In 1979 unfulfilled New Jersey housewife Roberta Glass finds herself scanning the personal columns as a means of escape.
Due to a series of bizarre coincidences she finds herself embroiled in the life of enigmatic, streetwise Susan.
Based on the popular 1985 movie, the story translates remarkably well for the stage offering a strong, sympathetic plot, exciting chases and a mistaken identity twist reminiscent of black and white post war pot-boilers. The songs are taken from seventies new-wave band Blondie’s back catalogue and this is where the show falls apart.
No matter how well respected Blondie is and no matter how popular numbers such as Dreaming, Call Me, and Atomic may be, they are in no way narrative and sit awkwardly when shoe-horned into this story. There is no light and shade in the music, no lilting ballads to accompany the tender moments in the script, and comic moments that cry out for musical treatment are equally ignored leaving the audience feeling remarkably short-changed.
This said, the strong cast are enthusiastic with Kelly Price as Roberta and Emma Williams as Susan negotiating their way around the tale while belting out the numbers with assurance if not conviction.
Certainly one of the highlights of the show is the Act I finale, Rapture, where the marriage of music, mood and story finally pay off. Mark McGee makes for a strident, convincing rocker Jay, but his numbers Hanging On The Telephone and Sunday Girl, while perfectly executed bear no relevance to the plot whatsoever. Alec Newman gives a charming portrayal as Dez, Roberta’s post-amnesia love interest, although it is excruciating to witness his valiant attempt to turn Picture This into a romantic ballad.
Andy Blankenbeuhler’s choreography is acceptable, but lacks excitement and Angus Jackson’s direction keeps pace with the music. Yet, on the whole, this is a cut and paste job that smacks more of the greed of the eighties rather than the aspiration of the seventies.
Production information can change over the run of the show.
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