The Tailor-Made Man

Musical Theatre Review catches up with the world premiere of The Tailor-Made Man, a new musical at London’s Arts Theatre.

Faye Tozer in The Tailor-Made Man. Picture: Roy Tan

As the title suggests silent film actor William (Billy) Haines was a product of the Hollywood system, he was also its first openly gay star. This exuberant and entertaining musical tells of his career as remembered by his lifetime partner, Jimmy Shields whilst being interviewed. The young journalist quizzing the old man wants to put the record straight about them and a notorious incident that almost destroyed them. Haines’ career and their love story unfolds through a series of scenes with slick, fast moving changes in location and time.

Haines, a handsome charismatic young man, breaks into Hollywood after winning the New Faces of 1922 competition, its prize being a contract with the Goldwyn Studios. Charm, together with his devil may care attitude, makes him popular with the young Hollywood set. His wisecracks, many quoted in the show, become legendary. He is totally open about his homosexuality, despite the studio’s publicist’s desperate campaign to link him romantically with glamorous women. He flaunts convention and the studio’s moral code. As Shields tells him: “You smash your way through life like a freight train – doing what you want.” His downfall comes after studio boss Louis B Mayer orders him to marry silent screen vamp, Pola Negri. He refuses and is fired. Out of the ashes of a screen career arises a second and more lasting one – he and Shields become successful interior designers for Hollywood’s rich and famous stars.

This fast moving and tightly constructed musical is blessed with a book that is lean, witty and often bitchy. The exchanges between Billy and co-star Marion Davies are a joy. The staging is simple, relying on performance and clever choreography rather than scenic spectacle. The dance number s ‘Another Party’ is energetic, incorporating the Charleston and the Black Bottom, and there is fine work from the ensemble and band. The Jazz Age is also reflected in the swinging ‘Don’t Trust Love’, scorchingly put across by Faye Tozer who impresses as Davies.

Dylan Turner has all the right looks, all the smiling charm for Haines, capturing the glibness of his sexual innuendoes and flirting. However his early number ‘We Got Time’ reveals a weakness with the higher notes. He is much stronger later in the reprise and in ‘The Game’. Bradley Clarkson gives a sensitive performance as Shields – often neglected and hurt by his lover’s antics.

The beauty of their duet, reprising ‘We Got Time’, is shattered by the brutality of the beatings delivered by local White Legion vigilantes who accuse Sheilds of paedophilia. Subsequent publicity almost wrecks their business and only the skill of the studio publicist saves them. This leads to the 11 o’clock number ‘Designs’ which is a wickedly, witty number naming some of their famous clients. It leads to the quote that Hollywood designed Billy and now Billy designs Hollywood.

Mike McShane, as Louis B Mayer, brings the house down as he sings of his belief in ‘Family’ – its hypocrisy later exposed by Haines’ tirade when he is fired. Another glorious moment comes when Kay Murphy goes to town as Pola Negri, a wonderfully funny and camp performance.

Barrie Jerram

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