Singin’ In The Rain

There is a certain classiness about the Chichester production of Singin in the Rain at the Palace Theatre which other screen-to-stage musicals don’t seem to match. Perhaps it comes from the fact that the stage production is a revival of both the 1984 London Palladium production which starred Tommy Steele and the 2000 production at the National Theatre. The show is fundamentally a film musical recreated on stage in a similar vein to 'Ghost', 'Sister Act' and the Palace’s last tenant 'Priscilla Queen of the Desert', but unlike these shows it does not seem to be tarred with the same brush. The film itself has achieved such ‘classic’ status that criticism is almost not allowed and the original production was both novel and charming in its last theatrical outings.  21^st Century theatre audiences who have for the past decade lived through the development of the screen-to-stage musical however can judge the show with a different eye. In this production, the film is recreated on stage, with little to no effort having been made to differentiate between the two separate forms. Fans of the MGM film will know every line, recognise characterisations and be able to sing along, but surely with such creative talents at its disposal the production should not just mimic the film but instead find a similar theatrical magic on stage, using the freedom of the theatre rather than feeling restrained by its filmic limitations.

 Jonathan Church’s production is tight and fast paced, complete with beautiful designs by Simon Higlett, who create a multi functional space utilised in full by the energetic company. At times the stage appears too busy, offering more than the eye can see, and the general atmosphere seems somewhat over produced. The book is taken directly from the film’s screenplay by Betty Comden and Adolph Green and is too filmic to translate to the stage, as scenes are too short and climax too quickly, resulting in an overwhelming conveyor belt of ensemble, set pieces and squeaky clean costumes. No attempt to rectify the film’s narrative flaws has been made, and the song structure is irregular and unforgettable, highlighting production numbers and trivialising any attempt at characterisation. Moments from the film are mimicked rather than recreated, as numbers such as ‘Make them Laugh’, ‘Moses Supposes’ and ‘Good Morning’ set themselves up to fail in comparison, although on the whole are delivered effectively. The more tender film moments are lost within this production, and feel restrained by the attempt to recreate them so perfectly, although the Broadway Melody in the second Act shows glimmers of originality and thought.

 Performances are best when they are comedic, with Katherine Kingsley as Lina Lamont and Daniel Crossley as Cosmo stealing the thunder away from the more two dimensional Adam Cooper and Scarlett Strallen as romantic leads Lockwood and Seldon. Despite the relative ease of the vocal score, it is the singing that tends to be the weakest for most cast members, with moments of miming and lack of support faltering some of the faster numbers. Andrew Wright’s choreography is charming, although never sparkles or radiates the same level of energy as can be seen across town at ‘Crazy for You’. The title sequence is sadly almost upstaged by the effect which itself received rapturous applause (something I haven’t seen since 'Chitty Chitty Bang Bang') and Cooper’s vigorous splashing distracts much of the stalls who suddenly find themselves in the splash zone at Sea World.  

 The show received a standing ovation as the soaking finale provided one of the highlights of the evening, and most audience members seemed to love seeing a classic show back in the West End. I left humming the title song feeling a little frustrated at the lack of ingenuity displayed by the production.  I don’t expect the wheel to be reinvented, and I am the first to complain when things are changed for the sake of it, to make a statement, but I would expect the theatrical form to be embraced and utilized, even up to the standard of other West End film musicals. 

Where I Sat: Stalls B 14. Practically in the production. Please note that the front of the stalls DO get wet (although more kicks stage right than left meant I got off lightly...)

Recommended: Fans of the MGM film will love seeing it live onstage, and fans of the Oscar winning 'The Artist' will be reminded of the classic Hollywood story.