A scene from Happy Days at the Theatre Royal, Brighton and touring. Picture: Paul Coltas
Happy Days was reviewed at the Theatre Royal, Brighton and continues touring until 5 July.
Do not be alarmed, dear reader. This is not a musical version of Samuel Beckett’s play of the same name. It is in fact a staged version of the US TV sitcom, which ran for ten ears, depicting small town life and family domesticity during the 1950s – a show that created a gallery of popular characters who are now brought back to life.
The show has appeal for those with fond memories of the series and for those with nostalgia for times when life was simpler and sweetly innocent. Judging by the size of the first night audience in Brighton, there are plenty of both about. The book is the work of the TV show’s creator, Garry Marshall, who has put together an interesting, if predictable, storyline.
The action centres on the local diner under threat of closure and the efforts of Richie Cunningham and his friends to try and save it. They are abetted by a super cool dude and babe magnet, Arthur Fonzarelli – The Fonz – a part that gained cult status and gave fame to its originator, Henry Winkler, who declined the opportunity to direct this show, opting instead to act as creative consultant. Ben Freeman steps into Winkler’s shoes and re-creates the part rather than slavishly imitating the original. All the trademark arrogant characteristics are there with Freeman bringing a slightly softer edge to the character.
The choreography (by Andrew Wright, who also directs) is colourful and energetic, especially in ‘Message in the Music’, and is particularly clever in ‘Run’ where the routine involves quickfire basketball passing. While the music and lyrics (Paul Williams) may not prove to be memorable, they certainly evoke the style of the 50s. A good example of this being ‘Heartbeat’.
‘Guys Like Us’ is a gospel number that has visitations from Fonzie’s heroes, Elvis and James Dean, who help to restore his self-confidence during a brief lapse. Former girlfriend, Pinky Tuscadero, has returned to town and despite their sparing, embers rekindle. Sugababe Heidi Range gives a gutsy performance, scoring with ‘Legend in Leather’ and her duet with Freeman, ‘Dancing On the Moon’.
‘What I Dreamed Last Night’ is a song expressing the frustration of domesticity and just being “the little woman”. It is given a powerful delivery by Cheryl Baker that is matched by Emma Howard as her daughter, voicing her thoughts as she experiences teenage love for the first time.
While the comedy in the The Leopard Lodge meeting scene amuses, the same cannot be said for the introduction of the Malachi brothers, local villains. Their overblown and jarring depiction as cartoonish buffoons is an embarrassingly big mistake.
Anyone who saw the recent Channel 4 documentary The Sound of Musicals will know that the staging of this musical in the UK is a labour of love for producer Amy Anzel. Her tenacity in overcoming the numerous setbacks, together with the hard work from the cast, deserves to be rewarded with success. However, for me, there is still work to be done in Act I. The narrative here does not always engage with the audience whose response was, at times, muted. The show really takes off after the interval and has a stomping finale when The Fonz invites the audience to stand up and dance – an invitation which they willingly accepted.
Barrie Jerram
Readers may also be interested in: Happy Days – A Sneak Peak
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