ROAD SHOW thrills despite flaws

THEATRE: Menier Chocolate Factory, London

DATE: 21-08-2011

TIME: 15:30

WITH: Michael Jibson, David Bedella, Jon Robyns, Gillian Bevan, Gyln Kerslake, Adrian Der Gregorian, Fiona Dunn, Sarah Ingram, Julie Jupp, Elizabeth Marsh, Christopher Ragland, Robbie Scotcher, Phil Wrigley

DIRECTOR: John Doyle

This troubled musical by Stephen Sondheim and John Weidman has had many lives in America starting with “Wise Guys” (directed by Sam Mendes) in 1999, which turned into “Bounce” (directed by Harold Prince), and finally ended up  as "Road Show" at the Public Theater (directed by John Doyle). It is the latter version that received its European premiere in London and although the musical has some important flaws it has been thrillingly staged and features a fantastic performance by Michael Jibson.

Road Show can be seen as part of a Sondheim-Weidman-trilogy that deals with the dark side of the American Dream. Previously the team wrote Pacific Overtures about the Americanization of Japan and of Assassins of American presidents throughout history. Their ever evolving third show centres on the industrious Mizner brothers, Addison and Wilson, who at the start of the 20^th century moved across America (and the world) to make their fortune. through various enterprises. The characters  are also clearly meant as metaphors for America, but I am afraid this tight 95 minute version cannot really carry that weight. 

 David Bedella & Michael Jibson as the Mizner brothers

The gay Addison is the creator and (eventually) makes his fortune as a talented architect who has strong visions of how the new America should look. His womanizing brother is his opposite and seems to have no talent, except for conning people. Wilson is an opportunist who makes his fortune at the cost of others and usually leaves behind a catastrophic mess while getting away unscathed (not unlike the culprits who caused our current economic crises). From the start a pattern clearly arises in which Addison (literally) is able to strike gold and Wilson ruining their opportunities. This vicious cycle keeps repeating itself until it destroys both brothers.

Composer/lyricist Stephen Sondheim has arguably been the greatest innovator of the musical and a new show from him inevitably raises high hopes for another masterpiece like Sweeney Todd or Sunday in the Park with George. Road Show is not in that league, but contains a solid score. Sondheim’s rhymes are not as fresh and surprising as they once were and connoisseurs will definitely be able to detect familiar musical phrases. Some of the score actually is reminiscent of Assassins. Papa Mizner even has a song, ‘It’s in Your Hands Now,’ that was originally composed for that show. What is groundbreaking for Sondheim though is a gay love story. It plays out between Addison and his posh lover Hollis and has resulted in the best song: ‘The Best Thing That Ever Has Happened’. It is beautifully performed  by the lovers on a central bed and is also a great addition to the slim cannon of gay musical love songs.

 Jon Robyns & Jibson

Doyle (Sweeney Todd, Company) has created a highly energized traverse staging (audience sits on both sides of the performance space) that really works well for a piece that travels across the globe and time. Central to his minimal staging is the above-mentioned bed and on both ends of the playing area abstract skyscrapers made out of crates. Both ends also effectively symbolise the divide between the siblings. The ever-inventive director is able to create memorable stage images through simple means, which helps to visually frame a increasingly restless story. Doyle also cleverly ensures capitalism is ever present by having the cast throw loads of dollar bills around at various times. 

Most characters are sketched into the busy story, but Addison is fleshed out pretty well. Michael Jibson (Our House) is wonderful in the part and captures his characters neurosis, creativity, addiction, warmth, and conflicted love for his destructive brother, with impressive virtuosity. David Bedella on the other hand - a great show man who won an Olivier for his hilarious performance in Jerry Springer the Opera - seems slightly miscast here. He did not fully convince as womanizer/conman and most importantly there was not a strong enough brotherly connection between him and Jibson.

Jon Robyns (Avenue Q) on the other hand is very fine indeed as Hollis, Addison's great love, which makes this strand of the musical the most captivating part, because Robyns and Jibson have great chemistry. When during the opening song Hollis says, ‘I’m the one you fucked!,’ it has multiple meanings and the tragic ramifications of that really made the show work for me. At the end Wilson sings: ‘Sooner or later, we’re bound to get it right’ and this intimate and dynamic production nearly does. Road Show is not great but good Sondheim, which is still a hell of a lot better than most musicals.

B.t.w. Road Show closed over the weekend. During the performance I sat across from the great actress Kate Burton!