Miscast Sondheim continues at the Forest Theatre at Greenside @ George Street until 22 August 2026 (except 15, 16).
Star rating: three stars ★ ★ ★ ✩ ✩
A tuneful and entertaining programme of 14 Stephen Sondheim songs from London Academy of Music and Dramatic Art (LAMDA) for various groupings of students graduating from its MA/MFA Musical Theatre programme. The show is not only a pleasing compilation introducing Sondheim works to new audiences but reworks well-known numbers which will give the composer’s fans a fresh experience. It is produced in association with LIVEWIRE Prods.
The experience is framed by two ensemble numbers with the complete cast. These are visually and aurally successful. Setting off as they mean to go on, the opening is ‘Comedy Tonight’, and yes it would appear that a funny thing has happened on the way to the forum as the repertoire unfolds with role reversals and new interpretations coming out of the darkness at all turns.
Characterful acting and choreography distinguish every number which helps distract from some issues with audibility and articulation, perhaps due to the unfamiliar space, and occasional moments of unreliable mics. Links between the numbers are a distinctive feature of Rebecca Lyle’s production and there are some enjoyable confrontations between characters who wouldn’t normally meet.
Of course some of the pairings are to be expected such as that from Into the Woods between Little Red Riding Hood (Dane Smit) and the Wolf (Adelia Castillo), but not usually seen with this gender balance. Smit stands out again later in the show when singing ‘A Miller’s Son’ from A Little Night Music, a number also usually sung by female performers. His timing and vibrato are well managed and he is a pleasure to watch.
The combination of physicality and musicality astonishes with the appearance of the Castillo duo Adelia and Angelia, who double up as prince/princess personae and ace ‘Agony’ from Into the Woods with arresting satirical street cred. Two solo numbers from Adam Boggs-McDonald showcase his strong physicality, vocal flexibility and comic sense, from the newly convincing macho strutting in Follies’ ‘Broadway Baby’ to ‘Losing My Mind’, where he really sings out to the audience.
‘Ladies Who Lunch’ is presented in emcee style by Peter Mill who proves himself absolutely ready for the professional stage. Slinking up from the front, or from the bar, he is immediately at home, unashamedly almost out of control while offering fabulously resonant dramatic toasts at us with a grimacing snarl. Show-stealing and difficult to follow.
Merrily We Roll Along brings a lighter approach, and twang. ‘Old Friends’ shifts the mood with a nicely rhythmic performance from cheeky trio Aoibhín Monaghan, Ophelia Mancini and Ellie Scott-Smith.
It’s well worth waiting for Paulina Hill who brilliantly carries off the big penultimate song, ‘Being Alive’ from Company. She really rises to this challenge and her performance is stunning in its belting, tragic desperation.
Other emerging artists are Colette Ambo, Fey Deli, Emily Doyle, Bailee Gull, Jessica Jackson, Hikaru Ogawa and Natalia Taylor who all perform well. Their contributions are valuable to this exploration of understanding and appreciating Sondheim. They present additional numbers from Sweeney Todd, Anyone Can Whistle and Sunday in the Park With George with which the whole event comes to a close.
Charlotte Purkis
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