As the frontman to The Kinks, Ray Davies wrote many classic songs in which the lyrics are distinctive for their social detail and their ability to tell a story, a useful skill when it comes to creating a musical. Eleven years in the making, ‘Come Dancing’ looks back both nostalgically as well as critically to the heyday of the Ilford Palais in the ’50s, a temple to stale beer, Brylcream and cheap perfume at a time in which romantic ballads were about to give way to rock ’n’ roll, and teenagers would no longer be content to spend their Saturday nights dancing with their parents. There are old favourites, including the title song, as well as new numbers – best of all one in which the ballad and the beat share the stage together.
The family that Davies and his co-writer Paul Sirett put on stage is loosely based on Davies’s own. There are three sisters: Katey Munroe’s Rose who dreams of moving to a new town with her fiancé; Katherine James’s gorgeously lustful Brenda; and Gemma Salter’s Julie, who nearly died of polio as a child. In the predictable plot, Julie finds herself pursued both by Tosher, an ex-borstal boy, and a Jamaican saxophonist played by Delroy Atkinson. The latter unsurprisingly discovers that Ilford is not the most hospitable of places.
It’s a good-time evening which dices with chaos but never quite loses its dancing shoes. Wandering through the past is Ray Davies’s storyteller, as if Bill Nighy had been let loose on the set of ‘Chicago’. Davies is no actor: his shoulders are stiff and his delivery often unconvincing, but he remains the most charismatic person on stage. I’ve no doubt that director Kerry Michael is – mistakenly in my view – hoping for a transfer. But any dedicated follower of fashion should flit to Stratford as fast as they can.
Go twice!
One time with VIP-tickets, so you can sit on the stage! You can almost touch the singers/dancers and watch 'barman' Ray Davies, sitting in the bar on the stage and all the time thinking: "where can I improve something?".
Second time just sitting in the theatre for a better sound. Trust me: it's worth every penny!
Posted by
Frank Lima - Montvale, New Jersey
on
03 Nov 2008 10:03
I flew all he way from New Jersey in the US specifically to see Come Dancing and If I had to do it all over again the only thing I would do different would be go even sooner than I did, I am not a big fan of musicals but Come Dancing has won me over it was that good. If there is any justice in the world the next time I see it, it will be under the lights on Broadway in NYC. Ray davies and the Cast were spectacular and I hope it transfers in tact with the original cast. I'd go see it again and again.
Having read a couple of rave reviews on Thursday evening I booked for Saturday for my wife and I in some trepidation of hype and my general dislike of musicals.
Thankfully, I had nothing to worry about. The Theatre Royal is wonderfully intimate and you really do feel part of the action. Davies has woven a story and score together than is both uplifting and genuinely moving.
The performance has a very attractive rawness to it. Relatively early into its life the production lacks that clinical polish and more importantly that air of smuggness that has alienated me from Les Miserable and any effort by Lloyd-Webber.
This should become a big West End hit and will bring about a Kinks revival.
Definitely worth a trip out East.
A very enjoyable evening. From the perspective of both a young child and a wizened rock star, Ray Davies narrates this semi-autobiographical account of his sisters' experiences of growing up in 1950's London. The play is a nostalgic, at times, sentimental exploration of post-war hopes, working class dreams and the birth of the 'teenager'. It cleverly avoids any real reference to the 1960s (clearly a decade in which Davies made his name) focussing mainly on the period of time that seperates two distinct generations' aspirations: pre and post war Britain symbolised by the 'Dance Hall' a tradition that eventually gives way to early rock n roll. Although lacking in bombastic, 'Lloyd-Webberesque' memorable hits, the songs are typically well written, diverse in melody, at times witty, at others moving; all delivered with aplomb by the talented, yet down-to-earth cast. A really lively, thought-provoking musical, that also serves to unlock the inspiration behind an 80's Kinks' hit, 'Come Dancing'.
Thanks to problems on the Central line, we missed the first twenty minutes of Wednesday's preview performance but I'm still more than happy to recommend this heart-warming and tuneful show, which I sense is just getting into its stride.
If the bombast of musicals like Les Miserables is your thing, this probably isn't for you. Set in the 50's and revolving around Saturday nights at the palais, Ray Davies' brainchild has an unassuming charm which derives from its affectionate but down to earth portrayal of more innocent, if no less challenging, times. Some elements of the plot may seem familiar but they actually reinforce the period feel, with their overtones of post-war British cinema.
It's intriguing to see how a master of the recording studio harnesses his songwriting talents to the demands of musical theatre. The answer is with considerable skill. This is a fully integrated score, packed with new songs which serve the production rather than bringing it to a standstill. The excellent house band does it complete justice, switching effortlesssly between Vegas, skiffle, West End, R & B and rock.
