Felix Mosse and Kelly Price in Aspects of Love at the Southwark Playhouse, London. Picture: Pamela Raith
Aspects of Love continues at Southwark Playhouse, London until 9 February 2019.
Star rating: four stars ★ ★ ★ ★ ✩
Ably directed by Jonathan O’Boyle, this bijoux revival of Andrew Lloyd Webber, Don Black and Charles Hart’s 1989 show sits rather well in the intimacy of the Southwark Playhouse space configured in the round, following a successful run at Manchester’s Hope Mill Theatre last year.
The music, originally written for full orchestra, is presented as a transcription for two keyboards and percussion, out of sight above the playing area (MD: Richard Bates), with plenty of attention to detail.
It’s a sung-through quasi-operatic piece with some fine musical moments although it’s too repetitive for comfort. ‘Love Changes Everything’ is a strong and memorable number but I wish it wasn’t reprised quite so often. It begins to feel compositionally samey after a while.
David Garnett’s 1955 novel, on which this musical is based, tells the story of love, loyalty, desire and regrets across three generations of one family. It is rooted in the author’s own complex Bloomsbury Group relationships.
Lyrics by Don Black and Charles Hart add a neat and witty dimension and it’s a credit to this cast and their director that you hear every word: “hatchet” rhymed with “catch it” for example.
There is outstanding work from Kelly Price as the troubled but hedonistic Rose, a charismatic French actor who marries an older man. She brings what Marcel (Minal Patel) calls “your strength and your fragility” to life.
Price finds brittleness, passion, humour and elegance in the role and has remarkable voice control and range – both in pitch and dynamic – especially in what, in a classical opera would be called “recitative”.
Also very strong is Felix Mosse as Alex. He’s meant to be 17 when he first meets Rose and Mosse, slight and boyish in appearance, more than convinces us. He too can manage the lightest, quietest thoughtful song as well as the passionate full belt and he’s a fine duet singer.
The six-eight number he performs with Eleanor Walsh as Jenny with lots of verses comes off delightfully, for instance, as they both lean on the chromatic accidentals as the relationship between them begins to spark.
Walsh is excellent as a child who then blossoms into a desirable adolescent. Wince we might, but the age of consent is 15 in France where most of the action takes place.
Alex is waiting – just as in real life, David Garnett waited for Angelica Bell throughout her childhood. The on-stage chemistry between Mosse and Walsh nails all that and her top notes are quite something.
Jason Denvir’s set and costume designs and Aaron J Dootson’s lighting create lots of very appealing period atmosphere. Price’s dresses are stunning and when the stage is flooded with warm, mellow Mediterranean sun you can almost smell the Armagnac.
Susan Elkin
SHARE THIS POST:
Comments are closed.