Singin’ in the Rain (Her Majesty's) – theatre review

This grand musical comedy is based upon the 1952 film version of Singin’ in the Rain starring Gene Kelly, Donald O’Connor and Debbie Reynolds. Set in the late 1920s, it is a light hearted take on a period of transition in Hollywood, with the leads playing performers caught up in the move from silent films to talkies. The movie was only a modest success when it was first released, but lauded by contemporary critics. It is now frequently described as one of the best musicals made, topping the American Film Institute’s 100 Years of Musicals list.

The original West End production opened on June 30th, 1983 at the London Palladium, where it ran until September 1985, while it premiered on Broadway on July 2nd, 1985 and closed in May the following year.

Don Lockwood is a silent film star with humble roots as a musician, dancer and stunt man. Lockwood barely tolerates his insipid leading lady, Lina Lamont, who is convinced that their screen romance is real. After the first talking picture, The Jazz Singer, proves to be a smash hit, the head of the studio, RF Simpson, decides he has no choice but to convert the new Lockwood and Lamont picture, The Dueling Cavalier, into a talkie. The production is beset with difficulties, by far the worst being Lamont’s grating voice.After a disastrous test screening, Lockwood’s best friend, Cosmo Brown, comes up with the idea to overdub Lamont’s vocals and they convince Simpson to turn The Dueling Cavalier into The Dancing Cavalier, a musical comedy.

Meanwhile, Lockwood has fallen in love with talented aspiring actress Kathy Selden, who is providing the voice for Lamont. When Lamont finds out, she is furious and reads the studio the riot act. Payback is on her mind.

Adam Garcia (Hot Shoe Shuffle, Hot Shoe Shuffle, Tap Dogs) is matinee idol Don Lockwood and Jack Chambers (Hairspray the Musical) his sidekick, Cosmo Brown. Gretel Scarlett (Grease, Mamma Mia!, Wicked) plays Kathy Seldon and Erika Heynatz (Legally Blonde The Rocky Horror Show) fills the role of Lina Lamont. All the “you beaut” numbers – 13 in the first act and seven in the second – are there, including Good Mornin’, Make ‘em Laugh, Moses Supposes, All I Do and the classic Singin’ in the Rain.

Director Jonathan Church and choreographer Andrew Wright are on top of their game and the music, with supervision by Robert Scott and direction from Adrian Kirk, remains a genuine crowd-pleaser.

A large video screen, which appears and disappears on cue centre stage, intersperses the live action with black and white footage representing the output of the cast as they work on The Duelling/Dancing Cavalier. It is a comic delight. The set and changes thereof are attractive and seamless, the colour palate vibrant and alluring. Design is by Simon Higlett and lighting design by Tim Mitchell.

The famous Singin’ in the Rain scene that ends the first act is not only wonderful to look at, but a feat of modern engineering. Twelve thousand litres of recycled water, a 9,000 kilogram water tank and more than 800 metres of flexible pipe work under the stage are utilized to create the downpour.

Singin’ In The Rain circa 2016 is a glorious, big-hearted success story that retains all the charm and hijinks of the original, with the added benefits of modern technology and creativity.

Adam Garcia has a respectful elegance and authority about him on stage, while Jack Chambers all but steals the show as his whip smart sidekick. The latter’s comic timing and mannerisms are impeccable. Erika Heynatz brings mirth and merriment to her representation of the excruciating Lamont, really coming into her own in a memorable second act. Gretel Scarlett has a lovely singing voice and a light touch in her characterisation of the rising starlet and there is no shortage of lip locking between her and Adam Garcia. In fact, the entire 23 member cast, the orchestra and behind the scenes personnel make Singin’ in the Rain a sheer delight from start to finish.

A fun filled romp, it is playing at Her Majesty’s Theatre, before moving to Sydney’s Lyric Theatre on 7th July, Lyric Theatre, QPAC on 22nd September, Adelaide’s Festival Theatre on 1st December and Crown Theatre in Perth on 29th December.

Alex First