‘HALF A SIXPENCE’: Charlie Stemp & company. Photo: Manuel Harlan

HALF A SIXPENCE
Book by Julian Fellowes
Music & lyrics by George Stiles & Anthony Drewe
Co-author of original music & lyrics by David Heneker MBE
Co-author of original music by Beverly Cross
Choreography by Andrew Wright
Directed by Rachel Kavanaugh
Through September 2, 2017
Noël Coward Theatre
St. Martin’s Lane, London, WC2N 4AU
0844 482 5140,www.halfasixpence.co.uk/

By David NouNou

Half A Sixpence is one of the little gems that came to Broadway in 1965, lasted for about 15 months at the Broadhurst Theatre, made a star out of Tommy Steele for his exuberant performance as Arthur Kipps, and has never been revived, and that is a great pity. It is an absolutely charming musical that had a very British book by Beverley Cross and a music hall score by David Heneker that was a delicious bonbon one just wanted to savor. The sad part wasn’t that it was very British in nature and people didn’t get it in America. It unfortunately opened at the wrong time; right after Hello, Dolly, Funny Girl, and Fiddler on the Roof. How could such a guileless, gentle musical compete against those mega-giants?

It was wonderful to sit at the Noel Coward Theatre and revisit this little treasure, and this time with a far better performance of Arthur Kipps by the multi-talented Charlie Stemp. Mr. Stemp is far more appealing as the character, an excellent hoofer, and not the least bit cloying as his predecessor. The only regret is that the excellent score by David Heneker has been diluted by so many extemporaneous songs that prolong the proceedings instead of tightening things.

While in New Romney in 1904, Arthur splits a sixpence and gives it to his childhood sweetheart Ann (Devon-Elise Johnson). He gives the sixpence as a token of love so, when they are separated, they can always think of each other. He is sent off to Folkstone as an apprentice in Shalford’s Haberdashery and after seven years there, he meets the lovely Helen Walsington (Emma Williams). Helen is a genteel upper- cruster who comes with excess baggage: a domineering mother and a scoundrel of a brother. On a particular night after spending some time with Helen, Arthur runs into Chitterlow (Ian Bartholomew) who is an elderly actor/playwright who, after a drunken spree, informs Kipps that he is the heir of a great fortune. This throws Arthur into a spin. He is infatuated by Helen but he knows he doesn’t fit in with the upper class. However, her family latches on to Arthur for his fortune because their’s has run out.

If it seems that I’m giving too much information and too much of a spoiler alert it is simply because most Americans are unfamiliar with this musical. So, Arthur proposes to Helen, and on the night of his engagement, runs into Ann who is working as a maid for the society doyenne Lady Punnet (Jane How). Arthur runs into the crossroads of love; the infatuation or the real love that was always there for him. If you want to know what happens next, you will either have to come to London to see the show or Google it.

Besides the wonderful Mr. Stemp, there is the delightful Ms. Johnson and the lovely Ms. Williams; they are both so enticing that it is virtually impossible to choose. Mr. Bartholomew adds all the right comic touches as Chitterlow, the man who enriches Kipps.

On the creative side, Andrew Wright has emulated the choreography originated by the wonderful Onna White which is a stroke of genius. Director Rachel Kavanaugh keeps the proceedings moving but is encumbered by a new book and those extemporaneous songs. The revolving, spinning sets by Paul Brown are perfect for moving the scenes seamlessly, and Paul Constable’s lighting as usual captures all the right moods.

For American theatergoers who are planning to visit London, I strongly urge you to see this little jewel because it shan’t be coming to our shores anytime too soon

Edited by Scott Harrah
Reviewed at June 22, 2017 performance in London
Published June 23, 2017

‘HALF A SIXPENCE’: Gerard Carey & Charlie Stemp. Photo: Manuel Harlan

‘HALF A SIXPENCE’: Charlie Stemp. Photo: Manuel Harlan

‘HALF A SIXPENCE’: Emma Williams & Charlie Stemp. Photo: Manuel Harlan

‘HALF A SIXPENCE’: Jane How & Vivien Parry. Photo: Manuel Harlan

‘HALF A SIXPENCE’: Charlie Stemp. Photo: Manuel Harlan

Half a Sixpence Official London Trailer

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‘SCHOOL OF ROCK’: (left to right) Alex Brightman, Dante Melucci & Evie Dolan. Photo: Matthew Murphy

