How to Succeed in Business Without Really Trying – Southwark Playhouse

Picture: Roy Tan

How to Succeed in Business Without Really Trying continues at Southwark Playhouse, London until 17 June 2023.

Star rating: five stars ★ ★ ★ ★ ★

Based on the 1952 Shepherd Mead novel, How to Succeed in Business Without Really Trying is a 1961 musical comedy with songs by Frank Loesser and book by Abe Burrows, Jack Weinstock and Willie Gilbert. Despite being over six decades ago, the worst of this 1960s business world is still recognisable today and a target absolutely ripe for lampooning. However, given that nothing ages worse than comedy, how the heck has director Georgie Rankcom succeeded in the business of turning this outdated satire into a relentlessly relevant and entertaining evening of musical theatre magic?

Theatre audiences are a lot smarter than they are often given credit for, and there’s a lot to be said for the argument that older shows can stand untampered-with as ‘period-pieces’. However, How to Succeed has at its core a 1950s workplace misogyny that differs greatly to today’s workplace misogyny. Rather than be satisfied with a one-dimensional look at how things were, Rankcom utilises some inspired casting to expand the scope of the original’s razor-sharp satire and skewer our modern world.

The plot of How to Succeed centres around one J. Pierrepont Finch, a young window cleaner who – with the help of the self-help book of the show’s title – manipulates his way to the top of a large business. Much of the show is about the performative nature of societal roles and people’s unthinking acceptance of ridiculous norms, so it makes perfect sense to use a very talented and non-traditional cast to expand the satire to take on the subjects of contemporary misogyny and gender prejudices.

Royal Academy of Music graduate Gabrielle Friedman stars as Finch, and in a show of exceptional performances – we’ll cover them all, don’t worry – what they accomplish is truly extraordinary. As sometimes-cartoonish chaos cascades around, Finch is steadfast in his determination to rise through the ranks of big business and become a success. To do this, he employs all sorts of underhand tricks and schemes, and is often careless with the feelings of others. However, as played by the charismatic Friedman, we are always rooting for him to come out on top. The surprising levels of human relatability Friedman achieves with this comic character in such an amoral musical is a wonder, and though they have plenty of knock-outlines themselves, the relatively sane centre they bring to this play only makes the whirlwind of nonsense surrounding them more hilarious. I cannot wait to see what magic they bring to their future roles.

The headline piece of casting is West End and television favourite Tracie Bennett as boss of the company, J.B. Biggley. During the first half hour of the musical, we are given only glimpses of the camp monster Bennett has created. Initially, he is spoken about in awed tones and occasionally barrels through the Southwark Playhouse with Bennett’s diminutive frame somehow flattening everyone en route, but by the end of the evening we get to know so much about this commanding but easily manipulated businessman, and every detail added to his character is a delight. It is a joy to see how much fun Bennett and the entire cast clearly are having with this show. This could be one of those productions that will get even funnier and madder as the run progresses. I already have my tickets booked for a repeat visit.

The cast is large, but even so gamely doubles and even triples up on roles. The cast is also the strongest element of this production. There is not one single character or line that hasn’t been painstakingly crafted into comedic brilliance. For example, Verity Power brings the house down on more than one occasion with throwaway off-mic barbs from relatively minor characters like the secretary ‘Smitty’, or an unnamed cleaner. Rankcom has done well in allowing her to fill out what would otherwise be unnoticed moments between huge set pieces with what can only be described as grotesquely committed tomfoolery. Comedic perfection.

Elsewhere, Elliot Gooch is an absolute hoot as Bud Frump – Bigley’s nephew and Finch’s nemesis – while Milo McCarthy and Grace Kanyamibwa take on an assortment of roles, delineating each with distinctive characterisation and some truly impressive vocals – especially true of Kanyamibwa’s attacking of the finale number ‘Brotherhood of Man’. Annie Aitken, meanwhile, plays the ‘bimbo’ role of Copa girl turned secretary Hedy LaRue with such confident glamour, she owns every one of her scenes, becoming a force impossible to look down upon.

Also showcasing fine character work are Danny Lane as Mr Twimble/Mr Wally Womper and Taylor Bradshaw as Mr Bert Bratt and others. Both have no problem keeping up with the rest of the cast and bring a lot of warmth to an often-cynical show. They are also two of the strongest singers of the cast, and their musical moments to shine are incredible fun. As a special treat for fans of the mainstream of gender progressiveness, RuPaul’s Drag Race favourite Michelle Visage appears on recording as the voice of the titular book, narrating with just a hint of her signature sass.

And finally, standing out even from such a remarkable company and more than holding her own against the masterclasses on offer from Friedman and Bennett, Allie Daniel as secretary and Finch’s love interest Rosemary Pilkington is responsible for nearly too many showstopping highlights to count. She frequently brings the audience to spontaneous applause with her readings of even the most unassuming of lines, but proves throughout that even in such a thoroughly comic musical, she is capable of so much more than just comedy. Her voice is on incredible form for her solo numbers and in a show otherwise light on emotional resonance, she brings humanity and love. A true knockout performance worthy of all the whoops and hollers she elicited from the Southwark Playhouse.

Frank Loesser’s score is sometimes disparaged in comparison to his biggest hit, Guys and Dolls, but in the capable hands of musical director Natalie Pound and her five-piece band, plenty of gems are revealed. Some productions of How to Succeed have been criticised for tonal shifts between the book and the score, with some feeling the music can get in the way of the comedy farce and vice versa. However, here there is no hint of such a friction and the two marry perfectly. The camp chaos onstage almost demands musical numbers, and judging by the enthusiastic buzz of the crowd on the way out of the theatre, this score more than passes the “humming the tunes” test.

Choreographer Alexzandra Sarmiento’s energetic choreography makes the most of the big-cast-small-stage situation, keeping energy levels up while avoiding becoming overly busy. Set and costume designer Sophia Pardon ingeniously integrates colourful ladders and drawers into the show’s distinctive design. There is a little roughness around the edges of every element of this show – from the sound to the lighting to the performances – but it doesn’t so much detract from the overall effect as make the whole endeavour more endearing. This is an almost punk rock take on a Pulitzer Prize-winning piece of musical theatre, and what could be more fun than that?

Though brilliant directorial reinterpretations abound, this production of How to Succeed does not feature a huge amount of cuts. With an Act I 20 minutes longer than the entirety of Six, some audiences not used to a full evening’s entertainment might find themselves a little surprised at having to get a later train home than usual. However, this is a fast-paced show, expertly directed, and impeccably performed. It has the danger and edge of anything written more recently but with all the craft and gorgeous score associated with musical theatre’s golden age. It’s rough and playful energy may not be for everyone, but for me and I’m sure many more its considerable efforts pay off and it succeeds spectacularly. You will laugh until it hurts, until it becomes a serious medical emergency, and still thank the cast.

Ian Bowkett