Kiss Me, Kate (Curve Theatre Studio, Leicester, East Midlands Theatre Invite)
🌟 Kiss Me, Kate 🌟
09 August 2023 at 7:00pm at Curve Theatre Studio, Leicester
★★★★
Presented by National Youth Music Theatre (NYMT), the musical comedy Kiss Me, Kate is a true delight for audiences, a timeless story filled with squabbles, confused love, gangsters and madness. Featuring a wonderful score, with songs including ‘Brush Up Your Shakespeare’ and ‘Wunderbar’, the bouncy musicality makes you want to bob along in your seat with joy. This company really highlights everything we love about traditional musical theatre and the sharp choreography and dreamlike interludes make the piece flow beautifully. Directed By Alex Sutton, , the show generates a witty charm that will guarantee a smile on your face from beginning to end, although the story at times can be somewhat whimsical and eccentric.
The plot centres around a Baltimore theatre group in 1948, staging a musical interpretation of Shakespeare’s The Taming Of The Shrew and the action delves into both onstage and offstage dramas across the run. Performed in Leicester Curve Theatre’s Studio, this intimate venue is utilised to perfection by the company, cheeky interactions with audiences and balcony spaces used, which altogether demonstrates the endless possibilities of the theatre world. First impressions of the set are invest our interest ahead of the musical’s start. With wooden panelling, boxes, and a relatively minimalist design from Richard Cooper it makes us feel almost as if we have stumbled across a dress rehearsal, in keeping with the style of the show. The Studio is a relatively small stage, and with a large cast and a lot to look at, occasional moments could be lost within such a slightly cramped space. Nevertheless, Cooper’s styling and vision is so defined, with a clear separation between how we see ‘onstage and offstage’, working in wonderful harmony with Jamie Platt’s lighting design. Through lighting alone, atmospheres are expertly communicated, whether it be the musty and tense dressing rooms, or our protagonists ultimately fighting for the spotlight, the visual aspects of Kiss Me, Kate are extremely pleasing.
Leading the show as Lilli Vanessi, Sydney Richards is the perfect leading lady. Whether she is alone or surrounded by the incredible ensemble, Richards is endlessly captivating. Especially with her performance of ‘I Hate Men’, her comical skill through singing is inspiring, and there is no doubt that she is capable of an incredibly successful career in theatre with such dynamic and gorgeous vocals. She performs Lilli’s pride with exuberant confidence, and as Kate (her Shakespearean counterpart), the essence of satire is so reminiscent of the classic 50s musical films. Starring opposite Lilli as Fred is the supreme Charlie Weaver. His character is primarily egotistical, though the seriousness that Fred, and Weaver alike, commit to the role, adds to his hilarity. Both Richards and Weaver employ a style of overacting, successfully enhancing the thunderous relationship between the two leads. And when the height of their tensions reach a conflict of pies to the face, the sharp slapstick comedy stylings between the pair becomes a highlight of the show. Who doesn’t love a pie to the face?!
The secondary relationship between Lois (Charlie Jackson) and Bill (Joe Butler-Smith) is one which follows a more pleasant trajectory, with Jackson presenting a pizzazz and superstar quality reminiscent of Ann Miller’s famed portrayal of Lois in the 1953 film. Butler-Smith leads the song ‘Bianca’, fronting an extremely impressive tap sequence which serves to highlight of the extent of the company’s immense talent.
Adam Haigh’s choreography is beyond tremendous, creating some utterly breathtaking stage moments. ‘Too Darn Hot’ truly solidifies this, with perfect timing amongst the intense choreo, lifts executed beautifully, and the shapes created, as an ensemble, are spellbinding to say the least! The company evidently understand how to open an act, and set the bar very high, with harmonies across the show so pleasing. I’d even be desperate for a soundtrack!
Raphael Goold and Georgie Lagden steal the show with, perhaps the least threatening, yet hilariously nonsensical gangsters to be seen! Their role in the Spewack’s book is generally quite farcical and odd, however this lovably bizarre duo are unbelievably magnetic with their quirkiness. The applause after their final scene is almost deafening considering the size of the venue and feels as if it could go on forever (and rightly so!). Absolute kudos to Lagden for improvising as a prop phone was misplaced, which strangely enough becomes one of the funniest moments of the entire musical due to the humour’s genuineness.
Charlotte Corderoy’s musical direction alongside the orchestra is just perfect, to say the least. I am a really big fan of the soundtrack myself, so to be able to experience such a heavenly culmination of the score is a must for any fans of the musical. I am really enjoying being able to hear beyond the big numbers, and how transitions are equally as effective in communicating the story’s whimsical nature. Puppetry design from Alex Sutton and Ben Thomspon is certainly a lovely, and unexpected – surprise. While they don’t necessarily add to the plot, the animalistic movements are spot on, and form some really heart-warming and belly laugh moments.
Cole Porter’s Kiss Me, Kate is one of my favourite musical films of all time, and the NYMT’s production more than does this story justice. So, after the success of last year’s production of Chess, it is a delight to return once more and see them shine. Though the plot may be occasionally old-time musical confusing and a whirlwind of love and chaos, it is undeniable that the audience are falling in love with the funny show tonight as it immerses us into the hard-working Baltimore theatre. There is a really special place in my heart for Kiss Me, Kate, and I really hope to see NYMT deliver more outstanding productions, like this, for years to come.
My full review on East Midlands Theatre's website here:
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