Tag Archives: Crazy For You

REVIEW: Crazy For You – King’s Theatre, Glasgow

Based on the 1930 musical Girl Crazy, (where Ethel Merman made her stage debut and turned Ginger Rogers into a star overnight) and utilising the glorious back catalogue of the Gershwin brothers, Crazy For You was reworked in the 1990s by Ken Ludwig to recreate the golden age of Hollywood and Broadway musicals.

This Watermill Theatre production starring Tom Chambers, Charlotte Wakefield and Caroline Flack, stops off in Glasgow this week on its UK tour.

New York boy, Bobby Child works in the family bank, he’s sent to Deadrock, Nevada to foreclose on a failing theatre. However, stage-struck Bobby harbours a secret desire to be a song and dance man. Instead of shutting down the business, he disguises himself as Hungarian theatre impresario Bela Zangler, and utilises the classic ‘let’s put on a show right here!’ device. There are multiple plot twists and the old ‘boy-meets-girl, girl-hates-boy-on-first-sight’ too.

Despite Ludwig’s attempts to beef up the original material, the characterisations are so thin they are positively see-through and the storyline is frankly, barmy. It’s also a mystery why, with one of the richest back catalogues in musical history, that it’s been padded out with some of the least well known Gershwin tunes.

The big hitters that remain from the original Girl Crazy are glorious: Embraceable You, I Got Rhythm and But Not For Me as are Someone to Watch Over Me from Oh, Kay! and They Can’t Take That Away From Me from Shall We Dance, there are also some tantalising snippets of An American in Paris.

The Watermill Theatre has had mixed success with the actor/musician approach employed here. The cast of 19 certainly fill up the King’s Theatre’s tight stage, but under Paul Hart’s fussy direction, they are more of a curse than a blessing. It’s all just a bit too busy visually, and the poor women who are having to give their all while hoofing are doing it while holding on to a trumpet or a violin.

Diego Pitarch’s multi-level set serves the production well, with smooth and simple transitions it transforms into Deadrock, New York, the theatre and the saloon. Howard Hudson’s clever lighting adds depth, warmth and atmosphere.

Where it does win out is in the casting of Chambers (Bobby) and Flack (Irene). Chambers looks as if he’s having a ball throughout. For someone who dreamed of being Fred Astaire as a little boy, those dreams have certainly come true. Flack is clearly talented and her American accent remains on-point throughout, but it’s a mystery that such an excellent dancer, barely gets to display what she can do. Wakefield, has an excellent singing voice, however, it’s not a singing voice entirely suited to this material, with the arrangements of the songs she sings straying into more modern territory, she also, for reasons that are hard to pinpoint, isn’t easy to warm to. The ensemble, provide excellent support throughout.

The energy levels are high from all, but despite this the second act drags and suffers from unnecessary filler material, both in song and in dance routines.

This is a corny piece of fluff, with an excellent, hard-working cast, and in some ways a welcome escape from the grim world outside, but ultimately that certain stardust that makes a production truly spectacular, is missing.

Runs until 21 October 2017| Image: Richard Davenport

This review was originally written for The Reviews Hub: http://www.thereviewshub.com/crazy-for-you-kings-theatre-glasgow/

REVIEW: Crazy For You – Eastwood Park Theatre, Giffnock

Today saw another visit to the Eastwood Park Theatre this time to see The Theatre Guild of Glasgow’s week-long, sell-out production of Gershwin’s Crazy For You. 

CRAZY FOR YOU is the story of Bobby Child, a well-to-do 1930’s playboy, whose dream in life is to dance. Despite the serious efforts of his mother and soon-to-be-ex-fiancee, Bobby achieves his dream. In doing so, he travels to Deadrock, Nevada, ostensibly to foreclose on the mortgage of the failing Gaiety Theatre. However, he falls for local girl, Polly, and he sets out to impress her. He decides to pose as New York theatre producer Zangler and put on a show to save the theatre using the deadbeat local townsfolk as the entertainment! Turning the sleepy local cowboys into dancers is not easy but, aside from that, all seems to go well until the real Zangler shows up with Bobby’s mother and the “Zangler’s Folly’s” in tow.

It’s a high energy comedy which includes mistaken identity, plot twists, fabulous dance numbers and classic Gershwin music. It played for 1,622 performances on Broadway at the Shubert Theatre and won 3 Tony Awards including Best Musical.

Songs include They Can’t Take That Away From Me, Nice Work If You Can Get It, Bidin’ My Time, Embraceable You, Someone To Watch Over Me and I’ve Got Rhythm.

This is a high quality amateur performance. The ensemble were of such fine voice that you would be hard pressed to hear better in the West End. There was a perfect balance of every vocal range and each note rang out perfectly for the whole performance. The orchestra were also top notch. This was a huge cast (over 40+) and there were few weak notes. If any criticism could be levelled it would be at the two leads – Adele Simpson as Polly Baker was a strong performer and when singing the “belting” numbers she was competent, but her voice in the lower range was less than reliable. I was also slightly distracted by thoughts of her resemblance to a young Margaret Thatcher! David McCurrach in the lead role of Bobby Child was rarely off stage and his voice was competent enough but he really was no mover! There is a lot of dancing for the leading man in this show and he looked ungainly and a bit embarassed throughout. As a seasoned performer (according to the show notes) he should know that a poor dancer with confidence and conviction can get away with a lot! He also lacked charisma which this role really needs. (Oh and next time please  make sure the poor guy has a suit that fits him!) On the whole however, this was a visual delight – the set design, costumes and sheer size and quality of cast meant it was an impressive and entertaining show.