Aliya Al-Hassan reviews the touring production of Fame that fizzes with energy...
DETAILS
Venue: New Wimbledon Theatre, Wimbledon
Dates: 20 February - 23 February, 7.30 pm (book here)
OUR VERDICT
The New Wimbledon Theatre seems to be on a roll lately, with excellent versions of both Avenue Q and The Rocky Horror Show. This week, the stage version of Alan Parker’s film Fame gets its turn.
This show bears little resemblance to the original film, as we follow a group of performing arts students in New York from their first auditions to graduation. Director and Choreographer Nick Winston has breathed fresh life into the show, with a fantastic ensemble of young performers who exude vigour and energy with every step and song.
Mica Paris is a revelation as the strict, but caring Miss Sherman. Her huge voice is perfectly suited to soar in ‘These Are My Children’ with a husky soulfulness that fills the theatre and deservedly gets one of the biggest cheers of the night.
Paris’ interactions with Jamal Crawford, who plays the rebellious Tyrone, are particularly convincing. Crawford is given the most opportunity to put flesh on his character, showing off some brilliant street dance moves that brim with confidence, but then gradually opening up to show his vulnerabilities at his lack of academic prowess.
In a talented cast, Stephanie Rojas is excellent as Carmen, with a powerhouse of a voice and a gutsy attitude. Jorgie Porter makes an impressive stage debut as classical dancer Iris. Like many characters, she is given little room to grow her own character’s story, but performs with grace and energy.
Simon Antony’s Schlomo avoids the clichés of the traditional geek character and is a warm and engaging presence. Alexander Zane makes his professional debut with a funny and natural take on the role of Goody.
This is not a perfect production. The show lacks somewhat in character development. The first act in particular is a whirl of characters being introduced and not given enough time to develop interest. The important themes of racism, parental pressure and adolescent insecurities are just mentioned, not explored. Carmen’s descent into the dark world of drug addiction should be one of the most moving parts of the show, but lacks impact as it is dealt with so quickly.
Steve Margoshes and Jacques Levy’s music, with the exception of the stonking title track from the film, can be rather bland and repetitive. There are no songs that stay in your head as there are with every successful musical. However, the cast more than make up for these shortfalls with a dazzling performance.
Nick Winston’s choreography fizzes with energy; there is not a weak link in the whole company and the ensemble work is almost flawless. A Latin-inspired routine at the beginning of Act II is particularly well done.
Morgan Large’s set is simplistic, using a striking backdrop of various headshots of past students which illuminate at various points, leaving the stage for the performers alone.
There are inherent weaknesses in this production, but are all forgiven due to the vibrant and incredibly talented company.
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