Engaging and Provocative. Outstanding Performance from all cast and crew. The best show I've ever seen in London. - Gavin
06 Oct 11
I completely disagree with the official WOS review for all the reasons articulated above. How can a professional critic get it so wrong? - James Hasson
16 Sep 11
Yet again, I find myself reflecting on how you can visit a show again and come out with a completely different reaction. Earlier in the Summer I found Rosencrantz & Guildenstern Are Dead irritatingly glib, having previously found it clever and entertaining. When I first saw Alfred Uhry & Jason Robert Brown’s show four years ago at the Donmar, even though I’m perfectly comfortable with musicals on serious subjects, the musical form seemed wholly inappropriate for the subject matter and the musical style jarred. Now, having seen Thom Sutherland’s masterly production at Southwark Playhouse, I feel completely differently. Your frame of the mind at the time is so crucial to your response. If you’re in a Mamma Mia mood, however fine the Richard III production is, it just won’t do. If you’re up for a dysfunctional Sam Shepherd mid-west family, there’s no point in going to Priscilla.
Parade tells the true story of the framing a New York Jewish man for murder in Georgia in the early 20th century. The governor makes it clear he needs a conviction and the prosecutor delivers one by dubious means including the coaching of young witnesses. Just when it appears the governor’s review of the case will lead to a reprieve, a hasty hanging is arranged.
On this occasion, I found the music heightened the intensity and emotion of the story and Sutherland’s production grips throughout. Though it’s a tiny space with a traverse staging, it somehow feels epic. It flows seamlessly from scene to scene by having the set at either end of the space and just a handful of props to bring on and off. Wherever you sit, you’re never far away, so you always engage with the characters and the story. John Risebero’s set and costumes are excellent and there’s particularly effective lighting from Howard Hudson.
Yet again, Danielle Tarento’s casting is outstanding. Alastair Brookshaw and Laura Pitt-Pulford give hugely committed performances in the central roles of Leo & Lucille Frank; Laura’s singing is exceptional. Mark Inscoe has great presence as prosecutor and would-be governor Hugh Dorsey. It’s a tribute to David Haydn that it wasn’t until the end that I realised he’d played three roles including the pivotal ones as governor and newspaperman. Terry Doe follows two fine musical performances at the Finborough, with three fine performances in one evening here. There is also an auspicious London debut from Samuel J Weir, a 2011 graduate. The 7-piece band under Michael Bradley play the score brilliantly.
It’s not without its faults. Though mostly effective, the traverse staging was occasionally irritating, the over-amplification took away some subtlety from the solo vocals and at 2 hours 40 mins it was a little too long. That said, this production turned around my view of the show, won me over and deserved its spontaneous standing ovation.
- Gareth James
07 Sep 11
Saw this production a week ago, and i have to say i agree with this review. Aside from the obvious dampness, horrific acoustics and sound problems of this venue, i thought most of the cast were not convincing enough for this kind of production, most of them had good voices, but it pretty much stopped there, not to mention, mics or not, they absolutely not projection, which made me spend most of the musical just trying to make out what they were saying. And most of all, i have to agree with this review about the over milking and extremly melodramatic theme of this staging, which makes it very hard to sympathise with the characters despite the harsh and tragic feel of the story. Though the music was quite good though and very well arranged and performed by the musicians (though not well balanced sound wise as well...). - Noam
31 Aug 11
Please, please, please will you stop sending Michael Coveney to review musicals. It's obvious he hates the whole art form!
I saw Parade last night and thought it was one of the best shows I've seen this year (in or out of the West End). The cast are all excellent and I loved the staging. And what a great theatre. I didn't realise the Southwark Playhouse had 2 theatres in it. Such a shame if this place is forced to close down next year, especially when it's producing work of this quality.
Ok, I do agree that performers shouldn't need microphones in such a tiny space, but it seems that they don't get taught to project their voices when singing any more (doubt any of them could sing My Fair Lady in Drury Lane without a mic like Julie Andrews!). That minor quibble aside though, I thought this was better than the Donmar production a few years ago. - Steve
26 Aug 11
I have never seen this show but was very moved and shaken last night.
Great use of the space and to see a company of 15 and a band of 7...
The two leads are just excellent, but others spot on also.
Yes the sound is harsh, maybe no mics could have worked but it's a night not to miss.
