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An awesome and ridiculous film that leaves you thrilled beyond the point of your natural endurance
2012
Theatre
The show has suddenly become quite wonderful, and the galvanising factor is the terrific stage debut of Melanie C
Blood Brothers
Music
The British pop music industry may be eating itself but if Muse are the pick of what it can offer the world in 2010 then British music is in rude health indeed
Muse
I was smitten by both Gilberts enormous luxuriant moustache and the intelligence and nuance of this highly entertaining play
I totally recommend Babbo to anyone who is looking for really good and traditional Italian food
Always been a fan but never seen them live. I was ecstatic to be part of this epic event. WOW!
London,
Nicholas de Jongh's rating
Reader rating
Dir: Casey Nicholaw (director/choreog.
Cast: Joseph Alessi, Selina Chilton, Enyonam Gbesemete, Nickolas Grace, Nick Holder, Cameron Jack, Sean Kingsley, Bob Martin, Elaine Paige, John Partridge, Anne Rogers, Adam Stafford, Summer Strallen, Nina French, Mark Goldthorp, Paul Iveson, Sherrie Pennington, Kenneth Avery-Clark, Vanessa Barmby, Chris Bennett, Vivienne Carlyle, Mark Dickinson, Lincoln Stone
Description: Funny new musical by Lisa Lambert and Greg Morrison, in which a musical theatre addict, the 'Man in Chair', puts on his favourite album, the recording of the 1928 Drowsy Chaperone, which bursts into life on stage. Starring Elaine Paige, directed and choreographed by Casey Nicholaw.
Trains: Tube: Covent Garden/Charing Cross 
Phone: 0870950 0935
Tipsy turvy: Elaine Paige as the drowsy-through-alcohol chaperone intent on snaring an Italian ladies’ man
It's a rare evening when a musical makes me laugh out loud and often but it happened last night. The Drowsy Chaperone, whose alluring
title signals its distinctive character, surprises and delights, thanks to its central conceit.
Bob Martin, who wrote the book with Don McKellar, puts on an effective act as the middle-aged narrator - a queen in a depression and long, brown cardigan, who is addicted to escapist musicals. He plays us an LP of an imaginary show called The Drowsy Chaperone, from the good old 1920s, bringing this musical to full theatrical life before us.
His Manhattan apartment becomes a stage - nicely done out in the cardboardish designs of a period musical.
"I hate theatre. It's so disappointing," are his first complaining words. His gently satiric commentary abounds with pointed asides and witty revelations about the lives and closetted gay personalities of the now mostly long-dead performers in the musical. This narration, though rather fuelled by an unpleasant, snide attitude to gay men, becomes the show's prime source of amusement.
The Drowsy Chaperone - that's to say the old musical the narrator plays for us - offers an affectionate and accurate pastiche of the juvenile inanities of a 1920s musical with often silly lyrics by Lisa Lambert and Greg Morrison and a score surely destined for obsolescence. If only there was a bit more satirical point to the gaudy, nonsensical plot, which drags in two gangsters, vigorous tap-dancing displays and a dim chorus girl.
The action depends on Summer Strallen's physically dynamic but otherwise rather pallid Janet. Strallen plays a showbusiness star whose
impending marriage to John Partridge's handsome, hare-brained, dynamically dancing hero, runs into trouble. The message of Show Off, Janet's confessional song, with its line "I don't want to be cute no more", is contradicted by her spectacular athleticism and showing-off. It's the only song with a sting in the telling.
Elaine Paige's drowsy-through-alcohol chaperone, more interested in snaring an Italian ladies' man than protecting her charge, sings her one
big number, As We Stumble Along, with real gusto.
The performances in director/choreographer Casey Nicholaw's production tend to exuberant caricature and Miss Paige makes a broad, even grotesque drunk and she burlesques her star-actress-as-scene-stealer role.
It's an enjoyably fresh show, but is there an audience for a musical spoofing the genre?
Until 23 February. Information 0870 950 0935.
Details are correct at the time of publication - please check with venue before booking.
Entertaining in a quirky way. Top marks to the very excellent Steven Pemberton who played the "man in the chair".
- Jackie Djemaa, London
What a wonderful evening, this show has it all. Last night's repeat visit was just as much fun as the first.
- Jon, London
Just been to see The Best Little Whorehouse In Texas at The Landor Theatre, Clapham. Wow! Everyone concerned must be congratulated on an amazing production! Suzie Chard as Miss Mona resembled Dolly Parton in more ways than one (but with dark hair) and I couldn't keep my eyes off of the gorgeeous boys! I'm sure that the beautiful array of sexy girls will also prove a delicious bit of eye candy for the men. The singing, acting, and dancing, were of the highest standard, and I must mention the honky tonk band under the watchful baton of Dominic Nicholas.
Paul Tate (Director) and Richard Swerrun (Choreographer) can hold their heads up high. I urge you to go and see this, before it transfers!!!!! As I'm sure it will!
Arthur.
- Arthur Mayton, Balham
Pure drivel. The plus point - I managed to catch up on some sleep, though many others seemed to use any opportunity to leave the theatre. In truth, a bad import from Broadway, culturally incompatible (and I'm an americophile) and so bad in parts it makes you want to cry. Avoid - but its doubtless short run will help you out on that count.
- Julian, London
The West End has a new hit.
It all starts disarmingly in pitch black with a disembodied voice stating "I hate theatre" - the first of many unexpected and delicious moments within a lovingly crafted evening of musical theatre. An hour and 45 minutes later (without interval) the curtain descends leaving you wanting much more and sad to leave behind the zanies who have populated the imagination of the author/narrator and the constantly transforming stage.
It is brilliant theatre. Laughs evolve from smart writing and stellar performances given by actors who are absolutely in command of their craft, but seemingly unaware that they are sending up the very art form in which they appear. The music, a pastiche of the 20's, innocently and joyfully provides a satirical commentary that while taking the mickey out of itself, jubilantly celebrates a love affair with the era and the recognisable eccentrics who inhabit this off kilter world.
This is a gentle, insightful, exuberant piece of writing. And when was it a bad thing to go to the theatre and laugh for 2 hours? So, go, enjoy the madcap absurdity of an Everyman, listening to an old revered album only to see the characters spring to life within his grey bed-sit. By the end, your world and his will be much brighter, more colourful and you will have had a brilliant evening at one of the most enjoyable shows presently playing in London.
- Rob Mcmanus, London UK
I have seen this show twice now and the second time was just as good as the first. I can definitely say this is one of the funniest and most entertaining shows in town at the moment, it leaves you on a high and humming the songs.... My favourite has to be the number "I don't want to show off no more"... Just fabulous. The Lead character " the old man in the chair” is amazing; he draws you into the story and makes it believable. Elaine Paige plays a brilliant part as the chaperone, think Karen from Will and Grace but funnier!
If you want a feel good show then this is the one for you!
- Brady, London
