Kander and Ebb have written two masterpieces of musical theatre, Cabaret and Chicago, and a lot else besides including the New York anthem, New York, New York. Their work is an absolute gift for a songbook show. It is funny, dramatic and sassy with a heartbreaking humanity and truthfulness at the centre of it all- much like life. Very American and very Broadway. Who would have thought that five performers in a small provincial theatre out on the coast in the north of England would ace their songs with such talent, confidence, joy and conviction? Well they did. The Stephen Joseph’s summer musical offering this year is an absolute corker. All the cast are hugely experienced. We don’t often get to see musical theatre performers of this quality in Scarborough- if ever- and I was left wondering how we had got so lucky. Maybe they just wanted to have a chance to sing great songs.
The show was originally conceived by David Thompson, Scott Ellis and Susan Stroman and staged off Broadway. It has been beautifully directed at the Stephen Joseph by Lotte Wakeham. Each song is a small drama, rather than a song, and the acting is every bit as important as the singing. The cast are very generous towards each other in this, playing supporting roles alongside each performance with great timing and commitment. Marry Me, from The Rink was a fine example, with Shona White listening to Nigel Richards as he proposed and showing us her every thought. I loved Phoebe Fildes and Laura Jane Matthewson’s version of Class from Chicago- perfectly done- and they also did a great version of The Grass is Always Greener from Woman of the Year together. Nigel Richards does a heartrending version of I Don’t Remember You from The Happy Time. He has great warmth as a performer- not something you can teach- and a beautiful tone. I’d love to have heard him do a full out, complete version of the title song on his own rather than just one of the snippets that we heard throughout as a kind of refrain. It was a pleasure to watch Ashley Samuels move- both on roller skates and off- and it would have been good to see more of that as well as hearing him sing. Shona White was best in the songs relishing Kander and Ebb’s sassy humour and it was a joy to see the mostly older audience chuckling away at her in Arthur in the Afternoon, from City Lights. That was one of the less well known songs which it was interesting to hear alongside those which have become standards. The title song from Cabaret could easily have become a cliche, but a stunning arrangement made it seem new and fresh as well as something which just had to be there.
It was one of those times where the set fitted both the show and the space in the round perfectly. This is not always easy. It was simple and made a flexible background for the performers while providing enough Broadway razzamatazz to be going on with. A job well done by designer Simon Kerry.
The matinee that I saw was a relaxed “dementia friendly” performance. Even though it was poorly attended, one look at the shining eyes of the man waiting to be led into the lift behind me would have been enough to make it clear that the whole thing was worthwhile. If anyone had been put off by being told this in advance and thought that their afternoon would be spoiled they needn’t have worried. Those of us who were there behaved impeccably as great songs worked their magic and the very talented cast still stormed it for us. We loved it. There was also free cake in the interval- something that I think should be available at all theatre performances from now on. Well done to the SJT. I hope that they do this again and allow the idea to grow. Theatre is for everyone. When the West End comes to Scarborough and it costs £10 for a front row matinee ticket you’d be a fool to miss one of the few remaining performances.