A Model Girl

Emma Williams has the voice and stage presence of A Model Girl as well as the looks; but Richard Alexander and Marek Rymaszewski’s muddled musical based on the 1960s political scandal surrounding the Profumo affair does not do the leading lady justice, with its uneasy blend of romance and grit, eroticism and scandal.

Former topless model and dancer Christine Keeler’s affair with the Secretary of State for War Jack Profumo rocked the political establishment at the time – particularly when it was revealed she also had saucy dealings with a Russian politician (and potential spy) – leading to the resignation of Profumo, a jail term for Keeler and suicide for Stephen Ward, who introduced Keeler into the “society” of the political elite.

The complexity of events makes a strained transition into musical theatre, with too many ideas thrown into the melting pot and making for a confusing story for anyone not entirely familiar with that period in British political history. This is reflected in the eclectic style of the music – incorporating ballad, reggae, swing and jazz – which doesn’t blend into a coherent whole.

Williams works hard as Keeler, portraying a likeable young woman who got swept up in glamorous society and found herself increasingly out of her depth. Her Act 2 solos are delivered with gusto and panache, and there is no doubting Williams’ talent for both acting and singing.

However, the other actors look uncomfortable and seem throughout the production as though they would far rather be in a play. And I am inclined to agree.

James Clyde as Stephen is convincing during the dialogue and does his best with rather weak material; but as soon as he starts to sing, he forgets about acting and strains for notes just slightly out of reach. Meanwhile, Lorraine Bruce as club madam Maureen struggles with some cringe-worthily embarrassing lines and amateur-looking choreography, and her dancers look unsure whether to break out into Lovely Ladies from Les Miserables or do a bit of Kander and Ebb. The characters frequently tell each other to stop using clichés – advice the writers should have taken to heart in the repetitive but unmemorable songs.

A Model Girl has some moments when the potential for what could be an interesting musical been shine through; but overall, too much of a jumble is made of the political jungle.

– Caroline Ansdell