SCHOOL OF ROCK
Book by Julian Fellowes
Music by Andrew Lloyd Webber
Lyrics by Glenn Slater
Directed by Laurence Connor
Choreographed by JoAnn M. Hunter
Winter Garden Theatre
1634 Broadway at 50th Street
(212-239-6200), www.schoolofrockthemusical.com/

By David NouNou

Having not seen the 2003 movie School of Rock and knowing very little about it (other than it was a huge hit for Jack Black) definitely gave me a leg up to enjoy this vastly entertaining musical. For me, it was seeing an original musical and it’s a rock-ass thrill. Adding to that thrill is the music by Andrew Lloyd Webber (longtime favorite) going back to his rock roots of Jesus Christ Superstar, and the book is by Julian Fellows of “Downton Abbey” fame. Who would have thought that these two “very proper” Englishmen would give us a most compelling rock musical of this generation?

Like Matilda, it is a child that tries to make sense of the outside world and fit in it. Dewey Finn (Alex Brightman) is not a little girl and certainly not a child; he is more akin to Peter Pan, the child that doesn’t want to grow up. Dewey is a misfit. He has been kicked out of his rock band; he’s despondent, and lives in the home of a former bandmate, Ned Schneebly (a substitute teacher) and his girlfriend Patty. Dewey owes them a lot of back rent. Patty has had enough of his slovenliness and wants him out, until one day a call comes for Ned and is intercepted by Dewey. The call is from staunch Principal Rosalie Mullins (Sierra Boggess) for a substitute teacher at the prestigious Horace Green Prep School. Needing money, Dewey goes for the job posing as Ned.

Dewey is confronted by children who come from privilege and overachieving parents who have no clue as to who their children are and what they can actually accomplish. This becomes a learning lesson for both. Dewey gets to learn about the kids and himself; the kids learn to abandon discipline and overcome their insecurities. He has to train them to fulfill his dream in competing in the “Battle of the Bands.” The two become co-dependent and both grow, learn and mature in the process.

I would probably say that the most daunting task in originating this musical was to find the proper Dewey. You couldn’t just bring a Jack Black imitator; you had to bring a Dewey that can make the character real for the stage. After all he is the loser. However, he has to have enough likability, charm and charisma to be able to win the audience over and root for him. This task has fallen into the hands of Alex Brightman.

I hate to use the term overnight star, because that term on Broadway is so ephemeral and overused. Mr. Brightman has paid his dues and has to his credits roles in Wicked, Big Fish, as well as Matilda. He is a person that should be noticed in the future, and come awards time next spring, he has to be recognized.

Earlier this spring, Sierra Boggess was in the abysmal musical It Shoulda Been You and previously was enchanting as Christine in Mr. Lloyd Webber’s The Phantom Of the Opera. Although she has the beautiful, haunting song “Where Did the Rock Go?” in Act II and learns to defrost, her Principal Mullins is a thankless role.

As for the children, they are all perfection and they actually play their musical instruments and are versatile performers in acting, singing and dancing. Laurence Connor, who directed the current version of Les Miserables has tapped into a much lighter venue (rock comedy) he keeps things constantly moving and never allows the children to be annoying or cloying. He respects them and gives each one of them a distinct personality and we get to know them as individuals.

In the end, it is Julian Fellows (book), Andrew Lloyd Webber (music) and Glenn Slater (lyrics) who are the real rock stars of School of Rock. Without them, we wouldn’t have had this infinitely delightful head-banger.

Edited by Scott Harrah
Published December 18, 2015
Reviewed at performance on December 17, 2015

‘SCHOOL OF ROCK’: Alex Brightman & Sierra Boggess. Photo: Matthew Murphy

‘SCHOOL OF ROCK’: Alex Brightman & the adult ensemble. Photo: Matthew Murphy

‘SCHOOL OF ROCK’: Alex Brightman & the kid band. Photo: Matthew Murphy

‘SCHOOL OF ROCK’: (left to right) Evie Dolan, Alex Brightman & Brando Niederauer. Photo: Matthew Murphy

‘SCHOOL OF ROCK’: Sierra Boggess. Photo: Matthew Murphy

‘SCHOOL OF ROCK’: The children’s ensemble & Sierra Boggess. Photo: Matthew Murphy

‘SCHOOL OF ROCK’: The children’s ensemble. Photo: Matthew Murphy

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