The Stage

The Vaudevillains

Published Thursday 21 April 2011 at 13:52 by Jennifer Reischel

An eclectic collection of actor-musicians - or ‘vaudevillains’ - have taken over the theatre underneath the arches. Charlie, the owner of the Empire Theatre, is shot backstage during the opening number and the show elaborates on the life stories and secrets of his acts, in a whodunnit format.

A scene from The Vaudevillains at Charing Cross Theatre, London Photo: Joshua Pharo

Performed with plenty of London Dungeon-style drama, the crux here is not who killed Charlie, but why the score remains nondescript and repetitive in word and tune. Described as “a macabre musical of murder and music hall”, you expect strong songs to carry the concept. Unfortunately, apart from a witty duet between a ventriloquist and his dummy, the audience is left grimacing at unnecessary, monotone reprises.

Compere Oliver Lansley emulates Jim Broadbent in Moulin Rouge, while Keith Hill makes a suitable cameo appearance as Charlie. The Cerberus Sisters (in homage to the Andrews Sister) sadly lack the finesse and unity to make them compelling, and their performance generally comes across as rather sloppy and unfinished.

Anthony Spargo as Albert Frog the ventriloquist does a competent job, with some decent humour thrown in. Philip Oakland is endearing as French mime artist Gaston Gasteau. Trevor Jary is convincing as Ray the Blade, who he plays like Sweeney Todd. However, the real stand-out of the evening is his assistant Rebecca Bainbridge, who manages to shine in her solo spots, as well as ensemble parts, with a stylish presence, lovely movement and truthful conviction.

Despite some strong performances and the oddly amusing interlude, a tedious score and weak plot make this a rather muddled, unfulfilling piece of theatre.