Union Theatre, London – until 9th March
Reviewed by Lisa Harlow
2**
The Phil Willmott Company brings this Belle Epoque era experience to the stage as part of the ‘Enemies of the People’ Essential Classics season.
It is set in Paris at a time of the introduction of the daring and vivacious can-can dance. Willmott has ‘freely adapted’ the ideas set within Pinero’s romantic comedy Trelawny of the Wells, in which a London theatre troupe take on a well to do family. Alongside many of Offenbach’s musical pieces are those of his contemporaries, with the production being the outcome of Wilmott’s exploration of a time full of librettos, waltz and advancing freedoms in fashion and expression.
If the focus and energy had been harnessed from the dancing,or indeed, more dancing had featured, this would have been a very different performance. The dynamism from the beginning and end dances were exciting and a worthwhile feast for the eyes, and the ballet duet between Christian (Damjan Mrackovich) and Jane (Kathy Peacock) was poetical and graceful. Beyond these interludes of movement, there lay a cliché storyline.
The stereotypical roles both in the theatre troupe of ‘gypsies’ in contrast to the starched family of bankers (the Bontoux) played out predictably. After Jane’s engagement to Christian is tested beyond limit, pushing her to return to her theatre family, the storyline plods along with some light-hearted moments and amiable musical numbers. The action is all rather lacklustre however, in spite of the best efforts of some of the cast members. Offenbach (Sam Woods) himself is a figure of frothy fun throughout and Monsieur Bontoux’s (Phil Willmott) revelations are entirely perplexing. If only the flair and colour provided from the dancing could have injected more life force into the plot. The promise of the title and the historical era it is set within, unfortunately failed to deliver any feathery vibrancy and depth.