The New Victoria Theatre, Woking, Tuesday 29th March
When we started this podcast two years ago, I never felt that I’d fall as deep into Musical Theatre as I did. I didn’t realise that there was as much variety or the sheer scope of what we endeavoured to do. In the early days, I felt like I resonated far more with the more modern musicals and looked forward to them far more than the classics. That changed in November of 2020 when Drew introduced me to Gene Kelly in Singin’ In The Rain. It became the measuring stick that all new musicals are judged against; this was the definitive musical experience. To this day, it is the musical I have revisited most since my first introduction. Only a month later, I would sit down to enjoy the film once more for Christmas, and that tradition followed me into 2022. Since that introduction, the urge to see this show live has been strong, and I am so delighted to have finally seen the show. But; did it translate well from screen to stage?
The story of Singin’ In The Rain is simple; we follow Don Lockwood as he navigates the upheaval of Hollywood thanks to the introduction of talking pictures. Yes, it may be simple, but it works. Adam Cooper is tasked with the difficult job of bringing Lockwood to the stage. It’s a credit to his ability as a performer and dancer (not surprising, given his training at The Royal Ballet School) that he steps into Gene Kelly’s dancing shoes so successfully. His performance maintains the charm of Lockwood, but also keeps him a smooth and kind character. One of the things I love about SITR is how likeable the “biggest star” in Hollywood is. He is grounded, considerate of others and cares about his legacy, and Cooper excels in the role.
One of the highlights of the show is the Singin’ In The Rain sequence. I’d argue, this is one of the most famous sequences in all of cinema, and the expectations going into this show are understandably high. Cooper’s enthusiasm, skill and energy are a big part of why this sequence does not disappoint. As the heavens open up (actual rain, from an expertly set up rig!!) we are treated to a delightful song and dance number. As Cooper splashes and taps, he gleefully kicks into the puddles and subsequently drowns the front row. It’s a beautiful moment that captures the glee of Lockwood perfectly. The audience were engaged with the show throughout, but this sequence to end Act 1 was met with rapturous applause.
As we know, Lockwood is part of a double act; Lockwood and Lamont. If Don represents all that’s good in this world, Lina Lamont is a worthy “villain” for the piece. Self serving and oblivious, Faye Tozer is absolutely wonderful in the role. Her voice is truly nails on a chalkboard, and I say that as an compliment! Growing up a massive Steps fan, it was a very cool experience to see Tozer perform in front of me, and to see her range as a performer was amazing. She oozes glitz in her costumes and demeanour, but manages to bring about riotous humour and sheer disdain in each scene she features in. I adore the sequence in the film where Roscoe Dexter and the film crew struggle in recording Lamont’s dialogue and I loved how it was realised on stage. The beauty of her character is how she feels like a comic foil right until the end where she uses her contract to hold Kathy hostage. She nails the role, and the turn, and it is a very special moment seeing her get her comeuppance.
The show builds on the success of the film by adding a musical number for Lamont’s benefit. In Act 2, we are treated to What’s Wrong With Me? which manages to fit seamlessly within the narrative and feels like a song that has always existed within this world. In many other musicals, a vocally challenged character would suddenly gain a wonderful singing voice for their musical number, but not SITR! Faye Tozer is given the opportunity to perform in her Lamont voice as she ponders why Lockwood has shown no interest in her. It’s a wonderful moment in the show, that gives us the opportunity to get to know her better and realise just how deep her delusions go.
The relationship between Lockwood and both Cosmo and Kathy is one of the best parts of the film, and the show manages to maintain that. Through Fit As A Fiddle and You Stepped Out Of A Dreamthe dynamic Lockwood shares with both is clear and developed throughout. Both Alastair Crosswell (Cosmo) and Charlotte Gooch (Kathy) are wonderful in their roles and, much like Adam Cooper, do an excellent job in following on from Donald O’Connor and Debbie Reynolds. Make ‘em Laugh and Moses Supposes are both uplifting and hilarious sequences from Crosswell, and Gooch’s wonderful vocals and presence in All I Do Is Dream Of You and Beautiful Girl instantly gives you faith in Kathy and root for her. The bridal brigade is substituted for a plane set piece and it’s a really fun moment in the show. Act 1 builds brilliantly to Cooper’s big moment of Singin’ In The Rain, but it’s preceded by the (also iconic) Good Morning sequence which is a fantastic showcase for the trio.
The choreography, as one would expect, is crisp and precise and captures the beauty of classic Hollywood; Gene Kelly would not be disappointed by Andrew Wright’s choreography. SITR holds such a fondness not necessarily for its story, but for the dancing and fans of the original will not be disappointed. Likewise, the set is wonderful. As you arrive it is on full display, and appears cold and without charm. However, as the world comes to life, especially lead by Lockwood, the set becomes much more colourful and welcoming.
As mentioned, the rain is absolutely incredible, but that is not the only surprise the show brings. Fans of the film will remember the botched preview of The Duelling Cavalier with fondness - Yes! Yes! Yes! No! No! No! On multiple occasions, screens will descend and the silent movies will play for the audience, including the Yes/No moment. I truly hoped these moments would be incorporated into the show, but had no idea just how well these would be realised! Simon Higlett (Set Design) and Ian William Galloway (Video Design) helped make a good night at the theatre great.
For listeners of our previous SITR episode, you will know that I am not overly fond of the Broadway Melody sequence. I feel the “Gotta Dance” becomes somewhat excessive and muddies the narrative, so was interested to see if any changes would be made to the stage show. Whilst it is shorter, and plays into the plot because this is Cosmo’s dream sequence explaining his idea for an epic tap number to RF, I still felt the number went on a little too long and I started to lose my immersion in the show. As I say, the dance is exquisite and the cast incredibly talented, but this is my only slight nitpick in an otherwise flawless show.
Singin’ In The Rain does not disappoint. Pure and simple, this is a wonderful adaptation of a beloved film. Not only will fans of the film love every moment, they will find themselves sat in awe as they rediscover the experience via a new medium. This both maintains the fun spirit of the film, but also does a terrific job honouring it’s legacy.
⭐️⭐️⭐️⭐️⭐️
Download our episode – coming out Monday 4th April as part of our 2nd Birthday celebration for more of our thoughts and to find out who our MVP is; along with more talk on our favourite songs and what roles we would want to play.
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Singin’ In The Rain is currently playing at the New Victoria Theatre in Woking until Saturday 2nd April 2022. You can follow them on:
Twitter: @WokingTheatre
Instagram: @NewVictoriaTheatreWoking
Twitter and Instagram: @InTheRainSocial