A long-time favourite among musical theatre buffs, American songwriter William Finn is best known to the general public, insofar as he is known to them at all, for his sprightly, sardonic show March of the Falsettos (1981), which is regularly performed on the Edinburgh Festival Fringe by American college groups.
Any fears that Finn’s ain’t what he used to be are dispelled in this beguiling, if messy to look at, cabaret conceived by Rob Ruggiero and directed by Andrew MacBean. How many singers does it take to sing “Four Jews in a Room Bitching”? Six, with pianist Matthew Brind supplying the rhythmic, eloquent, busy accompaniments on piano.
Finn is a full-on composer, whose bountiful musical invention nonetheless belies a fairly modest output. His latest Off-Broadway show is The 25th Annual Putnam County Spelling Bee (2004), here represented by a dictionary song in which Nietzsche is rhymed with (and related to, apparently) Christina Ricci, while the programme also carries enticing tasters of A New Brain (1998) and Elegies, A Song Cycle (2003).
He can vamp like Kander and Ebb, rhapsodise like Sondheim, knock ’em dead like Jerry Herman, but it’s sometimes hard to pin down a defining character in the songs beyond their obvious craftsmanship and lyric intensity. Something in them suggests that the author might be both homosexual and Jewish, with a solid mean streak (“Poor, Unsuccessful and Fat” is one of nastiest funny songs ever), but then a beautiful number like “I Went Fishing With My Dad” comes spinning at you from left field.
That song is charmingly done by Ian H Watkins, formerly of the pop group Steps, and another surprise highlight is the meshing of “I’d Rather Be Sailing” with “Set Those Sails” from Finn’s first musical, In Trousers (1979) by Simon Thomas – soon to be seen in Marguerite – and Louise Dearman.
Dearman is a big blonde with a big voice. She has considerable competition from the ever-delightful Frances Ruffelle, who discharges “Stupid Things I Won’t Do” (written for Elaine Stritch) while sitting on a chap’s lap in the front row, and the ever-impeccable Sally Ann Triplett who finds a double meaning in “Change” similar to that mined by Jeanine Tesori and Tony Kushner in Caroline, or Change.
Gareth Snook completes the sextet, hitting high notes in some catchy key changes and generally setting the gay, liberated, tumultuous mood in “Hitchhiking Across America.” Make Me a Song is simply designed by Ben M Rogers with a small ramp, an evocative slide show – views of Manhattan and leafy vistas – and a few bar stools.
But the costumes and hairstyles could do with a make-over. Everyone looks so glum and grungy. Who wants day clothes? We want day-glo ... and love and romance; let’s grace the music in dance, not pants.
What a fantastic show. Everyone in it was amazing and
Matt Brind is fantastic. The star or the show though, was Jessie May - watch out for her in the future - she is going to go far. I was looking forward to seeing Sally Ann Triplett but glad she was unable to be on that night so I had the chance to see this wonderfully talented newcomer!
- Emma 29.03.08 - Emma Bird
30 Mar 08
What a fantastic show. Everyone in it was amazing and
Matt Brind is fantastic. The star or the show though, was Jessie May - watch out for her in the future - she is going to go far. I was looking forward to seeing Sally Ann Triplett but glad she was unable to be on that night so I had the chance to see this wonderfully talented newcomer!
- Emma 29.03.08 - Emma Bird
30 Mar 08
William Finn is arguably the most important voice in modern musical theatre today. He stands every bit as tall as Mr Sondheim when it comes to lyrics, but has had only relatively limited success The 25th Annual Putnam County Spelling Bee being his latest and still running on Broadway. Perhaps his many references to the Jewish condition in a lot of his work sits more comfortably in NYC rather than London? If so it's a real pity because what he really writes about of course is the human condition albeit with a Gay/Jewish slant. The songs have great melodic charm that often touch a raw nerve, take "Something bad is happening..Everything will be alright..and unlikely lovers" performed with great sensitivity by Simon Thomas, Gareth Snook Louise Dearman and Frances Ruddelle. If the house lights had gone up at the end of that number many an eye would have been caught being dabbed. So what is it about Mr Finn that makes him still realatively unknown outside of the insiders' world of musical theatre? Is he too clever? Are his songs too difficult to perform? I personally like clever and I particularly like difficult too, last night's brilliant cast proved they could do all of that. So where does Mr Finn go from here? I know! Mr Mackintosh can take the tosh out of his name for a start and give him a chance at his Novello theatre where he's had more than a fair share of duds of late and let Londoner's get a proper chance to hear this enormously talented writer "sing"! - rds
30 Mar 08
I was in two minds about going to see this show, but I am so glad I did. It may be another compilation show, like Side By Side By Sondheim, but the six performers really know how to deliver musical theatre songs and the fact that the material is probably less familiar to London audiences makes this all the more fun. There are deeply moving moments and hilarious moments and I loved every minute. Anyone interested in musical theatre should get there before it ends in just over 3 weeks. - Gareth James
13 Mar 08
Before this show I had never heard of William Finn. The main reason for going was to see Louise Dearman who, having first seen her in Jekyll and Hyde, we are sure deserves to be a major West End star. The revue was a very pleasant surprise. Many of the songs appear to be autobiographical and some of the comic songs would work better in the context of the original show, but there are several achingly beautiful love songs and I will be searching out the CDs. There are six exceptional performers, plus an excellent pianist, including an underused Sally Ann Triplett. Particular highlights were 'When the Earth Stopped Turning' by Simon Thomas (look out for him in Marguerite) and an astonishing 'Anytime' by Louise. This girl is a fine actress with an incredible voice able to handle a variety of styles with equal ease. Perhaps if she had the physique of Summer Strallen she would be a major star already but surely producers can find a lead role for such an incredible talent as Louise Dearman.
Adding to the pleasure of the show itself was discovering the New Players Theatre. Well raked with lots of legroom, a bar/restaurant and luxurious seating front-of-house, this is the perfect theatre for smaller shows. Parade would have been incredible here and the owners should target more off-Broadway shows and more intimate shows like Spring Awakening. What a lovely way to spend a Sunday afternoon. - David Baxter
09 Mar 08
I saw the show on the 3rd and it was excellent. As someone who admits to not knowing all the songs in their origional context, I thoroughly enjoyed it. The humour was excellent and I laughed many times,as did the rest of the audience. Given the chance I would definately go back and see it for a second time. - Jo
07 Mar 08
Ok, so it was the first preview. I just hope that they have time to rescue this show before it opens on the 6th as it was a bit of a mess last night. The songs just weren't being delivered right and all the comedy fell flat on it's face. The guys in the cast are universally awful. The girls are a lot better with Louise Dearman being the best thing about the show. There are some great songs in the show, but they just seem to be sung by the wrong people. I hope they get it right as it could be a really good show. - Steve
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