The great musicals of our day build on the foundations of past greats. Miranda on Bernstein, Sondheim on Hammerstein, all drawing from the greats of the early twentieth century, the time of Rogers and Hart. We might not see their shows produced that often today but their influence shines through to today’s writers whether they know it or not! That’s why it is such a joy to see a revival of The Boys from Syracuse being performed at Upstairs at the Gatehouse in North London. The theatre (as the name suggests) is above a pub and is growing a reputation for taking risks with revivals of older shows and I think lovers of the musical theatre genre should be grateful for that.
The Boys from Syracuse bases its story on Shakespeare’s 'The Comedy of Errors'. Comedy is notoriously difficult to direct, so praise should go to Mark Giesser for making this work so well with such a reduced cast. He is ably assisted by the choreography of Jared Hageman who finds the comedy in the music and lyrics and emphasises them through his movement choices.
The size of the venue and no doubt the budget, has led to some major doubling in parts. From a cast of 22 named roles in the original, this production features just eight performers. At times, this can be a test for the audience to work out which part they’re playing, but perhaps this adds something to the natural confusion already in the story.
From a performance perspective the star of the show is Karen Wilkinson, fresh from her performance in Standing at the Sky’s Edge. Whenever she is on stage the scenes come to life and all feel secure. Hot on her heels for leading female are Caroline Kennedy and Georgie Faith. The trio’s rendition of 'Sing for your Supper' was a real moment of harmonic beauty. Sadly, their singing skills are not matched by all the company. There were times, particularly when the men were on stage, when we wondered if we were watching an under-rehearsed amateur group. If this was the case, a couple of the characters would certainly have been directed to be on the back row of the chorus, but with such a stripped back production this is not possible. What would have been possible would have been for every member of the company to be secure in the script. In this performance it felt like a few scenes needed a few more days rehearsal – people walking into dark patches on the stage and microphones not open enough to carry the complex vocals are all things that could be easily sorted. Hopefully after a few more performances these errors will have settled down.
Musically, Musical Director/Orchestrator Benjamin Levy works wonders with the small combo of five players. You can tell he has given his all to this show, but even his virtuoso piano performance doesn’t cover that this score was written for a large string section.
The Boys from Syracuse is a creative Comedy with Errors and such potential – I’m glad I have seen it and would suggest you should see it if you can.
This show was reviewed on the 6th September 2024 at Upstairs at the Gatehouse, London where it runs until the 29th September 2024. Tickets available here: Events for 07/09/2024 (ticketsolve.com)
Review written by Paul Wood & Ian Worsfold
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Photo credit: Flavia Fraser-Cannon
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