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Anything Goes gave me one of the best nights in a theatre — ever. 

An actual show at the theatre. Wow indeed.

Financially, theatre is unviable. Yet at the Barbican in London right now, it’s never looked so enticing, beautiful and well produced.

Helmed by three-time Tony-winning director Kathleen Marshall, Anything Goes is the real deal.

Cheeriness is contagious, folks.

Photo credit: Tristram Kenton

It has been a long time coming, but Cole Porter’s Anything Goes is the biggest new musical to open since the lifting of social distancing curbs on July 19.

Felicity Kendal is genuinely hilarious and brilliantly camp in her non-singing role. Gary Wilmot is thoroughly entertaining – that man is kind of amazing – throughout and theatre legend Robert Lindsay is cleverly funny as Moonface Martin – America’s 13th Most Wanted Man.

He is perfectly matched by chipper and demure Broadway star Sutton Foster making her UK debut as Reno Sweeney, who gets to sing some of Porter’s greatest songs including I Get a Kick Out of You and Blow, Gabriel, Blow

Reprising the role that won her a Tony Award a decade ago, from beginning to end Foster blazes through this feel-good show. She is full of jagged gestures. 

The story is nautical farce, but this is inconsequential. Even if you have never seen the musical, you know the songs.

However, if your main anchor is being offended by everything, then you must stay at home. The source material can, obviously, feel jarringly out of date.

Photo credit: Tristram Kenton

Basically, the gangsters are sex-crazed, women are leggy and there is a repressed aristocrat that sings about having ‘a bit of gypsy’ in him. 

In fact, the lines leading into song The Gypsy in Me have been tweaked, thankfully. 

Unworthy critics will fail to ruin the magic of a magnificent production like this. We all know that these glitzy shows are from another era.

The dancing here is exceptional. When did you last experience the truly awe-inspiring sight of two mid-show standing ovations? 

Having said all that, this is a triumphant, world-class, rousing piece of musical theatre. 

This magnificently starry production proves most captivating, while ultimately raising a toast to the redemptive power of theatre. It is pure escapism.

Basically, Anything Goes gave me one of the best nights in a theatre — ever. 

Anything Goes runs at the Barbican until 31 October 2021 

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Louis Maskell, interview: “The Grinning Man has an almost Tim Burton spikiness to it… Like a really intense experience at a nightclub.”

The lead role in The Grinning Man, Bristol Old Vic’s blockbuster, is the big break Louis Maskell was waiting for. The modest actor explains why he wants to act for ever.

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Louis Maskell as Grinpayne

Based on the Victor Hugo (Les Mis) novel and cult silent movie ‘The Man Who Laughs’, this macabre musical fairy-tale features ingenious puppetry and a perfect marriage of the alternative and the discordant mainstream. As well as being expertly written the majority of the songs are skilfully structured. How would he describe the show? “People have a preconceived of Victor Hugo novels; they immediately think it’s going to be long and dark and sombre,” Maskell says.

 

“This piece has elements of that but it is incredibly funny. The best way is to describe it is that it has got humour and an incredibly touching narrative at its heart, it has an almost Tim Burton spikiness to it,” says Maskell. “New British musicals like The Grinning Man and Everyody’s Talking About Jamie deserve attention – dare to see them, I promise you that you won’t be disappointed,” he says sweetly.

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The Grinning Man is directed by Tom Morris (War Horse) – Maskell has nothing but love for his director. “Tom is a genuinely incredible director, it doesn’t surprise me he is artistic director of a theatre like Bristol Old Vic, because he is such a keen builder,” Maskell says.

“Tom rarely ever gets annoyed and his rehearsal room is very collaborative – we have revised the show and then organically created the piece with our new cast members and in turn created a new family of grinning men and women,” he adds.  

 

On the topic of regional theatre, he is full of praise for the risk-taking happening outside of the capital. “The only way that you can create really good and dynamic musical theatre or plays is by going down the regional theatre road – because in the west end you rarely get anyone putting on a new production; the best theatre is in the regions – all of these really good regional theatres like Sheffield, Leicester Curve and Chichester Festival Theatre, deserve a lot of praise.”

I saw the original production of The Grinning Man at Bristol Old Vic and attended a preview recently. I was struck by how young the audience were, the enthusiasm and affection for the show was palpable. Has he noticed this? “I was very intrigued as to what kind of audience we were going to get but what we’ve found is there is a real hunger from a younger audience for this particular piece. I think it’s because the show feels almost like a really intense experience at a nightclub – it’s got that kind of energy to it,” says Maskell.

 

He trained at Guilford School of Acting, how important was his time there, I ask. “Massively – it gave me the base for what I do now – it gave me lots of skills to build upon,” he says. “I remember when I first graduated, I found it difficult to crack getting that first job… I did everything that I did at Guilford every day. So, I would warm up and work on my voice and the more I did that the better I became. I found more confidence and I got more jobs. Guilford gave me lessons to implement outside of college.”