Off West End still the place to be seen working and as an audience to enjoy it.
Well done Thom and his team and producers. - fringe rules
26 Aug 11
What a bizarre review.
I thought this was magnificent - one of the best evenings I've ever spent in a theatre... or anywhere, come to think of it. - KS
23 Aug 11
This review is simply unfair. Having seen the ptroduction last night, I can agree that there are problems with the sound that come from the nature of the venue. However what the Vault Space adds to the production more than makes up for the small sound issues. This production is of the highest standard in every way. I urge all to rush and see it and ignore the rather rude and 'out of date' ramblings of Mr. Coveney - R.H.
19 Aug 11
I saw this production in it's preview stage and was simply blown away! Parade is one of my all time favourites and I wasn't dissapointed! The cast gave their roles with gusto and heart, and told the story with truth and compassion. Michael Bradley and Iain Vince Gatt's musical direction brought the score to life perfectly for such a small space despite the occassional sound problems, which I soon stopped noticing since I was so caught up in the moment. Thoroughly recommended to anyone who is searching for a quality alternative to the West End. - L.C
18 Aug 11
Yes the sound balance does need work but sorry the star ratings on WOS now seem to have lost all credibility.
This is one of the strongest productions of a musical so far this year, performed to near perfection by a talented cast. As others have said above, a grown up, serious musical that puts much of the West End to shame. - Tim
18 Aug 11
Frankly I wonder whether Whatsonstage saw the same show as anyone else! This production is superlative in almost every respect. The vocals are outstanding, as well they should be from a cast with as many West End credits as these have. The musical direction is extremely tight, the traverse setting is intelligently exploited, the lighting haunting, and the acting and directing are outstanding.
This is a detailed, intriate performance which would not disgrace a West End stage. - Josh
18 Aug 11
I have to completely disagree with this review- I saw it on Monday, whilst it was still in previews and was blown away completely, I know e show well as it is one of my favourite musicals, and thought that this production exceeded my expectations. Yes the vaults is different to the don mar or a traditional theatre, but if you're a theatre lover, this will excite you, as it's so unique, and it really sets the scene before the show begins. Particularly in the prison scenes and the chain gang. The sound isn't perfect but then I imagine it would have been a dead sound without mics, and would have encouraged the actors to have to push their voices in the space. the musical direction by Micahel Bradley is wonderful, and you can tell he knows his Jason Robert Brown, and has done him justice, and as for the choreography, I would say that parade is hardly 42nd street and to have had anything more would have detached from the story and looked out of place. Overall I thought it was outstanding, and deserved the standing ovation it received. I think anyone would be mad to pay £60+ for a west end show when they can see this for £20, and realistically it's better than most of the jukebox, celebrity filled money spinners in London at the moment. A real gem. - JKMB
18 Aug 11
Four stars from me as the actors gave it their all especially the two leads who were heartbreaking. The sound design clearly is for a venue seating 1150 people not 150 - and this needs to be addressed as a matter of urgency if this producvtion is to build upon its audience as doubt very m,uch if you were unfamiliar with the show how you could have possibly followed it? A great shame as much to commend but please Southwark Playhouse either turn down the amplification or preferably turn it off! - Owen
18 Aug 11
This is a really well performed production which has had more than a few pounds spent on it, which in itself should be applauded as this is definitely not a fringe affair. Unfortunately it is a production that never really fully examines with any psychological insight the issues which the piece raises. maybe this is a fault in the piece itself, but although all the performances are good, none of them really have any kind of depth. this isn't helped by the John Doyle-esqu set and simple Trevor Nunn directorial production values which seem to bland things out and make them pretty and consumable rather than really hit at the emotional trauma that the characters must have gone through. It is hugely telling that amid the real photo of the hung Leo Frank, the audience came out feeling jolly and singing the 'red hills of georgia' and not even questioning why they are being emotionally manipulated by Browns overcomplicated disney score, or even why they were feeling happy at all.
That said Laura Pitt-Pulford, David Haydon and Victoria Serra stand out in a tight ensemble. Musical direction is very good (but unfortunately the smarmy smile on the MD's face as he took his bow came across with a self important arrogance. never a good move). Although it's never fair to comment technically on preview performances there were real sound issues with whole passages being lost to a combination of excessive digital reverb and poor diction. - Cassox
