It isn’t often that one has the opportunity to experience one of the classic Broadway musicals performed by a world-renowned company, so when the last-minute call came to review “Kiss Me Kate”, I found it impossible to resist.
This co-production between Welsh National Opera and Opera North opens at the Wales Millennium Centre, before heading off on a nationwide tour, returning in December.
First performed in December 1948, and inspired by the real-life marital bickering of famed theatrical couple the Lunts, “Kiss Me Kate” was the first winner of the Tony Award for Best Musical, and was adapted (in a slightly censored version) into the much-loved 1953 film, starring Howard Keel and Kathryn Grayson.
Presented here as part of the Shakespeare 400 celebrations, the play tells the story of a touring production of feminist classic “The Taming Of The Shrew”, produced and directed by its leading man, Fred Graham. For the big opening in Baltimore, he has enlisted his ex-wife, film star Lilli Vanessi as leading lady, largely in order to secure funding from her wealthy, elderly fiancé.
There is still a spark between the divorcees, but Fred also has his eye on a younger cast-member, Lois Lane. Her boyfriend Bill, meanwhile, has incurred a gambling debt, for which he has contrived to make Fred liable. This necessitates the intervention of two gangsters, who somehow find themselves incorporated into the production.
Colin Richmond’s constantly transforming set cleverly evokes feverish backstage activity, and director Jo Davies makes some bold, but effective directorial choices; with one key scene set in a lavatory, and Act 2 commencing with a reprise of the end of Act 1.
Quirijn de Lang is imperious as the comically egotistical Fred, with Jeni Bern more than matching him vocally and dramatically, as sparring-partner Lilli. Amelia Adams-Pierce has the trickiest role, that of Lois, a mediocre actress and inconstant lover, who is nevertheless meant to be likeable, and is also highly impressive, particularly during her big number, “Always True To You In my Fashion”.
This comes during the second act, where any pretence that the plot makes sense is abandoned, and we’re treated to some beautiful turns: de Lang’s epically self-regarding “Where Is The Life That Late I Led”; Bill’s “Bianca”, incorporating some audience-pleasing tap-dancing from Alan Burkitt; and “Brush Up Your Shakespeare”, with Joseph Shovelton and John Savournin’s ne’er-do-wells providing a comedy masterclass.
The real star of the show, of course, is Cole Porter, whose memorable score and brilliantly witty lyrics more than make up for the deficiencies of Bella and Sam Spewack’s script, which tends to meander during the non-Shakespearean dialogue scenes. “So In Love”, one of the few “serious” songs, is a particular highlight.
The orchestra, conducted by James Holmes, is as flawless as might be expected, as is the ensemble. Will Tuckett’s choreography is amusing and energetic, and Landi Oshinwo, Max Parker and Rosie Hay shine in small roles (Hatttie the dresser, Paul the assistant director, and stage manager Ralph, respectively).
“Kiss Me Kate” touches on serious matters – human frailty, the perpetually vexatious relationship between love and money, the changing faces of sexual inequality – but its true function is to entertain. This beautifully realised production, which was joyously received by a highly vocal first night audience, provides solid evidence, were it needed, that the Broadway Musical is one of the great, all-encompassing art forms.
Images Richard Hubert-Smith
Wales Millennium Centre and touring
wno.org.uk