Richard Rodgers is counted among the greatest musical theatre composers of all-time and it is his partnership with Oscar Hammerstein II, producing classics such as Oklahoma! and Carousel, that makes him a household name some 45 years after his death.
But before Rodgers and Hammerstein came Rodgers and Hart; Lorenz - or Larry, to his friends, Hart. The intrepid songwriting team produced a remarkable 28 pieces of musical theatre between the world wars, surely a golden age for the industry.
Among their greatest works and undoubtedly their most enchanting score is The Boys From Syracuse, which originally opened on Broadway in 1938. Almost a century on and performed in a room above a north London pub, Rodgers and Hart’s songs sound just as rich as ever.
Set in the ancient Greek city of Ephesus and based on William Shakespeare’s ‘The Comedy of Errors’, director Mark Giesser has had his work cut out to make this piece work in the confined space that is Upstairs at the Gatehouse. Originally performed with a cast of 49 actors, he has managed to streamline it to work with a company of eight, multi-roling performers.
As one would expect from any Shakespeare comedy, this is a tale of mistaken identity, held together with subtle word play and less subtle elements of farce. How well this humour translates 86 years on from the show’s opening is a matter of opinion but, although the broader strokes appear to have been lost in the midsts of time, this cast manages to eke out comedy in more delicate ways; a sly glance here, a lingering moment there, for example.
George Abbott’s book scenes do drag in places, however. Although the story bobs along relatively nicely in this two-hour (interval inclusive) production, the dialogue can often feel drawn out between numbers, for a contemporary audience at least. But Rodgers and Hart’s score overshadows the rest of the piece by far. From well-known songs like ‘Falling In Love With Love’, ‘This Can’t Be Love’ and ‘Sing For Your Supper’ to the likes of ‘The Shortest Day of the Year’ and ‘Oh, Diogenes!’, this musical is absolutely stacked with flowing melodies.
And those numbers are performed wonderfully by a talented cast, none more so than Caroline Kennedy (Adriana/Tailor), whose voice soars across the auditorium beautifully. Together with Georgie Faith (Luciana/Fatima/Apprentice) and Karen Wilkinson (Luce/Corporal), the trio give the audience a genuinely show-stopping moment in Act Two with ‘Sing For Your Supper’. Meanwhile, the combination of John Faal and Brendan Matthew, playing both sets of twins, is a joy to watch, both in respect of their comedic numbers and chemistry in the book scenes.
Unfortunately, the plot itself does have limitations but the main reason that people should come to see The Boys From Syracuse is that this is a score that must be heard. Jared Hageman’s choreography complements Giesser’s direction well, while Denisha Parmenter’s set is wonderfully detailed and makes the most of what is a rather tight performance space.
For anyone who enjoys Richard Rodgers’ compositions, this is a charming production well worth seeing and, who knows, it could be decades more until you get another chance.
The Boys From Syracuse plays at Upstairs at the Gatehouse until 29 September. Tickets from £25: here.
Review: Tom Ambrose Photo: Flavia Fraser-Cannon