It takes a brave theatre director to ask an actor to cross the line from the safety of another television take to getting it right first time in live theatre.
It takes an even braver actor to take on the jeopardy of choosing an iconic show like ‘Kiss Me, Kate’ to make your debut in musical theatre.
It seems director Bartlett Sher and actor Adrian Dunbar decided it was worth the risk, and credit where credit is due, it is, in most parts, an inspired decision by both.
Dunbar, better known for his role as Ted Hastings in the television drama Line of Duty, raised many a greasepainted eyebrow when he was chosen to play the actor-manager (Fred/Petruchio) in the latest revival of Cole Porter’s musical.
Kiss Me, Kate is the story of a company of actors in 1940s America, attempting to put on a production of Shakespeare’s ‘Taming of the Shrew. It’s a show within a show that pivots seamlessly, mirroring the action on stage with the lives of the actors and crew backstage.
With assured comic timing and a passable singing voice Dunbar’s performance is a revelation and stands out in a top-class ensemble.
Although the singing plaudits must go to Broadway star and Tony winner Stephanie J Block (pictured above with Dunbar), who plays Lillie/Kate. The lady can sing. Her controlled and emotional solo performances of ‘So In Love’ and ‘I Hate Men’ were flawless.
Also hitting the high notes with confidence and assurance, particularly in ‘Always True To You In My Fashion’, was Georgina Onuorah who plays Lois Lane/Bianca.
The laugh-out-loud comedy moments are provided by Hammed Animashaun and Nigel Lindsay – an odd couple of gangsters who would rather be treading the boards. Their rendition of ‘Brush Up Your Shakespeare’ had the audience in stitches.
And watch out for the big dance number ‘Too Darn Hot’. A high-octane ensemble piece led with eye-catching flair by Jack Butterworth (pictured above), who is up there with Olivier nominee Charlie Stemp (Bill/Lucentio) in nailing the choreography in this feel-good show.
In terms of the seamless switch between the characters’ lives onstage and off, Michael Yeargan deserves high praise for his turntable set.
Of course, the outdated sexual politics of material written in the 1940s can’t be ignored – can we even talk these days of women being tamed? And it certainly hasn’t been ignored by Sher and the cast, who subtly capture the world in which we now live.
‘Kiss Me, Kate’ has an abiding charm and wit and is simply a joyous, entertaining way to spend an evening. It plays at London’s Barbican until September 14.
There will be an Audio Described performance on August 10 (2.30pm, with a touch tour 12-30pm-1pm), Captioned performances on July 24 (7.30pm) and August 17 (2.30pm) and BSL Interpreted performances on July 31 (7.30pm) and August 24 (2.30pm).
To book and for full accessibility information visit https://www.barbican.org.uk/whats-on/2024/event/kiss-me-kate
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