 

What are his favourite musicals? “The shows that I’ve done are the ones that I was obsessed with growing up: My Fair Lady, West Side Story and Fiddler on The Roof. I think Hamilton is an absolute beast… I’ve got quite an eclectic taste,” Maskell says, with a laugh.  

Maskell’s star is in the ascendant. I ask him how he would best sum up 2017. “I’d describe it as a year in which a lot of dreams became a reality,” Maskell says.

Louis is taking it all in his stride. “I’ve got my feet on the ground; being a leading role in a show in London is something that I’ve always aspired to do. To be here doing a new musical is something that I never envisaged achieving; I’m embracing every moment because everything will end at some point,” he says. 

He adds: “Once you’ve achieved a goal you’ve then got to set new goals – I know that I need to now work even harder I love musical theatre. I want to act forever.”

The Grinning Man runs at Trafalgar Studios, London.

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Young Frankenstein: do we all make our own monsters?

The gender roles in Young Frankenstein raise huge questions around our own collusion as audiences and Mel Brooks’ musical comedy starring Ross Noble, Hadley Fraser, Summer Strallen and Lesley Joseph is ruffling feathers.

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The background is that, in Natasha Tripney’s two-star review for The Stage she makes her case very pertinently about how certain attitudes towards women feed in to a culture that is damaging to women. “You could argue that I’m taking things too seriously, that this show is basically benign and just out to make its audience laugh, but this stuff matters. It adds up. It contributes to a culture in which men in positions of power, movie producers say, can treat women like they exist solely for their titillation and amusement. It’s damaging – and it’s just not funny anymore.

Similarly, Alice Saville wrote a piece for Exeunt (Let’s not forget that Tripney co-founded Exeunt) examining mass culture and sexism within the industry, but misses a trick of weighing the best of the present against the worst of the past. Saville too seems to think that the Guardian’s Chief Theatre critic is conspiring against women: “If the most common way to deal with women who call out sexism and harassment is silence, a close second is this time-honoured strategy of casting people who object to rape jokes and sexism as humourless. Michael Billington’s Guardian review seems to do so, too, albeit in a weird coded way – “This may not be a show for sensitive souls whose idea of a jolly evening is sitting at home reading Walter Pater. For the rest of us, who cherish popular theatre’s roots in laughter and song, it offers two-and-a-half hours of time-suspending pleasure.”

Good grief.

This recurring debate speaks volumes – and prompts this writer’s irony-meter to explode – especially when Young Frankenstein is a musical from a lost vaudevillian universe where the women were leggy and offence was given (and taken) in the spirit it was intended. This all happened in a time pre ‘Trial By Social Media.’

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Can the imagery of gender stereotypes, now so deeply carved on our brains, prevent us from looking beyond the roles assigned to us? I found the elements in question to be a subversive use of entertainment as a means of consciousness-raising. This show is portraying a period, with humour and accuracy.

I felt uncomfortable at times. But isn’t that the point?

Post-Weinstein, I was hyper-aware about my own gaze at the females on stage; but the performances in question here are very funny and subtly ridiculing that.

Even when Hadley Fraser lecherously embraces his fiancé and she pushes his tongue back into his mouth, singing ‘Please Don’t Touch Me’ – I couldn’t but applaud what in other hands might seem tasteless. It could be argued that the show is an inappropriate artefact and should be *at the very least* seriously reconstructed or consigned to the archives. Or, how about not watching it?

Amid the frenzy, we should also pause to remember the Mel Brooks’ heyday as a filmmaker was in the 1960s and 1970s, when sociopath Richard Nixon was in office. Brooks is one of the greatest comedians of the twentieth century whose work is slapstick, irreverent and certainly not polemic.

It’s true that some genres, such as comedy, have thrived on dementedly sexualised and explicitly demeaning imagery of leggy women and ‘funny-sexy’ for decades, but this old-fashioned approach should not represent a line being crossed. I think it’s slightly naïve to beat up the past with the stick of the present.

We know now that sex and sexuality is always going to be part of theatre, and always should be.

But that’s not to say it’s all plain sailing…

After the show I asked ten humans, who identified as female, whether they found anything in Young Frankenstein to be a) offensive or b) misogynistic. Interestingly, they all said no. One woman told me: “I am actually pretty sick and tired of all this right-on idiocy. I have three daughters and I have raised them as independent women. We have loved every minute of it.”

Another woman that I was sat next to told me: “I didn’t want a female Doctor Who – but here we are. I don’t need approval from anybody to enjoy the theatre, I don’t read reviews because the writers often bring their own agenda.”

Nevertheless, just because the ten women did not have a problem with the content of the musical as a misogyny-fest does not mean that no female humans will have a problem with the representation of women on stage.

If a lost British musical was unearthed tomorrow featuring a cartoon monster raping a woman in a cave as a term of abuse, would Cameron Mackintosh commission it, or would he censor it? He’d censor it.

