The Life continues at The English Theatre, Frankfurt
The Life continues at The English Theatre, Frankfurt until 14 February.
Star rating: five stars ★ ★ ★ ★ ★
In an era still dominated by big German spectaculars, such as Elisabeth and the Disney imports like Aladdin which has just arrived in Hamburg, we must be grateful to the English Theatre for taking risks and presenting this mature, rarely performed and little-known Broadway musical, never professionally produced in London and never revived on Broadway since the original production.
Despite 11 Tony Award nominations and three awards for Best Musical of 1997 (Drama Desk, Outer Critics, Drama League) and a respectable one-year run on Broadway, The Life is only now having its European premiere in Frankfurt. It is clearly a successful and innovative production of a Broadway gem with a message as relevant to today’s world as it was to Broadway in the 1990s.
Cy Coleman and Ira Gasman’s score is a masterpiece, covering a wide range of musical styles from traditional Broadway to jazz, gospel and soul music. After his most popular work, Sweet Charity, whose subject matter it echoes in a more serious way, and City of Angels, arguably his jazziest and all-time best, The Life stands as his third best and last great Broadway score. Ironically his last musical, Grace, about the late American actress and Monaco princess Grace Kelly, was presented in Amsterdam in 2001 and never made it to Broadway.
The book by David Newman (with Gasman and Coleman), while overshadowed by the greatness of the music early on, ups the dramatic tension in Act II, culminating with the double murder of the two pimps, Fleetwood and Memphis. Though dealing with the seedy world of low-lifes and prostitution around a pre-Disney Times Square in the 1970s, it never leans towards vulgarity, except in a light and funny way.
The clever direction by Ryan McBryde and brilliant choreography from Gary Lloyd create a high quality and inventive production, as does the lighting design from Ben Cracknell and Tim McQuillen’s set design with its amazing use of neon light bars.
The cast is also close to perfection with Claudia Kariuki doing full justice to the part of Sonja (it is not easy to walk into the shoes of Broadway Sonja, Lillias White)! Same for Tom Andrews Hargreaves in the part of JoJo (originally performed by Sam Harris), though his best song ‘Use What You Got’ is now shared by the characters of Sonja and Memphis, threateningly portrayed by Cameron Johnson. Ngozi Ugoh is equally strong, especially vocally, while demonstrating a vulnerability in the central part of Queen, and Hannah Cadec gives a showstopping performance as newcomer Mary – particularly during ‘Easy Money’.
The brilliant six-piece orchestra, as well as the supporting characters and ensemble, are top notch.
This is a production not to be missed and one deserving a future life. A London production, or an Off-West End revival would be most welcome and long overdue. Otherwise, do rush to Frankfurt to catch it!
Patrick Honoré
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