JADAR

★★★★☆

The best decision that the Royal Exchange Theatre’s new Artistic director, Selina Cartmell, has made so far is bringing back classic musicals at Christmas. Post-pandemic, the RX have been more experimental with their Christmas musicals, producing everything from a little-known play with (folk) music to a world premiere “sort of” musical but not a classic in sight. Singin’ in the Rain, one of the most iconic musicals of all time, is the perfect choice for the festive season, though it sadly does not reach the heights of the theatre’s pre-pandemic musicals.

Singin’ in the Rain was conceived by film producer and lyricist Arthur Freed. A jukebox musical of sorts, it uses songs by Freed and composer Nacio Herb Brown. Because many of the songs had been written during the transition from silent films to “talkies”, writers Betty Comden and Adolph Green decided that was when the story should be set. The film was released just two years after Sunset Boulevard, which also explored the transition to “talkies”, albeit much more darkly.

The central character is Don Lockwood, the biggest male star of the silent movies. His frequent co-star, Lima Lamont, lusts after him, if only because that is what the media and public want, and she will do anything for attention and affection (there are still many celebrities like this today!). Their upcoming film, which they had already started filming, is forced to become a “talkie”, which is disastrous for Lamont, a squeaky-voiced New Yorker, who the studio, and Lockwood, never let speak in public. Lockwood and his longtime collaborator, and friend, Cosmo Brown, solve the crisis by dubbing Lamont with Kathy Selden, an unknown stage star who Lockwood is falling for (after initially clashing with).

Louis Gaunt, who I first saw at the RX in another classic musical during the festive period (Gypsy), is very charming in the lead role. He is certainly one of the best dancers in musical theatre right now. But his casting provides something of an issue: he is just too young. Lockwood is a very established actor, an institution of sorts, which is why he was first (and is usually) portrayed by a middle-aged actor (originally Gene Kelly).

Laura Baldwin, though a few years older than Gaunt, is still a bit young for Lina – but she chews up the scenery and leaves no crumbs. The story, perhaps unintentionally, provides something of a commentary regarding Hollywood’s misogyny and how quickly women can be discarded and replaced with someone younger, whilst men can carry on just fine. The story vilifies Lamont to justify this, to the point that the audience delight in Lamont’s downfall. But she is not one of those villains audiences boo during the curtain call; she is more of the love-to-hate kind. Whilst Lamont cannot sing, the production allows Baldwin to show off her excellent vocals at the end of her solo number.

This production could have attempted to tackle sexism and agism (which still persist in Hollywood) but director Raz Shaw plays it safe with a very traditional production.

Richard Kent’s stage design is undeniably beautiful. The circular stage is sparse but set pieces are brought on and off, and bulbs light the stage, evoking an early 20th century film set (Jack Knowles’ warm lighting looks lovely in the intimate, in-the-round space). I had, however, been hoping for something more striking. There is sadly no revolve (which the RX often utilise so well) but a light around the stage occasionally creates a revolve effect. A revolve would have added drama and excitement to the story, which can sometimes feel like a slog (especially the 90-minute first act), and it would have greatly benefitted the incredibly long dance number in the second act, which felt like it went on for too long, even with Alistair David’s gorgeous choreography and Kent’s stunning costumes.

The most interesting part of the set is the screens that occasionally descend from above. During the filming of the silent movie, Lockwood and Lamont wear grey, evoking black and white films, which is brilliant costuming. As they mime, text appears on the screens, à la in silent movies.

The screens could have been utilised more, especially in a stage musical about the film industry. The production could have employed cameras and put videos onscreen, creating something of a meta commentary. Singin’ in the Rain has been done so many times before; theatres ought to put a fresh spin on it. I’m not suggesting they go full-on Jamie Lloyd (please don’t) but it’s a shame not to be a bit more bold.

Whilst the plot of these old films and musicals are often quite basic and predictable, Singin’ in the Rain has a few unexpected twists and turns, but it takes quite awhile to get going. However, the sublime score keeps audiences invested, with standout numbers including ‘Make ‘Em Laugh’ (Danny Collins, as Cosmo Brown, received a rapturous applause after this number), ‘Moses Supposes’ (performed hilariously by Gaunt and Collins), and ‘Good Morning (the two guys plus the always incredible Carly Mercedes Dyer as Kathy Selden).

Gaunt provides a gorgeous rendition of the title song, complete with rain. The magic is lost because you can see the sprinklers but I appreciate that it may not be possible to conceal them in a venue like the RX. Perhaps the non-digital set pieces above could have come down to cover them but this may have prevented the audience in the gallery from being able to see properly. I’m sure the design team thought about this and realised that it was unfeasible to conceal the sprinklers.

As the number goes on, the rain changes, as it does in real life, which is well thought out. However, it might have worked better if the rain began by trickling before pouring. I appreciate that the abrupt downfall creates more drama – and is more likely to cause shock and awe in the audience – but it just kind-of splurted out, which felt less realistic and also dampened the charm.

Whilst I am thrilled that the RX have brought back classic musicals for Christmas, this production does not reach the heights of the pre-pandemic run (Sweet Charity, Guys and Dolls, and Gypsy are highlights). The design, though beautiful, does not feel particularly inventive (aside from the screens), in contrast to the theatre’s other post-pandemic festive productions (even The Strange Undoing of Prudencia Hart and Betty! A Sort-of Musical, which were not universally loved, were incredibly designed).

There is also a missed opportunity in not honing in on the social commentary and allowing the musical, which has such specific historical context in the early days of “talkies”, to speak for today. I’m not suggesting they draw parallels to the impact that social media and AI are having on the arts, including the movie industry, which would have felt patronising and forced, but some stronger messaging would have enabled audiences to consider how little has changed and how some of the themes and issues remain so relevant.

But if you just want to be entertained and charmed during the bleak midwinter, I highly recommend this warm, light-hearted and hilarious production. Singin’ in the Rain will have you dancin’ in the aisles.

Singin’ in the Rain runs at the Royal Exchange Theatre until January 25.

Photo: Johan Persson