Next review from one of our readers.....
Tom Keatinge
(Tom's Web Page)
30 Dec 2004
The Woman in White at the Palace Theatre (long-time home of Les Misérables) is a musical adaptation of Wilkie Collins 1860 novel of the same name. Set primarily at Limmeridge, the Cumberland country home of the Fairlies, the story begins with the arrival of the dashing Walter Hartwright (Martin Crewes) as the new art teacher for half-sisters Marian Halcombe (Maria Friedman) and Laura Fairlie (Jill Paice). On his arrival at the local railway station, the vision of a woman in white appears before him, revealing that she has a secret to tell, but not precisely what the secret is. Once installed at Limmeridge his handsome good looks inevitably lead to the emotional attraction of both sisters, with Laura seemingly winning the day, until it emerges that she is already engaged to Sir Percival Glyde, who notwithstanding his good position in society is not all he appears to be. And so Wilkie Collins’ tale twists and turns, introducing us to Glyde’s “friend” Count Fosco, taking us to Hampshire and London, until we return to the railway cutting near Limmeridge where the story first started. The story is a good one, and the transformation to the stage is successful, delivering the emotion and feeling of 1860s life.
But what of the artistic, theatrical input? And of course, what of Lloyd Webber’s much anticipated score? In summary…patchy. The scenery is non-existent yet cutting edge, projected as it is onto a white semi circular wall that rotates around the stage. This is not traditional projection, but 3D, animated scenery, like the sets in a modern computer game. The projection is continually changing perspective as, for example, the sisters run through the fields surrounding Limmeridge. I have to say that initially the whole thing made me feel sea sick, but once I got my sea legs, it was very effective – watch out for the stunning dénouement involving the train. The only other disappointment with the set was that it seemed apt to flicker like an old TV set, and indeed by the end of the performance I saw, one of the projectors needed to be turned off, so bad was the interference.
The acting is generally strong, with Maria Friedman giving a terrific performance as Marian Halcombe. The night I watched the show, the understudy, Steve Varnom, took the place of Michael Crawford as Count Fosco. This is a mildly comic part which was played with aplomb by Varnom and which seems somehow suitable for an actor who started life as Frank Spencer. It does not, however, afford Crawford the sort of dominating role that one remembers him playing in Phantom or Barnum. Nevertheless, the only mildly memorable musical number of the night, “You Can Get Away With Anything” rightly belongs to Fosco. The parts of Anne Catherick (the eponymous woman in white) and Laura Fairlie, played by Angela Christian and Jill Paice respectively, offer little room for big performances, and both actresses seemed satisfied not to over-stretch themselves. I was particularly disappointed to see that both trained and perform in America, with little obvious in their biographies to suggest why they were chosen ahead of local talent. Oliver Darley and Martin Crewes gave good performances as Glyde and Hartwright, with Edward Petheridge producing a jewel in his portrayal of the wheelchair-bound Mr Fairlie. And so to the music… Lloyd Webber bashing is fashionable in some quarters, so I was determined to approach the piece with an open and unbiased mind, but try as I did, it was hard to find anything memorable in this latest score, this in the same week that I saw the Phantom of the Opera that is chock full of Lloyd Webber marvels), as you simply submerge in the music like a slightly tepid bath.
Overall, The Woman in White is not an unpleasant evening at the theatre, but the memories are of technical digital wizardary and live rats and mice on stage, rather than strong melodies that you hum in the night as you walk home down Shaftesbury Avenue.
(Tom Keatinge)
Another Review by one of our readers Gary Mack
GMack24524@aol.com
Tuesday 31st May 2005
The Woman In White opened at The Palace Theatre in September 2004 with great reviews! Sadly the show suffered a set back in the loss of Michael Crawford due to illness, he was hoping to return to the role in May but this was not to be. Michael Ball stepped into the fat suit and the role of 'Count Fosco' for a short time, he left the cast at the end of April.
I was very pleased to read that Antony Andrews was to take on the role of 'Count Fosco' along with Maria Friedman in her original role as 'Marian Halcombe'.
The Palace Theatre has undergone some much needed restoration work, and has been restored with magnificent splendour.
When we entered the theatre I was sad to read that Maria Friedman was off sick and was replaced with her understudy Nicky Adams.
The story opens as a dashing young art tutor to two devoted sisters is stranded at a railway cutting, he sees a mysterious figure dressed in 'white' who wants to share a chilling secret.
The audience is led to believe that 'Count Fosco', a slightly overweight cunning man, is the villain of the piece, but is he? Well you will need to see the show as I do not want to spoil it, needless to say there are lots of twists and turns.
At this performance the part of Marian Halcombe was played by Nicky Adams (understudy), she played the role extremely well and with more power than I expected. Her performance alone was worth the price of the ticket! But we were treated to a whole company of very talented actors & actresses. Antony Andrew's take on 'Count Fosco' was cunning and showed the character’s dark side, he played the role with much zest and fun particularly with his only solo song "You can get away with anything" he was great!
Martin Crewes was great as the dashing young tutor Walter Hartwright his voice was pure and he played the part with great passion.
The direction of the whole show falls upon Sir Trevor Nunn who has a great background with Lloyd Webber’s work, and fully complements the very clever stage and set design by William Dudley which makes full use of video projection - this is simply stunning. However I felt at times it was too much -just my own view. None the less the music as you come to expect from Andrew Lloyd Webber is thrilling and moving. This musical has without any doubt made its home at the Palace Theatre and "The woman in White" will be haunting its stage for sometime...
Gary Mack
GMack24524@aol.com