Although story, music and lyrics are all Davies', Paul Sirett shares credit for the book. I wasn't sure, at first, about the framing device which has Davies as narrator, offering occasional commentary on the events of 50 years ago. However, I was soon won over, reminded of his having based key aspects of the story on his own experience. This lent considerable poignancy to his involvement, especially in one of the evening's two most touching songs. The other is sung with bell-like clarity and unaffected directness by Gemma Salter as Julie.
In a strong cast which contains no weak links a still centre is provided by Gemma Salter and Delroy Atkinson (Hamilton), giving beautifully understated depictions of goodness and stoicism in the face of adversity. Direction, design, lighting, choreography and sound are all exemplary and making the auditorium of the Theatre Royal, a cosy and intimate space, an extension of the palais helps further to involve the audience in a thoroughly satisfying and uplifting entertainment.
5 comments
Go twice!
One time with VIP-tickets, so you can sit on the stage! You can almost touch the singers/dancers and watch 'barman' Ray Davies, sitting in the bar on the stage and all the time thinking: "where can I improve something?".
Second time just sitting in the theatre for a better sound. Trust me: it's worth every penny!
I flew all he way from New Jersey in the US specifically to see Come Dancing and If I had to do it all over again the only thing I would do different would be go even sooner than I did, I am not a big fan of musicals but Come Dancing has won me over it was that good. If there is any justice in the world the next time I see it, it will be under the lights on Broadway in NYC. Ray davies and the Cast were spectacular and I hope it transfers in tact with the original cast. I'd go see it again and again.
Having read a couple of rave reviews on Thursday evening I booked for Saturday for my wife and I in some trepidation of hype and my general dislike of musicals.
Thankfully, I had nothing to worry about. The Theatre Royal is wonderfully intimate and you really do feel part of the action. Davies has woven a story and score together than is both uplifting and genuinely moving.
The performance has a very attractive rawness to it. Relatively early into its life the production lacks that clinical polish and more importantly that air of smuggness that has alienated me from Les Miserable and any effort by Lloyd-Webber.
This should become a big West End hit and will bring about a Kinks revival.
Definitely worth a trip out East.
A very enjoyable evening. From the perspective of both a young child and a wizened rock star, Ray Davies narrates this semi-autobiographical account of his sisters' experiences of growing up in 1950's London. The play is a nostalgic, at times, sentimental exploration of post-war hopes, working class dreams and the birth of the 'teenager'. It cleverly avoids any real reference to the 1960s (clearly a decade in which Davies made his name) focussing mainly on the period of time that seperates two distinct generations' aspirations: pre and post war Britain symbolised by the 'Dance Hall' a tradition that eventually gives way to early rock n roll. Although lacking in bombastic, 'Lloyd-Webberesque' memorable hits, the songs are typically well written, diverse in melody, at times witty, at others moving; all delivered with aplomb by the talented, yet down-to-earth cast. A really lively, thought-provoking musical, that also serves to unlock the inspiration behind an 80's Kinks' hit, 'Come Dancing'.
Thanks to problems on the Central line, we missed the first twenty minutes of Wednesday's preview performance but I'm still more than happy to recommend this heart-warming and tuneful show, which I sense is just getting into its stride.
If the bombast of musicals like Les Miserables is your thing, this probably isn't for you. Set in the 50's and revolving around Saturday nights at the palais, Ray Davies' brainchild has an unassuming charm which derives from its affectionate but down to earth portrayal of more innocent, if no less challenging, times. Some elements of the plot may seem familiar but they actually reinforce the period feel, with their overtones of post-war British cinema.
It's intriguing to see how a master of the recording studio harnesses his songwriting talents to the demands of musical theatre. The answer is with considerable skill. This is a fully integrated score, packed with new songs which serve the production rather than bringing it to a standstill. The excellent house band does it complete justice, switching effortlesssly between Vegas, skiffle, West End, R & B and rock.
Although story, music and lyrics are all Davies', Paul Sirett shares credit for the book. I wasn't sure, at first, about the framing device which has Davies as narrator, offering occasional commentary on the events of 50 years ago. However, I was soon won over, reminded of his having based key aspects of the story on his own experience. This lent considerable poignancy to his involvement, especially in one of the evening's two most touching songs. The other is sung with bell-like clarity and unaffected directness by Gemma Salter as Julie.
In a strong cast which contains no weak links a still centre is provided by Gemma Salter and Delroy Atkinson (Hamilton), giving beautifully understated depictions of goodness and stoicism in the face of adversity. Direction, design, lighting, choreography and sound are all exemplary and making the auditorium of the Theatre Royal, a cosy and intimate space, an extension of the palais helps further to involve the audience in a thoroughly satisfying and uplifting entertainment.