A MODEL GIRL to 24th February
A MODEL GIRL
BY Richard Alexander and Marek Rymaszewski
Greenwich Theatre,
Mon to Sat 8pm, Mat Wed and Sat 2:30pm
Runs 2 hrs 25 mins with one interval
TICKETS: 0208 858 7755
www.amodelgirl.co.uk
Review: Geoff Ambler 2nd February 2007
The first modern scandal almost fails to ignite
A musical charting the birth of modern "public interest" journalism, Model Girl covers the events of The Profumo Affair which while scandalous in its time, is now just one in a list of similar political "affairs", albeit at the head of a long, long list now. With its cold war spy links and the mysteries surrounding Stephen Ward this story still manages to retain some of its original cachet.
The Greenwich Theatre’s austere set defines the tone of the show, all dark panelling and alcoves that are more private mens club than Percy Murray’s nightclub where their story begins. The show opens without bang or flash, although there is plenty of dancer and a dearth of costume on display, it does sparkle in the darkness of this set and one of the dancers seems to sparkle more than the others.
From the outset Emma William’s Keeler stands apart from the other “popsies”. An established musical actress with an abundance of talents and while A Model Girl doesn’t stretch her, it benefits vastly from her stunning elfin charms and outstanding voice. Emma has a mischievously seductive twinkle in her eyes from the outset, so sit near the front to get the full flirtatious effect. Dale Rapley and James Clyde as Profumo and Ward respectively perform more than capably in the other key roles although they seem relegated to supporting performers in what Williams makes Keeler’s story. Lorraine Bruce takes the remaining significant role as Maureen O'Connor, who runs the girls at Percy Murray’s and watches over Keelers rise to infamy.
As a musical it fails to hit the highs that a 60’s musical could be forgiven for aiming for, with just a few of the twenty numbers making the mark, however there was just enough life and emotion, particularly with Everybody Loves A Party, A Model Girl and Mesmerised to please me.
The choreography looks very ordinary and doesn’t ever stretch the capable ensemble although after Keeler protests to Profumo that she can’t dance, still manages to spin around the floor like a BBC Strictly Ballroom pro.
The program is essential pre-show reading, unless you lived through the era and have a very long memory. It fills in a number of large plot holes and covers the changes that a wealth of writers and contributors made to enable a complicated intrigue, filled with politics, sex and dark oak panelled rooms, fit into just over two hours.
The real life four year time-line has been compressed and a number of events altered to make a rounded story, leaving A Model Girl far from a gospel account. This re-sculpting of events is probably the reason why the muddled script leaves certain motivations in doubt, resulting in Keeler being at times naïve then happily and suddenly promiscuous.
The show ends with what feels like a narrated round-up, something which is again completed in the program. Wards overdose receives no reaction from Keeler that we see; the only relationship we are successfully sold in the show doesn’t benefit from the end it deserves and it leaves another hole.
A Model Girl has a wonderful cast who give everything and in some cases show almost everything, but they are let down by a lack of creative flair, imagination and a few more good tunes. It would have been great to see them take the creative risks Emma Williams embraces in her portrayal of the model girl.
Christine Keeler: Emma Williams
Stephen Ward: James Clyde
Jack Profumo: Dale Rapley
Maureen: Lorraine Bruce
Ensemble: Jenii Hicks, Victoria Kruger, Lee Reynolds, Laura Selwood, James Clyde, Mark Oxtoby, Stuart Nurse, David Racardo-Pearce, Graham Bryan
Director: Ruth Carney
Designer: Paul Wills
Musical Supervisor: Stephen Brooker
Choreography: Nicole Treherne
Lighting Director: Oliver Fenwick
Musical Director: Steve Hill
2007-02-05 20:05:41