Synopsis A celebration of the songs of Jerome Kern. This is the twentieth anniversary production of Kern Goes to Hollywood, which was originally performed in 1985 at The Donmar Warehouse in London and New York's Ritz Theatre. (Jerome Kern (1885-1945) is one of the most enduring composers of the last century. In a career spanning over forty years until his death at the age of sixty, Kern collaborated with such greats as Oscar Hammerstein, Ira Gershwin, Dorothy Fields and P. G. Wodehouse on shows including Roberta, Show Boat and Swing Time. Songs include I Won't Dance, Ol' Man River, Can't Help Lovin' Dat Man, Lovely To Look At, The Way You Look Tonight, The Last Time I Saw Paris, Remind Me, I've Told Every Little Star, A Fine Romance, The Song Is You .) Devised by David Kernan
Following his successes with Dorothy Fields Forever and Call Me Merman, director David Kernan returns to the King’s Head with another tribute to a Hollywood great, Jerome Kern. First performed at the Donmar Warehouse in 1985 (when it was nominated for an Olivier), Kern Goes to Hollywood remains a pleasing revue 20 years on.
The show, devised by Kernan and written by Dick Vosburgh, narrates the life of the New York composer, who was born in 1885 and, during an extensive career, collaborated with the likes of Oscar Hammerstein and PG Wodehouse on a range of film scores and musicals, probably the most famous of which was Show Boat.
Given the strength of Kern’s catalogue, it’s small wonder that each of the four singers in the cast - accompanied by Dominic Barlow (also musical director) on piano and Tom Mansi on bass - has a chance to shine.
At the end of Act One, the number amalgamating “Can’t Help Lovin’ That Man” and “Bill” from Show Boat, performed jointly by Angela Richards and Sheri Copeland, is artfully arranged and beautifully sung. In Act Two, another duet, “A Fine Romance”, is delivered with character and wit by Richards and Glyn Kerslake, and it’s nicely followed by the quartet, “Who”, displaying the performers’ harmonising abilities.
In addition to the high quality of the singing, the actors milk the material for its comic value. In “My Husband’s First Wife”, for example, Richards, employing her low drawl and impeccable timing, has many in the audience rolling in the aisle with her explanation of the virtues of the apparently perfect predecessor she can’t live up to. Other highlights include Jamie Golding’s amusing delivery of “She Didn’t Say Yes”, Copeland’s sweetly touching “Remind Me” and Kerslake’s rousing rendition of “The Last Time I Saw Paris”.
David Lee’s choreography is simple but stylish - although it does feature one of my pet hates, tap dancing without tap shoes – and does the job well given the King’s Head’s limited space. In addition, Chris Davey’s lighting provides the right atmosphere for the songs.
Kern Goes to Hollywood takes a while to warm up – the second act is much more enjoyable than the first – but, by the end of the evening, most of the audience are tapping and singing along, so the company must be hitting the right notes.
Society of London Theatre member. As part of the relaunch in 2008 the seating capacity has increased from 112 to 140. Home of London's Little Opera House in rep.
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