Oti Mabuse energises fun-packed Cole Porter musical
Cole Porter’s Kiss Me, Kate is a gift to performers. It has a great story- a play Taming Of The Shrew within a play in which the lead actors in conflict on stage are at loggerheads behind the scenes. It has tuneful songs with clever lyrics. It has strong characters. It is a perfect musical comedy. Changing it would destroy it. Like putting lipstick on the Mona Lisa. You’d think.
Paul Hart, The Watermill’s artistic director, has decided to take the risk and adds more comedy in the form of farce by making it a kind of Kiss Me Kate Goes Wrong plus a dose of sexual politics.
Most of the time he pulls it off. But not always. Petruchio famously spanks Kate but having her spank him as well, in the cause of sexual equality, takes the edge off the subsequent joke that she can’t sit down. That’s one bum note.
Another is making so many things go wrong from the start because this takes away from Lily’s belligerence being the factor that brings down the previous order of the theatrical production. If it falls apart without her help, that removes one of the golden threads that is woven into the cloth of this glorious musical.
In a similar way, if the actor manager Fred is a loveable idiot from the start, his descent from a big headed authoritarian to broken fool is lost.
And yet, there’s no denying the added farce is very funny. The chorus has to improvise an encore when the curtain fails to rise. Actors leave the stage on the wrong side and have to scurry across in the background. The witty lyrics are still given full weight, so this an evening in which the laughter rarely stops.
It helps that there are some terrific performances. Rebecca Trehearn and David Riccardo-Pearce as the lead actors Fred and Lilli have strong, pure voices that both soar and express pathos. They are engaging performers. Fred running round the auditorium buttonholing members of the audience as he asks Where Is The Life That Late I Led? had the audience in stitches.
The highly talented Kimmy Edwards as Lois/Bianca does justice to both her big numbers- Tom, Dick Or Harry and the showstopper Always True To You In My Fashion. The latter climaxes with her skirt ripped off and Edwards high kicking in true showbiz style, using drumsticks like majorette batons.
Sheldon Greenland and Robert Jackson make amusing gangsters who become enchanted by the theatre, eventually exhorting us to Brush Up Your Shakespeare. Jay Perry is a charming Bill and Andre Fabian Francis is a stupendous dancer.
Talking of the dancing, Oti Mabuse does an excellent job as choreographer. Given the small space at The Watermill, there’s no opportunity for big chorus line numbers but there are quite a few energetic ensemble numbers that are all the more thrilling for squeezing flamboyant movements into the limited room.
Finally, the piece de resistance: all the actors play instruments which gives the show an added sense of excitement and makes the music seem like an extension of the acting.
So, while I may have small reservations about this production, I found it a thoroughly enjoyable evening’s entertainment.
Kiss Me, Kate can be seen at The Watermill Theatre until 21 September 2019