Singin' in the Rain- a production review and some general thoughts

 

Singin' in the Rain at Milton Keynes Theatre

 When it comes to musicals, my two favourite shows inhabit opposite ends of the spectrum regarding content. West Side Story is a gritty tragedy despite its dance routines and occasional lighter moments (Officer Krupke anyone?), whilst Singing In The Rain is a joyous celebration of the business of entertainment. Both have a romance at the heart of the story, but only one has a happy ending.

 I recently enjoyed Steven Speilberg’s re-make of West Side Story, which resisted the temptation to update the locale or the ethnic make-up of its protagonists whilst delivering even more light and shade than the original. Essentially a modern take on Romeo and Juliet, its portrayal of the difficulties of growing up and leaving youthful recklessness behind was played out in a locale where tradition was being overtaken by modernity, leaving the local inhabitants marginalised. This provided context to the gang rivalry, showing the insecurity behind the bravado, whilst the building sites that were physically transforming the landscape were the perfect backdrop to the Sharks and Jets stand-offs.

 As for Singing in the Rain, I recently caught the stage show at Milton Keynes Theatre. The original 1952 film had a degree of staginess about it, with enclosed locations (the movie lot, the producer’s office and a narrow street), so it proved to be easily transferrable to the stage. This production has something the film to some extent lacked; namely some electrifying group routines featuring the majority of the cast, including the opening and closing scenes. The ensemble cast were excellent, with energy to spare, and some great choreography that set a scene story through complex interlocking moves and shapes. Nowhere was this more effective than the closing routine which deployed coloured umbrellas and suits to great effect. I for one thought it simply joyous.

 The main protagonists, Kathy and Don, with support from Cosmo and Lina,  were portrayed with brio and degrees of subtlety. The age difference between Debbie Reynolds and Gene Kelly in the original tends to grate on modern audiences. The pair in this production seem more of an age and manage to spark chemistry from the outset (when they both affect to despise each other even as they feel the mutual attraction). The odd man out, Cosmo, plays his part as wisecracking sidekick well, whilst also portraying a degree of pathos when forced to play gooseberry as the other two become lovers, that hints at the sadness behind the mask of the funny man.

 The other main character is Lina Lamont, tricky to play as she is the obstacle to Kathy’s advancement and an obvious figure of fun. In this production she is also witty, sexy and spirited, which adds to the story’s depth. After the first half of the show has ended on the high of the title song, complete with an actual downpour, she injects some mild jeopardy into the others plans by consulting a lawyer and challenging their plans to side-line her. Her spirited fightback has the audience warming to her and showing appreciation of her solo number.

 On the night we were there (the first night at Milton Keynes) I sensed some initial nervousness, but it soon wore off as the cast got into their stride. The classic set-piece songs were well delivered, with the routine for Moses Supposes very inventive and Good Morning transposed to the street. The integration of a street bench into that routine reminded me that many of the dance moves were familiar from Strictly come Dancing.

This production also brought out the strengths of Singing in the Rain. For all that the film dates from 1952 it is a post-modern tale. Filmed in 1952 about the roaring ‘20’s, the time travel element is enhanced when watching it in 2022. It is also very knowing. The use of the radio presenter/gossip columnist to narrate parts of the action is clever, and was innovative in 1952.. This production makes use of the presenter to address the audience directly, something that creates an immediate connection in a show, even better than an aside to camera. In the years following the film, the Radio voice as narrator turns up in some very different films such as 1979’s The Warriors, where a New York gang face a violent journey back to their home turf after being framed at a gang happening, and Vanishing Point, where a radio DJ follows a lone anti-hero’s progress as he is chased by police.

 The scene featuring Gotta Dance, which brings to life Cosmo’s suggestions to the producer to introduce a fantasy sequence linking the present to Eighteenth Century France, is breathtakingly post-modern and mirrors montage scenes in many other films over the years. On stage the routine made good use of lighting and dry ice to weave its magic and carry the audience along. 

 Throughout the show the device of exposing of the nuts and bolts of making a film/putting on a show has parallels in films such as 42nd  Street and ultimately harks back to the play within a play device of Shakespeare’s Hamlet. Nowhere is this shown to better effect than when Don takes Kathy to a deserted studio and introduces each element of artifice; the backdrop, the music, lighting, and wind to set the scene for his wooing. 

So, the key question? did I enjoy it? Yes, immensely, all the more so in the light of the enforced closure of theatres during the Pandemic. After the curtain call,  the most iconic scene of all, the title song, was reprised in yet another downpour on the stage, with the lead trio generously sharing the deluge with the front row. As I said, simply Joyous! Although the run at Milton Keynes is over, the show is touring the country, including Nottingham, Bradford and Birmingham. I would certainly recommend it.