*****
FOR MOST of June, Bolton Octagon is defying the recent sunny weather with the ever-popular Singin’ in the Rain, a stage show version of the classy fifties film often billed as the best film musical of all time.
The tale is set in the late 1920s and follows the off-set lives of Hollywood stars caught up in the transformation of the film industry as ‘talkies’ replace silent movies. Silent movie heart-throb, Don Lockwood (Matthew Croke), has worked his way to fame and fortune alongside his glamorous co-star, Lina Lamont (Sarah Vezmar), whom he hates. His long-standing friendship with talented musician Cosmo Brown (Christian Edwards) has helped carry Don’s good looks and style to stardom, while Cosmo provides the emotional and musical support he needs.
Fleeing his over amorous fans, Don accidentally meets Kathy Seldon (Eleanor Brown) and quickly falls for her: the one woman he’s met who seems unimpressed by his fame, even censorious of his limited ‘dumb-show’ silent movie acting. Their inevitably successful love story takes place during an uncertain time for the stars and the industry, with some - such as Lamont and her calamitous voice - desperate to save their reputations.
Singin’ in the Rain is guaranteed audiences wherever it shows, attracted by both the quality of the songs and curiosity (to see just how they’ll manage the rain this time). The first few rows of this press night audience delighted in their traditional drenching and gave a standing ovation.
All the performances are impressive. Matthew Croke’s tap dancing is classy and agile, while his singing voice is accurate, rich and endearing, portraying the all-round performance skills and charms of leading man Don. Christian Edwards’ Cosmo, is mildly manic and a great dancer with superb comic timing. Eleanor Brown plays newcomer Kathy with a convincing innocence, and Sarah Vezmar hits the right balance between the determined and the intensely annoying aspects of Lina’s character.
But there are some noticeable and possibly unforgiveable gaps, such as losing the Cyd Charisse number and truncating the ‘dignity’/road-to-stardom story. The Octagon production, directed by Elizabeth Newman in conjunction with Newcastle-under-Lyme's New Vic Theatre and the Salisbury Playhouse, is on a much smaller scale than most. This makes the production tricky, the audience is very close and the essential artifice of theatre, in a musical about the artifice of cinema, is rather more difficult to sustain.
The success of brand Singin’ in the Rain doesn’t rely only on strong performances, impressive dancing and glorious songs, woven together by a talented writing team. The audience needs to really believe in the tale, corny and familiar though it is. This production was a little too self-aware to merit faith, with too little self-awareness to be ironic. I found the production a little flat, though it’s difficult to see why.
Perhaps the key scene explains it. Matthew Croke’s relish at the opportunity to direct the rain puddles into the audience, well beyond the front two rows (who’d been provided with yellow raincapes), was obvious. Too much so. In the title number, Don - in the first flush of love - is singing, completely oblivious to all around him, dancing as though nobody is watching. We’ve all been there (though some of us can’t dance). And Croke can. He really can. But we need to feel his obliviousness for the show to work. Otherwise the artifice collapses.
However, it’s still a great night out, just make sure you’ve got your iPhone well-protected.
Singin’ In The he Rain runs at Bolton Octagon until Sat 25 June before transferring to New Vic Theatre, Newcastle-under-Lyme
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