MARGUERITE to 1 Nov 2008.
London.
MARGUERITE
book by Alain Boublil, Claude-Michel Schonberg and Jonathan Kent lyrics by Herbert Kretzmer music by Michel Legrand.
Theatre Royal, Haymarket To 1 November 2008.
Mon-Sat 7.30pm Mat Wed and Sat 2.30pm.
Runs 2hr 10min One interval.
TICKETS: 0870 4000 626.
Review: Geoff Ambler 21 May 2008.
Love and lust under occupation rarely turns the heat up.
World War II arrives in the West End with a slice of wartime Paris, accompanied by Germans, collaborators, resistance fighters, parties and a swing band. Marguerite opens with a brief view of the show's tragic ending then jumps back to the fortieth birthday party of our eponymous heroine, enjoying a life hurtling through parties and affairs, with the war providing not only an unfortunate distraction but also her unloved lover, Otto, a General in the occupying army. Using Otto to prolong her popularity and provide a vicarious power in her circle of friends ultimately proves a dangerous decision, but not as dangerous as falling for Armand, a young musician and definitely an undesirable in the new world order.
Marguerite starts slowly and takes its time before eventually hitting the right notes. Boublil and Schonberg have concentrated on the book and lyrics. However their influence, if only by association, permeates the feel of the show's music, although it never quite grabbing the soul as forcefully as their longest running triumph. Yet there are some highs, notably with the Act I closer 'Take Good Care of Yourself', which when Annalene Beechey reprises it magnificently later on, lifts the gloom and reminds what breathtaking, yet largely unsung, talents inhabit our theatres.
Ruthie Henshall as Marguerite makes the most of the material she is provided with, but it’s occasionally a lacklustre affair, much like the one she enjoys with Armand (Julian Ovenden), who seems more sullen than irresistible. A rushed and improbable love bought about by Marguerite’s need to be desired, to be the centre of attention, ultimately brings about her fall, initially at the hands of Otto, then before the feet and fists of Paris, with its newly liberated need for revenge.
Effective visually, the set's initial traditional demeanour belies the subtle splendour of the Parisian designs, while transparent scenery allows the light to amplify its subtle effects. Marguerite missed the highs I hoped for from a show with this pedigree and cast, but grew into an entertaining new musical with some fine music and a new take on an old story.
Marguerite: Ruthie Henshall.
Armand: Julian Ovenden.
Otto: Alexander Hanson.
Lucien: Simon Thomas.
Annette: Annalene Beechey.
Pierrot: Matt Cross.
Georges: Andrew C Wadsworth.
Chanteuse: Gay Soper.
Hermann: Keiron Crook.
Company: Mark Carroll, James Doherty, Siubhan Harrison, Jon-Paul Hevey, Joanna Loxton, Jessica Martin, Julia J Nagle, Amanda Sim, Duncan Smith, Phillip Sutton, Lucy Williamson.
Director: Jonathan Kent.
Designer: Paul Brown.
Lighting: Mark Henderson.
Sound: Paul Groothuis.
Musical Staging/additional Choreography: Nikki Woollaston.
Musical Supervisor: Seann Alderking.
Musical Director: John Rigby.
Choreographer: Arthur Pita.
2008-05-27 11:39:52