On the Twentieth Century

Synopsis

After four flops in a row, megalomaniac theatre impresario, Oscar Jaffee, and his hapless entourage are on the run. Desperately trying to resuscitate his flat-lining career he books a carriage on the Twentieth Century Limited, the world’s most famous express train, bound for New York. In the next carriage resides his former sweetheart turned Hollywood starlet Lily Garland. Now Oscar has just 16 hours to entice the egotistical Lily back on to the stage, as the leading lady in his next show. Oscar’s financial ruin hangs in the balance and a jealous lover is on the loose. Offered funding by religious fanatic Letitia Peabody Primrose, Jaffee’s dreams fall into a glorious, and by turns hilarious, balancing act of keeping everyone happy. Set against a backdrop of the great American Depression of the 1930s, what unfolds is a tongue-in-cheek fairy tale of the pitfalls of producing theatre when cash is tight and private money comes at an unavoidable cost. On the Twentieth Century was the hit of the 1978 Broadway season, and this is its first London revival since the premiere in 1980. It features music by the great Cy Coleman (Sweet Charity) with book and lyrics by the remarkable team of Betty Comden and Adolph Green (On the Town). This Christmas On the Twentieth Century offers a riotous - and rather timely - theatrical treat like no other.

Our Review:

17 December 2010

Chicago to New York in 16 hours, and anything can happen in those 16 hours. And it does. A megalomaniac theatre director, a capricious Hollywood star, a handsome but dull leading man, a religious nut and a couple of stressed out backstage men chase one-another along the luxury train. The result is a zany, frenetic journey in which everyone’s ego is ruffled.

Cy Coleman’s music captures the slapstick, neurotic but irrestistibly seductive atmosphere of the New York backstage musical genre. Comden and Green’s lyrics spice it up with their unmistakable brand of wit.

In this production, the mouldy smell and ankle-grabbing damp of the Union Theatre help recreate the notion of theatre as an industry with no cash but lots of heart. The set is minimal, the costumes basic and the musical accompaniment of one piano and too many saxophones a little strident. Yet none of that matters once you’re swept off your feet but the positive energy and talent of the c...

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Latest User Review

Gareth James - 8 January 2011:

Back at the Union for the first of what I hope will be many musicals this year. This is an intriguing one, because its sub-operatic score make it very different from almost any other Broadway musical comedy. It’s also a late 70′s show masquerading as a 50′s show; I was shocked when I read the date of the first production in the programme. The Americans have a lovely practice of naming long train journeys and The 20th Century in the show (but not on Amtrak) runs from Chicago to New York City and the whole show takes place on it. Hapless theatre producer Oscar Jaffee is running from his investors after three flops. En route he tries to set up a new show with the movie starlet he discovered (the flashback to that isn’t really clear enough in this staging) and a rich old lady as ‘angel’. Here it’s given a manic / cartoonish / slapstick / silent movie style which works well. I’m not sure playing it along the length of the Union space works as well here as it did with the recent Bells Are Ringing and the design (on a shoestring) is pretty basic, but good enough. The staging of the chorus numbers is particularly good, as is the rather novel band configuration of piano and six saxophones. What really makes this show though is outstanding casting by Amy Rycroft (not sure I ‘ve ever name-checked a casting director before?!) who hasn’t put a foot wrong. Howard Samuels producer is a terrific lead in Marx Brothers mode and his excellent leading lady Rebecca Vere is perfect for the period (of the story, rather the first production). Musicals veteran Valda Avkis is made for the role of rich naive Letitia (who turns out to be a ‘nut’ in a delicious politically incorrect twist). Matt Harrop and Chris David Storer are very good as Jaffee’s sidekicks. This is better than the two previous productions I’ve seen. The youngsters at the Guildhall School were hampered by being, well, youngsters and the Bridewell production had less fizz (I refuse to believe that was only just over three years ago!). Yet again, we have to say what would we do without the Union…....

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