t bring too many smart punchlines to make the dialogue fully compelling.
Some aspects in this montage are indisputably brilliant, though – and that applies basically to its design. Conceived by Boewulf Boritt, the show presents us with an extravagant fanfare of theatrical awe. Distinctively eye-catching, the sets manage to create a cohesive atmosphere that’s also flawlessly implemented – using every possible resource in traditional scenery and never falling for the lazy solutions we’ve dangerously grown too accustomed to in new recent productions. On the other hand, William Ivey Long’s lush, elegant costumes and Ken Billington’s spectacular lighting constitute the final complements to the show’s intricate theming – guaranteeing more than a few flashes to keep popping into your mind for days to come.
Charlie Stemp has become the new West End baby through his role as Bobby in this piece. I happen to think differently. He does come through at many points, but that occurs when he steps into the Hungarian shoes of theatre director (and notorious pain in the ass) Bela Zangler as his impersonator. It is then when we actually see his comedic abilities and a sufficiently refreshing energy that brings out the charm of his character. Carly Anderson, on her side, also gives a memorable performance as Polly Baker, creating a sweet, likable version of her part but standing out primarily thanks to her vocals.
Crazy for You may not be the musical of my dreams, but it does have some whimsical zest sparkled all around it. The common yet usually engaging tale of boy meets girl, girl rejects boy, boy puts on a state-of-the-art show in the middle of nowhere to win her back (it’s the 20s, alright?), its feel-good plot and sumptuous delivery perfectly encapsulate the jazz of the age it pays homage to. It may not steal your heart, but at least it will tamper with a few strings.
All pictures credit to Johan Persson.
Crazy for You plays at London’s Gillian Lynne Theatre from Monday to Saturday. Tickets are available on the following link.