'Gypsy' at Chichester Festival Theatre

It should always be a bit of an event to go to the theatre, even more so when it's preceded by a 1.5 hours train journey to get to the town the theatre is in. The latest production at Chichester Festival Theatre is 'Gypsy', one of the big musicals, particularly when it stars Imelda Staunton and Kevin Whately.

I've only seen 'Gypsy' once before and that was on Broadway six years ago with Patti LuPone as Mama Rose. We saw it shortly after the opening night so it was still in the excited stage of the production before it settled down. The Chichester production has been on for a few weeks now so felt nicely established.

'Gypsy' is built around the legend of Gypsy Rose Lee, the queen of burlesque. But it's not really about Gypsy at all, it's all about Rose, the driven show-biz mum who wants her daughters to become stars, first June and then Louise, and it's Louise who makes it as Gypsy. I remember not being too keen on the character of Rose when I first saw her in New York but Imelda brings a layer of humanity, of hope, to the role that makes the character more attractive (but still not terribly likeable). There's something about the three leads that makes this particular show a pleasure - they work well together. Rose, Herbie her agent and lover and elder daughter Louise, make a nice package.

Rose pushes her daughters around the vaudeville circuit of theatres in the hopes of striking it big and, as they age, she keeps the show the same, forcing them to be perpetual children. My favourite scene of the ensemble section is when we see the passing of the years happen in front of us with a strobe light on the players dancing as the children are replaced by adults. That's a great scene, and we're introduced to the young adults that grew out of those children.

Rose, of course, keeps pushing until Baby June elopes with one of the young men and after a brief moment of not knowing what to do, she instantly focuses her full attention on Louise who will now be the star. The drive and focus are quite frightening in a way and Imelda delivered a magnificent 'Everything's Coming Up Roses', throwing herself into the song and her acting credentials coming into play to make this a performance to remember. The intensity was astonishing as she stood tall and declared that she would not be beaten, even by her own daughter. This was a stunning end to the first half and had the audience clapping and hollering for more. And more was to come.

The second half introduces us to the troupe led by Louise, how she becomes Gypsy and how she loves every minute of her new life. From an accidental booking into a burlesque theatre Louise becomes Gypsy Rose Lee, the world famous stripper who keeps everyone guessing.

This all comes about when Rose overhears the theatre manager talking about a star spot for a stripper and she volunteers her daughter to take the place, arguing that they can then leave the burlesque with their heads high since they left as stars rather than as flops. This is a move too far for Herbie who leaves as he and Rose were due to be married and Louise becomes Gypsy. And Gypsy becomes a star. She has one of the best sequences from going on stage for the first time, nervous and unsure, to gradually gaining confidence and more sparkly frocks to eventually ruling the roost as a star. Lara Pulver was great as Louise, moving effortlessly from duckling to swan.

The final song is 'Rose's Turn' when Rose finally strides out on stage as herself, not living through her daughters, and belts out the song. It's easy to confuse what's going on in that song, most of which is happening in Rose's head but we're clapping away at the end as she takes her bows and then we realise she's bowing to an empty theatre, with Gypsy clapping from the wings. It's a powerful scene as mother and daughter reconcile themselves to each other - at least for the moment - and walk off stage arm in arm.

The cast were excellent, particularly Imelda Staunton who brought a hideous humanity to the driven character of Rose. She gave her all in her big songs and she gives trained singers a run for their money. Would I rather see Patti LuPone as Rose? No, give me Imelda any day! The sheer ferocity of 'Everything's Coming Up Roses' was astonishing.

Kevin Whately was lovely as Herbie, the man who can be pushed and pushed but only pushed so far. I'm very familiar with Kevin on telly but have never seen him on stage before - he ought to do more live theatre. I also liked Lara Pulver as Gypsy bringing a nice charm to the role as she grows in confidence and seems to get taller (probably the shoes!) as well as more elegant. I loved the three strippers with a gimmick!

Well done to everyone involved in this production - it's a great show! It's only on for another week but here's hoping for a West End transfer. I think London is ready for Rose again.

