Liberty Buckland and Ryan Forde Iosco in Bye Bye Birdie at Ye Olde Rose and Crown Theatre, London. Picture: David Ovenden
Bye Bye Birdie continues at Ye Olde Rose and Crown Theatre, London until 4 September.
Star rating: five stars ★ ★ ★ ★ ★
This 1960 satire on fame, rock ‘n’ roll and teenage angst in small town America is rarely staged in London, perhaps now considered too twee and too saccharine for modern audiences. But a pulsating new revival at Ye Olde Rose and Crown in London’s Walthamstow proves that there’s plenty of life – and much to enjoy – in Charles Strouse and Lee Adams’ toe-tapper.
Bye Bye Birdie’s titular figure is the heart-throb Conrad Birdie – played by a suitably Brylcreemed and buffed Zac Hamilton in his first role professional role since graduating from the London College of Music. A recording artist in the vein of Elvis Presley (although seemingly inspired more by Conway Twitty, a contemporary of Elvis), Birdie is the meal ticket for record-label owner Albert Peterson (Ryan Forde Iosco), who, along with his secretary – and on-off love interest – Rose Alvarez (Liberty Buckland), hatches a plan to send off Birdie in style with one last money-making song… and one last headline-grabbing kiss planted on the cheek of one lucky young female fan.
The girl chosen is 15-year-old Kim MacAfee (the excellent Abigail Matthews) from the sleepy town of Sweet Apple, Ohio. She and parents Harry and Doris (Harry Hart and Stephanie Lysé) welcome Birdie, Peterson and Alvarez into their home, where matters, of course, become complicated. The town is thrown into turmoil with the sophisticated New Yorkers’ arrival, and Kim’s jealous boyfriend Hugo (Benedikt de la Bédoyère) plots with Alvarez to disrupt the kiss, which is to be televised live on The Ed Sullivan Show.
Casting director Benjamin Newsome has done a laudable job in pulling together an exceptional company. His quirky combination of Hart with the strappingly tall and glamorous Lysé as the parents is genius, and both give terrific performances as the ‘olds’ despite their obvious youth; you can almost see the steam coming out of Hart’s ears as the fuming 1950s father – a character straight out of American sitcoms Happy Days or All in the Family.
Iosco and Buckland are also perfectly paired as the New Yorkers – he suitably tall and handsome, she dark and sensuous, both exceptional dancers. Their scenes together recall the contradictory chemistry reminiscent of a Powell and Pressburger movie but it’s the leggy Buckland who steals the show with her take on Chita Rivera (who originated the role on Broadway).
The star, though, is undoubtedly Abigail Matthews as the rosy-cheeked Kim. She has a fantastic voice and a real stage presence, despite her diminutive size. (None of the performers are mic’d, yet she fills the space effortlessly). If ever there was a successor to Imelda Staunton, it’s her, and I look forward to seeing what she does next.
The (substantial) supporting cast do the principals proud, particularly Jayne Ashley as Peterson’s domineering and manipulative mother Mae, and Stephen Loriot as Kim’s Boy Scout brother Randolph. As a company, they’re given expert choreography from Anthony Whiteman, and it’s the dancing – at its most electric and thrilling when pastiching Jerome Robbins – that really brings this show to life and elevates it beyond the usual above-the-pub fayre. All credit to director James Hume for playing to everyone’s strengths.
The music is suitably boppy and eminently hummable, and the songs will surely put a smile on your face. Bye Bye Birdie (1960) was Strouse and Adams’ first Broadway show together, and for a first outing, it’s highly polished stuff, and you might be surprised at how many songs you know, such as ‘Put On a Happy Face’, ‘One Boy’ and ‘Kids’. Musical director Aaron Clingham pulls off the 1950s vibe with style thanks to a tight-knit band of just piano, drums (Janette Williams), bass (Doug Weekes) and – most impressively – woodwind from Ruth Whybrow on, variously, flute, clarinet, and alto and baritone sax. Perhaps the balance could be looked at, although I was sitting right next to the band. (I recommend that you sit in the corner of the L-shaped seating for the best sound and view).
All Star Productions, founded by Clingham and Andrew Yon, must be applauded for continuing to champion neglected and rarely performed material. And for less than £20 a seat, their shows offer outstanding value for money, hence the five-star rating. Other than indulge in a larger scale production – and not have it located so out of the way in Walthamstow – it’s hard to say what more could be be done to improve on this Bye Bye Birdie.
Craig Glenday
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