Perhaps there should have been a 2017 sensibility to Young Frankenstein, in much the same way that racist elements are removed from repeats of 1970’s sitcoms on daytime TV. Arguments that “they’ve been playing it uncensored for decades” are irrelevant: society moves on, which is why slavery is a crime, marriage is equal, homosexuality is not a crime and why women are allowed to vote.

Obviously, the history of patriarchy is extensive and entrenched. So, do we remake these stories and tell them differently if we are going to change our own culture and its attitudes towards women? Progress on justice for women is slow, but it’s happening. Young Frankenstein has been directed with aplomb by Broadway’s finest director-choreographer, Susan Stroman. What’s that? A female director, in the West End.

Whether it is cynical, misogynistic, artistic, all three or none, perhaps this will prove a cultural blip, a peculiar aberration like the huge success of the Take That musical: The Band that theatre fans in the future will look back on as nothing more than a snapshot of pop culture in 2017.

But it is hard not to feel that in 2077, people are more likely to look back on the fuss around Young Frankenstein in the way we now regard the reaction, 50 years ago, to the uproar of ‘Springtime for Hitler’ featuring goose-stepping chorus girls and choreographed swastikas: as rather quaint.

I salute Young Frankenstein for sticking a bonfire under good taste and scorching political correctness. Theatre is full of surprises. All we can do, as audiences, is say it how we see it and respond accordingly because there’s nothing more miserable than silence.

We all make our own monsters and I don’t think that anybody associated with Young Frankenstein is one.

Anyway, there is something rotten in the world if you need approval to laugh at a Mel Brooks musical.

Go and see it for yourself.

N.B. I am, though, still upset that there wasn’t a gay bar in Transylvania.

Young Frankenstein runs at the Garrick Theatre until September 2018.

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Five Things You Should Know About Follies

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1.    Let’s cut to the chase: Follies contains some of the greatest performances I’ve ever seen in a musical.

It features Stephen Sondheim veterans Philip Quast, Imelda Staunton and Janie Dee. Most incredible of all, the way this sparkly ensemble revisit their former lives from 30 years ago to when they first met while working as Follies dancers. The ghosts of the past send shivers up your spine. Also, Tracie Bennett in particular steals the show on a few occasions in a hall of mirrors for all shades of misery

2.    With a near 30-year history and a world-class reputation, Sondheim shows are no strangers to the National Theatre (Judi Dench appeared in ‘A Little Night Music’ in the Olivier, 1995 and Philip Quast in ‘Sunday in the Park With George’ in the Lyttelton Theatre, 1990 etc, etc and so on).

It’s hard to avoid the fact that most of Follies’ action takes place on a stage revolve resembling a merry-go-round in West Side Story. The beauty of this show lies in the precision that draws the multi-layered elements together.

3.    There are incredibly few directors who could carry off at least three quarters of this show. Dominic Cooke’s production for the National Theatre has kept the songs in the faithful style – the orchestra are sublime – but when Imelda delivers a refreshingly devastating low-key version of ‘Losing My Mind’, it’s the night’s highlight. A haunting exploration of character.

This is an inventively staged production with a cast and the arrangements are of a phenomenally high standard. As well as being expertly written the majority of these songs are also skilfully structured and only serve to reaffirm Sondheim’s Godlike genius.

 

4.    The choreography itself is beautiful, reflecting the sorrow, torment and human resilience in both the music and the performances. Everything slots perfectly into place in this magnificent evocation of showbiz. Sweeping across the stage are buckets of Swarovski crystals, sashes, sequined frocks and outfits that reel you in from start to finish.

This is the first time Dominic Cooke has directed a musical. Luckily, there’s a clarity of vision that’s practically unrivalled in the current musical theatre scene. Follies feels effortlessly enchanting.

5.    Vicky Mortimer’s show-making set and costume design uses a crumbling theatre on a revolving set to remind us how the characters’ lives are confined and ravaged by theatre; Bill Dreamer’s vivid choreography, deserves a mention again, his work with ‘Loveland’ pays hymn to the showbiz past; and the orchestra has a glorious, brassy ring.

The production’s centrepiece – to these eyes, anyway – is ‘I’m Still Here’, a track for which Apple Music single song repeat function could well have been invented. A dazzle to watch. 

But the show is not perfect and I can see people’s concerns about Imelda’s suitability as a ‘Showgirl’ or that her vocals may be underpowered. They are missing the point; these things add to the charm of the production. The no interval thing is a bit crap….

Nevertheless, nothing is left to chance here, folks.

I make that a considered, authoritative and concrete 9/10. Also: Looks like my work here is done. Time to go to the pub.

Follies runs in the Olivier Theatre at the National until 3 January.

‘FYI’ Follies will be broadcast by NT Live to cinemas in the UK and internationally on Thursday 16 November.