'Guys And Dolls' - Chichester Festival Theatre

On Saturday Chris took me down to the Chichester Festival Theatre to see the matinee of the new production of 'Guys and Dolls'. 'Guys and Dolls' holds a special place in the theatre pantheon since the 1982 production at the National Theatre is what got Chris into theatre in a big way. Some things matter.

It takes an hour and a half heading south by train from London to reach Chichester, trundling through Surrey and into the Sussex countryside with cows and sheep - yes, real wild animals! Luckily they only attack at night so we were safe.

Anyway, there we were, waiting to be wowed or saddened and I was much heartened by the first glimpses of the staging with a semi-cicle of advertising posters gracing the stage like it was Times Square. I liked it. I liked it even more when the lights surrounding each poster flashed on like Broadway signs. That was truly spectacular with the reflection on the shiny back stage creating a great effect. The action all took place with minimal sets under that great backdrop and it was very effective. The energetic cast kept the pace fast and tight, jumping and dancing all over the place (including the bicycling nun collecting money) creating a picture of the big city, vibrant and full of life and danger.

It's a love story, of course, bit it's not straightforward at all (is it ever?). We have Nathan Detroit, a rogue setting up an illegal crap game, and Miss Adelaide, an aging chanteuse who is a star at the Hot Box club. They've been engaged for 14 years and that sort of says it all. On the other hand we have Sergeant Sarah Brown, leader of the Times Square branch of the Salvation Army, and Sky Masterson, a gambler supreme in New York for a few days who accepts a bet from Nathan that he can't get Sarah to have dinner with him in Havanna, Cuba. Of course, that's where it all goes wrong because they fall in love.

We see Nathan trying to set up his dice game and keeping away from the police and Sky trying his wiles on Sarah. Sky succeeds by guaranteeing twelve sinners will attend her midnight meeting the following day. One complication after another ensues, along with broken promises and love-lorn moments before all comes well in the end - with a few twists in the tail, naturally. One of the funniest moments of all was when Miss Adelaide curses Nathan because, for once, he actually tells the truth!

Was it worth the treck out into the countryside? You betcha! I loved it and even bought a programme. I saw the 2005 revival that was really a star vehicle for Ewan McGregor but this far surpassed that version and I finally saw the underlying joy and life in the show. There are laughs a plenty and great songs and a story that just works.

There are four equal leads in this show and you need all the pieces in the right proportions. Peter Polycarpou and Sophie Thompson played the older lovers of Nathan and Miss Adelaide and Jamie Parker and Clare Foster as the young lovers Sky and Sarah. I've seen all of them on stage before - other than Jamie - and I have to say it's the older lovers who won the awards for best performances. I quite liked Jamie but Clare doesn't quite seem to have found her character yet. Jamie really killed it with 'Luck Be A Lady' when he was playing for souls, his own as Sky included.

Clare came fully to life for her song with Miss Adelaide, the fun 'Marry The Man Today' and change him tomorrow rather than worrying about it today. That's the penultimate song of the show and gives the female characters another chance to shine  and shine they did, climbing up on the chairs and giving it some big wow as well as laughs, with Sophie slowly prowling the stage.

Peter and Sophie played off each other like old pros and Sophie in particular milked every situation and line for the laughs, sometimes just by lowering her voice on the right line. That was a masterclass in comedic acting. It was definitely Sophie and Peter's show and that's how I'll remember it, those two showing us how it's done!

I've already said that the set was excellent, very evocative, flexible and impressive. And so was the lighting and costumes - and so many costumes! I loved the suits of the gamblers, all colourful but not garish and I'd wear them (if I wore suits). The backdrop and the lighting totally changed the mood whenever needed without any overt change, just a subtle switch of the light to change the mood, bathe the stage in a different light and, hey presto, a new set!  It was really clever and simple. And, more importantly, it worked.

D'you know what I want? I want to see this production again. I now *get* 'Guys And Dolls' and want to *get* it again. I want to see Sophie Thompson and Peter Polycarpou and want to see Clare Foster (who I loved in 'Crazy For You') to grow into her role. And I want to see Jamie as Sky punch Big Julie.  Yes. This show needs to transfer to the West End. Make it so, please.